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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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Oh Ridley. You forgot what made Alien so great. It wasn’t the iconic HR Giger design, it wasn’t the special effects or complicated world-building narrative. It was two things – character and suspense. We got to know Ripley and Lambert and Kane and Ash. We cared what happened to them. We held onto our seats and sheltered behind cushions as Ripley navigated her way through the Nostromo, we cheered when she and Jonesy made their final report. Continue reading
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A movie about a woman being victimised isn’t the kind I would normally go and see but Berlin Syndrome is directed by Cate Shortland (Somersault, Lore) so I knew it was going to be interesting with the story of the woman at the heart. Clare (Teresa Palmer) is a naive Australian tourist newly arrived in Berlin. By chance she meets German school teacher Andi (Max Riemelt) and strikes up a hesitant friendship that leads to her staying the night at his isolated apartment in an otherwise empty former East Berlin apartment block. When she wakes in the morning with Andi gone to work, she finds the doors and windows locked and she can’t leave. Continue reading
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Every now and then a film changes the way I see the world. I went into Raw, the stunning first feature by French director Julia Ducournau, expecting horror but instead experienced an intense metaphorical drama about female power and desire. Best suited to those who like their cinema challenging, Raw refuses to let you look away. Continue reading
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Harold and Maude meets High School Musical in this messy, funny, teen romp of a film by Australian Neil Triffett. Ethan (Benson Jack Anthony) is a misfit in his school. Identifying as an emo with black eyeliner and a melancholic preoccupation with death, he is expelled after trying unsuccessfully to hang himself from a tree in the schoolyard. As the new kid at scruffy Seymour High, he finds his tribe with wannabe emo band Worst Day Ever who are vying for a prize in a regional band competition. Trouble arises when Ethan falls for Trinity (Jordan Hare), singer in rival Christian band Hope. Continue reading
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On the surface, this is the kind of feel-good WWII movie that the British do so well. Made, though, by Danish director Lone Scherfig (An Education), it has a subtle complexity, a slightly contrived but interesting subtext and a feminist slant that makes it more interesting than it seems (and almost works). Continue reading
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