Articles by Amelia McPherson
Amelia has written 12 articles for Nouse
The Life of David Gale (2002)
By Amelia McPherson — June 30, 2009
It’s pretty much a no brainer that any film script strong enough to ensnare Kate Winslet, Kevin Spacey and Laura Linney will turn out to be good (and, for the record, if you loved Spacey before, you’ll be floored by this performance)
The End of an Era?
By Amelia McPherson — June 30, 2009
Rumour has it that there are stirs from Martin Scorsese’s office, but what’s happened to the iconic “Mob Movie”?
Pour Elle
By Amelia McPherson — June 9, 2009
Never has a film been more aptly named. From the opening of Pour Elle (Anything for Her), Julien’s every action is governed by his increasing determination to help his wrongly accused wife escape from the justice system which has so dramatically failed them.
The Manali-Leh Highway
By Amelia McPherson — May 17, 2009
Take the nail-biting journey along the world’s second highest road and explore the remote and unique region of Ladakh in Northern India
Cannes 2009: will the Brits bring home the bacon?
By Amelia McPherson — May 12, 2009
Cannes 2009: with a surprisingly large British offering, can we bring home the bacon?
Doubt
By Amelia McPherson — March 10, 2009
The film is shot in a monotonousfashion, with no stamp of originality: it feels like Doubt should have remained as a stage play
The Parallax View (1974)
By Amelia McPherson — March 10, 2009
The Parallax View is the second in Pakula’s ‘paranoia trilogy’ of political thrillers.
The Curious Case of Benjamin Button
By Amelia McPherson — March 3, 2009
Very, very occasionally, a few times in a lifetime perhaps, we might come across a story of such magical conception.
When East Meets West
By Amelia McPherson — February 10, 2009
When East Meets West: As India and the west join forces, what can we expect from a future of collaboration?
The Wrestler
By Amelia McPherson — January 20, 2009
Bold claims that Mickey Rourke has produced “the greatest cinematic comeback ever” may have been shrugged off with amused scepticism. Yet if at first the decision to cast Rourke, fallen heart-throb and puffy-faced has-been, seems bizarre, it ultimately proves to be a catalyst for the film’s brilliance.
Same Old, Same Old.
By Amelia McPherson — November 25, 2008
Same old, same old: British film is stuck in a timewarp ruled by social cliché.
The King (2005)
By Amelia McPherson — November 25, 2008
This American Indie is refreshingly different: this is modern Gothic Horror at its finest and most subtle.


