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Sophia Coppola has given us a slow burn remake of the 1971 The Beguiled with less male swagger and more female resilience. Although it is hard to like many of the characters, there is a subtle depth to their motivations and sometimes shocking choices. Continue reading
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Like A Quiet Passion, Lady Macbeth shows the anguish of a 19th century woman who has no choice and control in her life, but with a much bloodier and more satisfying resolution. Continue reading
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This groundbreaking superhero movie says a lot about the agency of women in what it contains and what it omits. My eyes welled with unshed tears of pride every time Diana (Gal Gadot) unleashed her fury and my heart sank at her high heeled boots and impractical, ‘designed for the male gaze’ outfit. Continue reading
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Very quiet. And a little bitter. This is not a bad movie but it left me feeling deflated and very happy to not be Emily Dickinson or a woman in the mid-19th century. Continue reading
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Gru is my favourite villain. And now there’s the breakdancing Balthazar Bratt, who comes in at number two. And number three is Gru’s twin brother Dru, who’s like a more optimistic Gru with a blonde wig. Sequels are usually something to endure but this third installment of the Despicable Me franchise was almost as good as the first and definitely more entertaining than the second. Continue reading
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“I got hurt feelings, I got hurt feelings,” so sing Jermaine and Brett, of Flight of the Conchords, and, in the case of Russian punk activists, Pussy Riot, so did the Russian Orthodox Church. Continue reading
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The book or the film, the film or the book? Like fellow literary bestseller and psychological thriller Gone Girl, I had read the book before seeing this US film adaptation of Paula Hawkins’ The Girl on the Train. Although the book is always better, when it’s a story that relies heavily on mystery and suspense, knowing the ending significantly affects enjoyment of the film. The subsequent lack of curiosity about what is going to happen also leaves too much time to notice differences. Continue reading
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I knew nothing about this film when I bought a ticket. Screening as part of the American Essentials Film Festival, it suited my schedule and its story about undocumented teens at a US high school trying to make a future sounded interesting. What completely surprised me was to find out, during the closing credits, that it was directed by Matthew Newton. Yes, that Matthew Newton. He’s not my favourite person but he did a remarkably good job at showing the vulnerabilities of people whose human rights are threatened. Continue reading
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I remember being confounded by this film 15 or so years ago. The American Essentials Film Festival was a chance to revisit this David Lynch classic as part of a larger retrospective. It still stands up as a beautifully atmospheric and cleverly crafted film, both echoing and subverting traditional cinematic storytelling. Continue reading
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This honest, human film by French director Mia Hansen-Løve wrapped me in its warm embrace and, as the camera pulled slowly out on the final scene and the harmonic tones of the Fleetwoods began to sing, it brought me to tears. Not overly sad, the story of a 60-something-year-old woman assessing her life resonated deeply. Continue reading
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