Rob & Chris continue their wade into the whimsical world of Wes Anderson, looking at his 2004 film, The Aquatic Life Of Steve Zissou
We conclude our Ben Wheatley season with his most recent offering, 2016’s FREE FIRE. After our initial responses to the film, we go on to talk about claustrophobia, empathising with the IRA (!), and whether or not Wheatley has made the ‘step up’ to Hollywood (CA) direction.
Back after a hiatus, we delve further into Ben Wheatley’s oeuvre, with his 2013 historical horror A FIELD IN ENGLAND. Our reviews are mixed, but then we do get into some very interesting discussions about genre collisions, social structure, and whether or not Ben Wheatley will be a success as a blockbuster Hollywood director with […]
This week’s film is the incredibly disturbing ? don’t watch it if your constitution is in any way delicate; it will stay with you ? Ben Wheatley film KILL LIST. We talk about how this film takes a while to get going, but when it does ? oh boy! Also on the agenda today: social realism, Lovecraftian […]
The first film in our Ben Wheatley season is his cinematic debut, DOWN TERRACE. We offer contrasting reviews in perhaps surprising directions (given our PP form), and then spend time talking about different attitudes to masculinity, what it means to be part of a family unit, and how this film ? for all its apparent […]
This week we conclude our Baz Luhrmann season with his most recent film, 2013’s THE GREAT GATSBY. We have disparate opinions on this, and differing levels of familiarity with the story, but then we move onto a discussion of the movie’s presentation of different ideas about wealth, concepts of class and race on-screen in various […]
This week our focus shifts to Luhrmann’s sweeping Antipodean magnum opus, AUSTRALIA. We sort of already know what there is to be said about this film, so we spend a lot of time talking about the movie’s politics, its visuals, and how it tries to do many different things, but doesn’t always succeed ? and […]
Our next foray into Luhrmann territory is his version of the 16th-century play: WILLIAM SHAKESPEARE’S ROMEO + JULIET (1996). Sam goes off on one about one of his pet topics, and we take things further by discussing the playful and inventive qualities of the play brought out by Luhrmann ? along with his innovative use […]
This week we embark on our next directorial mini-season with the work of Baz Luhrmann. We start with his cinema debut, 1992’s STRICTLY BALLROOM. After opening reviews, we talk about mockumentaries, cinema aesthetic, and artistic frustration ? both in the film and in Luhrmann’s direction itself.