Nelson Henderson famously said “the true meaning of life is to plant trees, under whose shade you do not expect to sit.” Kurosawa bathes us in the light of a man who gets to not only plant the seed, but look out on the sapling, with contentment.
About a month after seeing James Mangold’s wonderful and moving “Logan” I was scrolling through the Netflix queue and stumbled upon a film that shares the same ethos; to project fantastical superhuman abilities through a very human lens.
What makes “Loving” such a refreshing and enthralling viewing is that it does not magnify the participants for the sake of the tale to tell a Hollywood version of their trial and its enduring contribution to race relations and civil rights in the U.S.A. Nichols creates a beautifully dignified portrait of people whose ethics and good nature speak more volumes than any kind of extrapolation.
“The Pledge,” directed by Oscar winning actor Sean Penn, is a devastating portrait of an ageing detective who makes a promise to bring justice to a child murderer. It’s “one last ride” for our leading character Jerry Black (Nicholson), until he abandons the case and retires. It examines a man trying to relinquish his deduction instincts in exchange for a slippery grip on a ‘normal’ life.
"Ghost in the Shell” melted minds in ’95. The questions of what a soul faced with an upgradable body went on to influence the film that ultimately eclipsed it; “The Matrix.” The Wachowski’s synthesised cyber-punk and explored technological symbiosis in an epic - and one could argue - genre defining way.
In the fifth episode of the latest series of POD SAVE OUR SCREEN Blake Howard reviews "Dance Academy" and chats to director Jeffrey Walker and one of the multi-talented stars Dena Kaplan (@DenaAmyKaplan).
In the fourth episode of the latest series of POD SAVE OUR SCREEN Blake Howard joins forces with the original gangster of Australian Online Film journalism Garth Franklin to talk The Dark Tower, Venom, Ridley Scott’s next 17 “Alien” movies and the most anticipated fight of the year (no not Mayweather versus McGregor), Netflix versus your multiplex.
“American Gods” is a sensual opiate. A flood of rich textures of the American experience are conjured in dreams and memories that echo around the story of a conflict brewing. As ex-convict Shadow Moon and his mysterious employer Mr Wednesday trace the back road portrait of the surface of America the frenzied sacrifice that fuels the older gods are like dizzying visions into a world happening on the fringes of the world we know.
Wait, what? That ever so mythical Hollywood. Is it not the centre of the filmmaking universe? That cultural imperialism has extended itself to the neutral positions in your mind. It immediately echoed Gabriel Byrne's Devil discussion with Arnie in "End of Days." He claims that God had a better publicist; evidently, Hollywood got the same people.
Anotherfilmnerd sits back, pops a red pill (or is it the blue one?) and argues a 'Matrix' reboot won't be the end of the world (the bad kind, that is... not the good kind that frees humanity from its evil overlords).
Middle aged love can come with a lot of baggage. Eva (Julia Louis-Dreyfus) and Albert (James Gandolfini) meet at a swish Hollywood type party and are quick to establish they’re both not attracted to anyone, but then he asks a mutual friend for her number and they go on a super cute (“Did they make the music louder?” “No, you just got older”), albeit slightly awkward date.
With last week’s Australian streaming service Stan announcing a follow up to their “Wolf Creek” series, the television expansion to Greg McLean’s terrifying and terrific outback Mick Taylor (John Jarratt) horror anthology.
In “Bad Boys” Joe Pantoliano’s Captain Howard is in the process of berating Detectives Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence) after Miami Dade Police Department has been robbed of seized drugs. He says: “Just do what you do; only faster.” That’s the exact pep talk that you imagine Mark Gatiss and Stephan Moffatt having with Benedict Cumberbatch and Martin Freeman as they return to Baker Street for the fourth series of “Sherlock.”
I am super familiar with this film, when I was younger, my grandmother had it on VHS and I would watch it, rewind and watch it again and repeat several times over until she got jack of it and intervened. This is the first time I’ve re-watched as an adult and I have to say, it’s a very hard watch, due to old mate at the forefront.