Sat, Jun 25, 2016
Michael Haneke’s “The White Ribbon” is one of those films that I fell in love with from the opening shot, much like his earlier film “Cache”. The strength of this film comes from its visual compositions—you could watch it silently and still work out what the film is trying to say.
Set in rural Germany before World War I, we are introduced to the townspeople through a series of accidents. The Doctor gets caught up in tripwire on his horse.
Mon, May 30, 2016
I stumbled across the original copies of my reviews for “Black Swan” and “True Grit” which were published on a now-defunct site. From another life. Best left there.
With his last film The Wrestler, director Darren Aronofsky sliced through the sheen and entertainment of semi-professional wrestling to reveal it as the bleeding art it can be. Black Swan is a similar vehicle, only this time he takes away the pomp and romantic grandeur of ballet to reveal the battered and bleeding artists behind the dancing.
Tue, Apr 5, 2016
On September 11, two thousand and one, four commercial airliners were hijacked in the United States and used to attack key US landmarks. Three days later the United States Congress passed the Authorised Use of Military Force (AUMF) bill, authorising use of the US Armed Forces against those responsible for the attacks.
Nine days after September 11, then American President George Bush told Congress “every nation in every region now has a decision to make: Either you are with us or you are with the terrorists”.
Thu, Mar 17, 2016
“The Witch” arrives in Australian cinemas thirteen months after its debut at the Sundance Film Festival, during which time the initial, glowing reviews have helped establish the film’s own mythicism. Robert Eggers’ “The Witch” is a horror film in the most classical sense.
Banished from a pioneering New England settlement, a Puritanical family resettle in a small clearing surrounded by woods. Not long after arriving, the eldest daughter, Thomasin (Anya Taylor-Joy) is playing with her newborn brother when he vanishes practically before her eyes.
Thu, Feb 11, 2016
“Zoolander 2” occupies strange territory—both in its own art and in its place within the popular culture of two-thousand and sixteen.
It’s interesting to think about what Ben Stiller, the film’s writer and director, thinks of its place in the world and why he felt an updating of the adventures of Derek Zoolander was relevant to today’s audience. That’s not to say the film doesn’t have its own lifeforce—for it does.
Thu, Feb 4, 2016
Throughout the history of Japan cherry blossoms have been a symbol of life, death and rebirth.
Japanese filmmaker Naomi Kawase’s latest film, “An”, from a script written by Kawase based on the book by Durian Sukegawa, explores these themes in modern Japan. Kawase wants us to think about how life—its pulse and energy—exists within societal and architectural structures governed by straight lines. Kawase has always been interested in how people and chaos can play out despite the conformity of their surrounds.