Haneke’s “Happy End” is darkly funny, impeccably made and the performers relish being conducted by a master; however it doesn’t have as clear a drive or fervent punch of his other string of incredible works...
One hopes desperately that this confronting film is an exaggeration - not the ‘ordinary’ experience in Manilla. “Ordinary People,” is not a neo-realist film about working class life, set in a culture of poverty, making a case for redistribution of wealth. The grim reality portrayed is horrific, the moral undertones make it mean.
“The Wall” is a war movie, make no bones about it. Despite the slick premise, the refreshingly sound logic, the ‘real-time’ experience of the characters and the blistering pace, it presents the conflicted ethics and morality of the American war in Afghanistan.
In the seventh episode of the latest series of POD SAVE OUR SCREEN Blake reviews WHITNEY: ‘Can I Be Me.’ and chats with documentarians Nick Broomfield (director of Whitney: ‘Can I Be Me’) and Matthew Salleh (director of “Barbecue”).
In the sixth episode of the latest series of POD SAVE OUR SCREEN Sydney Film Festival Creative Director Nashen Moodley (@NashenMoodley) joins us for his best advice on how to experience the fest, and Garth Franklin (editor in chief of @DarkHorizons) chimes in with his must see films of the festival.
If you love movies and you live in the Sydney region who definitely know that for twelve days in June the Sydney Film Festival makes it O.K to abandon life as you know it. Twirling the baton as the ring leader of our cinematic offerings for Sydney Film Festival is director Nashen Moodley, South African born wünderkind programmer and all round great dude who is back for his sixth year curating a blooming and eclectic movie playlist.
Watching the latest Amazon Original Comedy Series “Patriot” from Steven Conrad (“The Secret Life of Walter Mitty”, “The Weather Man”), which is also produced by Glenn Ficarra and John Requa (“Crazy Stupid Love”, “Focus” and “Bad Santa”) I experienced not one but two ‘had me at’ moments.
“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.