Fashion Will Eat Itself: The Empty Stylism of The Neon Demon
We’re so pretty, oh so pretty … vacant.
My Favourite Soundtrack: Drive
I’ve recently begun contributing to The Essential, a great new Australia film/music site. My first contribution was found in the middle of a Writer’s Roundtable asking the question “What is your favourite score/soundtrack and why?” The whole article is definitely recommended, with my colleagues producing some great responses, but my answer is included below: I…
The Raid 2: Berandal (2014)
In my review of 2011’s The Raid: Redemption, I discussed its opening shot, a close-up on a gun and watch, heralded the film’s violence and clockwork tautness. Gareth Evans’ sequel to his modern action classic opens on a long shot of a field of crops, grey-tinged by a sullen sky and lacerated by paths twisting…
Only God Forgives (2013)
Only God Forgives is not a pleasant experience. Watching it is akin to letting viscous ichor fill your veins. It’s like a David Lynch take on a spaghetti-western tale of revenge; the deep rumbling bass tones, thick shadows and vibrant, hellish reds channel Lynch’s style. The dark, labyrinthine corridors that contain Julian (Ryan Gosling)’s Bangkok…
Double Feature: Drive (2011) and The Place Beyond the Pines (2013)
The Place Beyond the Pines is a difficult film to rate; it’s undeniably exciting and innovative, but its reach often exceeds its grasp. The film is a significant departure from Derek Cianfrance’s last film, Blue Valentine, which was an intensely intimate experience filmed in a grubby, shaky vérité style. His new film is more expansive,…
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