I find horror sequels endlessly fascinating. Specifically, I find first sequels passed off to a new director fascinating (not that I don’t have a soft spot for sequels like Evil Dead II or Hostel 2 made by the original director, or the gems that pop up late in a franchise like Jason Lives: Friday the…
Most conventional horror films fall somewhere on the sadomasochistic continuum. They either allow the audience to assume the role of sadist, monitoring the physical and psychological torment of the film’s protagonists like Jigsaw peering through his surveillance cameras, or manoeuvre viewers into enduring the victims’ ordeals, much like a masochist cherishing their punishment. While I…
Today marks the centenary of ANZAC Day in Australia and New Zealand, and one of the most enduring pop culture representations of the Gallipoli battle that this day commemorates is Peter Weir’s 1981 film Gallipoli. I’ve been commissioned by SBSMovies to do a series of “cheat sheets” on films taught in secondary schools, unpacking their…
Avengers: Age of Ultron is, for better or worse, the culmination of Marvel Studios’ approach to commercial cinema. By this stage, their much-discussed directorial departures – Patty Jenkins from Thor: The Dark World, Edgar Wright from Ant-Man – and the homogeneity of their output make it clear that this is about as far from auteurist…
The main point of comparison for most people reviewing It Follows is Halloween. Undeniably, David Robert Mitchell’s debut feature, an insidious, diamond-sharp indie horror flick, draws heavily from John Carpenter’s classic. That’s apparent from its opening frame, an image of an American suburban street whose expansive front lawns carpeted by auburn autumn leaves could be…
Xavier Dolan’s fifth film, Mommy – released when the director was only twenty-five – is certainly his most mature work of an already outstanding filmography. An intimate portrait of the tenuous triangle formed between Die (Anne Dorval), her ADHD son, Steve (Antoine-Olivier Pilon) and her neighbour – and would-be lover – Kyla (Suzanne Clément), it’s…
Consuming the pop culture output of a country helps to develop an understanding of that country. Case in point: the United Kingdom. Despite my very English background (three quarters of my grandparents and my father were born there), I’ve never visited old Britannia, yet my familiarity with British television and movies has engendered a sense…
The Fast & Furious franchise’s seventh lap contains few surprises for those familiar with the franchise. Fast & Furious 7 (originally titled just Furious 7) doesn’t deviate from the well-worn path established by its predecessors, delivering the same mix of cars, fights, absurd stunts and bro-y banter that’s sustained the series for the past fourteen…
Is it weird that I associate Aussie alt-rocker Courtney Barnett with Aussie comedian Hannah Gadsby? They don’t look much alike but I don’t think it’s a crazy comparison to make. Both possess the straight-talking, cigarettes-and-VB aura of Australiana. They both spent at least some of their formative years in Tasmania. Each has succeeded in traditionally…
The original French title of Girlhood is Bande de filles – roughly, “girl gang” – and the difference between the two titles is illustrative of the dualism of director Céline Sciamma’s approach to the film. Centring on sixteen year old girl Marieme (Karidja Touré), the film provides an individual-centric portrait of her experience – friendship,…
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