The next in our NWR mini-season is his 2011 film DRIVE. One of us has radically changed his stance on the film (spoiler alert: Rob won’t be tearing down his poster)?after a few minutes of reviews, we get stuck into psychopathy on screen, subverting type, and just why this film is s tense.
This week’s film ? and the next in our Nicolas Winding Refn mini-season ? is one close to Rob’s heart: VALHALLA RISING (2009). We get the inside scoop on some of the decisions made by the director, as well as considering some of the mythical/religious ideas behind the film ? and if this is a […]
The next director at whose oeuvre we take a look is Nicolas Winding Refn, and we start with his 1996 feature-film debut PUSHER. After similar reviews of the film, we talk about what Refn might have been trying to do with this film, the division between narrative and aesthetics, and the ways in which this […]
Our final Spike Lee joint is 2015’s CHI-RAQ: based on an Ancient Greek play, and set in modern-day gangland Chicago, this is both very different from and yet ? at least in terms of its racial politics ? remarkably similar to last week’s film. We have contrasting reviews of the film, but go on to […]
After a significant disclaimer this week, we launch ? somewhat trepidatiously ? into our next Spike Lee joint: BAMBOOZLED (2000). We talk about how this film didn’t get the critical love it deserved, the camera shots that make it, and the sad deficiencies of contemporary African-American on-screen representation.
Spike Lee Month continues with his 1989 classic DO THE RIGHT THING. We’re both (spoiler alert) very positive about the film, before getting into discussions of right and wrong, racial tension, and police brutality (keeping it light!), as well as EMPIRE RECORDS, DIE HARD 3, and the very sad continued relevance of Lee’s film.
Our next director is a Goliath of American film: Spike Lee. We start with his 1986 ‘joint’ SHE’S GOTTA HAVE IT: reviews, tentative thoughts on African-American cinema, and why this film was ahead of its time.
Our last Iñárritu film is 2014’s BIRDMAN, OR (THE UNEXPECTED VIRTUE OF IGNORANCE) (don’t worry: that’s the last time we’ll use the subtitle). We offer fairly similar reviews, before talking about style over substance and the director’s views on the superhero genre — and we end with some concluding thoughts on Iñárritu’s oeuvre.
The next Ińárritu offering — and the last in a ‘trilogy’ that began with AMORES PERROS — is the 2006 film BABEL. We have fairly similar takes on the movie, and this is followed by broader discussions about language, Westernisation, and the purpose of the film.
Our next Iñárritu film sees him move from Spanish to English (although the change of language doesn’t indicate a change in mood!) with 21 GRAMS (2003). We talk about screen presentations of grief and the way that the impact of cinema changes over time — and one of us changes his mind a little about […]