Assassin’s Creed (2016)
Assassin’s Creed is a disaster: a morass of muddled imagery, incoherent plotting and dreadful screenwriting.
Old Glamour And Sad Pitt: Is ‘Allied’ Worth Its Own Hype?
Situated somewhere between Mr and Mrs Smith and Casablanca, Allied makes for engaging, old-fashioned entertainment.
It’s Only the End of the World (2016)
Xavier Dolan’s sixth feature film, It’s Only the End of the World, had its Australian premiere at Sydney Film Festival from a precarious position. Arriving from Cannes with a pair of strange, if increasingly common bedfellows – widespread critical derision and the Grand Prix prize – it’s perched on a pedestal that demands either full-throated…
Macbeth (2015): Cheat Sheet
Last week saw the Australian release of Justin Kurzel’s Macbeth adaptation, which Jonathan awarded 4 stars in his review. As part of my series of “cheat sheets” on films taught in secondary schools, unpacking their themes and detailing related texts, I examined Kurzel’s film for SBS Movies. Check it out via the link below! Read Macbeth: Cheat Sheet at SBSMovies.
Macbeth (2015)
Watch Macbeth if you like your Shakespeare slick and relentlessly bleak. Michael Fassbender gives an awards-worthy clinic as the flawed, tortured king. But a word of warning: this story is not for everyone; and I recommend doing your homework. I’ve never studied ‘The Scottish Play’ and I found the language equal parts beautiful and frustrating…
#Tay4Hottest100 and the Advantages of a Restricted Democracy
In a couple weeks, Queensland heads to the polls to elect their State Government for the next few years. In the interests of preserving my mental health, I’ve avoided following the campaign too carefully. But as far as I can ascertain, it boils down to a choice between two decidedly unpalatable potential premiers: Campbell Newman,…
Two Days, One Night (2014)
Featuring the best performance of the year so far, the Sydney Film Prize-winning Two Days, One Night is a tale of injustice and persistence whose simplicity belies its emotional and political poignancy. The latest from two-time Palme d’Or winners Jean-Pierre and Luc Dardenne hews closely to their social realist/humanist template. It follows their trademark stripped-back…
