Last week I was lucky enough to be involved with four other journalists in a roundtable junket interview with the director of World War Z, Marc Forster. We fired off a couple of questions each and this is what Marc had to say about the film.
Here’s some very informal, experiential musings of the 60th Sydney Film Festival – my 3rd.
Catriona McKenzie is the writer/director of Satellite Boy, her award-winning debut feature, set to have a national release through Hopscotch Films on June 20.
t’s (arguably) the definitive movie about witches. Sure, Hocus Pocus was fun and sure, The Witches was creepy (nobody mention Practical Magic) BUT The Craft had every teenage girl in the nineties wanting to play light as a feather, stiff as a board at their next sleepover. It was cool, it was creepy and it was cult. It ceaselessly became a 90s classic. In the name of Manon, we look at why.
Baz Luhrmann’s version of F. Scott Fitzgerald’s The Great Gatsby has been released in Australia and it’s going to be a tough sell with fans of the novel, and the same goes with all adaptations. …
“Bonjour!” I chirped loudly as I entered the café I have, over the past eleven days, come to think of as my local. “Bonjour!” replied the café owner, “Pain au chocolat et café o’lait?” A chocolate danish…
(Editorial note): Months ago Nick and I were in an email exchange about whether or not we wanted a FIVE STAR FILM entry for The Master. At the time I resisted, I thought that it need…
Mann’s specific cultural and historic origins are illustrated in the formal qualities and thematic philosophy of the ‘70s and this is represented directly through his characters (Bergman particularly in this film). During the 1968-1980 period American films began to speak about different hallmarks of the deconstruction of the American image, and especially the crisis of masculinity.
It’s a rare bird of a film that can elevate itself so distinctly between a first and second viewing to make a reviewer back-flip on their original estimations. The Descendants is such a film.
As my alarm jolted me awake this morning, five thoughts went through my head in quick succession. One: Have they done studies on how little sleep can a person survive on? Two: Am I the case study?? Three: When I get back to LA, I’m so doing a juice cleanse. Four: Oh god, that sounded really LA. Five: I wonder how early the crepe place opens?
“one of the greatest sci-fi action films ever made: Star Trek II: The Wrath of Khan”
There are great films, capital G-F Great Films, and then, there are those films admitted to the VIP table behind the velvet rope, those seriously discussed when the question of the Greatest Film of All Time is raised. KANE. CASABLANCA. VERTIGO. RULES OF THE GAME. 8 ½. Few films from the last four decades are invited to this gathering of cinematic high rollers, but the first admitted is, nigh-unanimously, Francis Ford Coppola’s 1972 masterpiece, THE GODFATHER.
Italian horror maestro, Dario Argento, made a string of giallo and supernatural horror masterpieces in the 70’s and early 80’s. While Suspiria (1977) remains his most famous film, commonly touted as one of the scariest films ever made, it is of my opinion that Deep Red (1975), the focus of this Five Star Films feature, is his greatest work.
In this long overdue second instalment of our ‘Ranked’ series, team Graffiti with Punctuation has selected their Top 10 Tom Hanks performances.
That’s the question for this week’s GWP Roundtable: Which film deserves a sequel?
Waking up from a nap I opened my eyes and discovered… I felt better. Hurrah! No more headache, or shakes, and I smiled as I thought Cannes, you haven’t beaten me yet!
“Ladies and gentlemen, please take your seats, the screening is about to begin. Please turn off your mobile telephones for the duration of the performance.” That recorded message plays first in French, then English, about…
“And too much of your butt? Impossible!” I said [to Matt Damon], because I’m shameless.
Roman Holiday certainly deserves its place in the canon of great classic films, and is an absolute treat to experience.
As my friend’s alarm clock signalled the start of another Cannes day, I tentatively opened my eyes, scared to feel the presence of a hangover. There was none, and I was relieved that I had enough sense to stop after a few glasses of champagne last night, which was flowing freely at the Weinstein party.