Rob and his 1st guest host, Anna, relive their respective childhoods, get lost in Hook’s luxurious facial hair and fawn over RU-FI-OOOOOOOOOOOOOO!
Our Schumacher mini-season concludes with the 2003 biopic VERONICA GUERIN. For a second week running (savour it), we’re largely in agreement with our reviews of the film, and then we talk about how these events passed us by, the difficulties in bringing a real life to screen, and the parallels between the protagonist and a […]
We kick off our Joel Schumacher mini-season with a look at his 1980s ‘classic’ (Sam’s inverted commas) THE LOST BOYS. There are…conflicting initial reviews, but we unite in discussions of being out of time, vampirism, and puberty.
Our final Kurosawa offering is one of Rob’s favourites: 1970’s DODES’KA’DEN. Sam liked it, too (though with some caveats), and we go on to discuss the director’s use of colour, sound, and film in general — with a look back at his oeuvre, as explored over the past month.
The next Akira Kurosawa film is probably his best-known — and certainly most-imitated — film: SEVEN SAMURAI (1954). We both really enjoyed this (one more predictably so than the other); after some general discussions of community feeling and individuality, we get more specific about the social hierarchies of the film, dive into Kurosawa’s cinematography once […]
Our next offering of the season is Akira Kurosawa’s breakout movie, RASHOMON (1950). After some positive reviews, we spend lots of time on the particular visuals of the film — including the way in which things are seen through other things — and end with a discussion of what the last scene might mean in […]
The second director of Season 3 is Akira Kurosawa; the sequence of his films begins with his 1948 breakthrough, DRUNKEN ANGEL. Initial discussions centre on its viability as a cinematic — rather than theatrical experience — and then we delve into post-war Japan, Kurosawa’s relationship with gangster culture, and this film’s positioning as a metaphor […]
Our final Kathryn Bigelow offering is the 2008 multiple-Oscar-winning THE HURT LOCKER (2008). After initial (and not entirely favourable) reviews, we discuss the film’s sparse qualities, the way in which Bigelow subverts expectations, and one particularly…interesting stylistic choice. We conclude with a look back at her filmography, as explored over the past month, focusing on […]
Our latest Kathryn Bigelow offering is the 2002 thriller based on a true story, K-19: THE WIDOWMAKER. We discuss its editing, pacing, and narrative, in a discussion that ranges from the way in which Bigelow tries to tease out relationships on different social levels to more on her depiction of masculinity, particularly in a military […]