M/C - Media and Culture Home

Who's Online

There are currently, 161 guest(s) and 0 member(s) that are online.

You are Anonymous user. You can register for free by clicking here

User's Login

Nickname

Password

Security Code: Security Code
Type Security Code

Don't have an account yet? You can create one. As a registered user you have some advantages like theme manager, comments configuration and post comments with your name.

Total Hits

We have received
25067850
page views since September 2002

Syndication

'screens'

Cinema: Whiplash

Reviewed by Michael Dalton

Every year around this time, there are performances that have Oscar triumph written all over them. 12 months ago, Cate Blanchett, Matthew McConaughey, and Jared Leto were all so locked in that the announcements were a mere formality. Anyone who has seen Whiplash, the new film by Damien Chazelle, would have to agree that next year, it will be the same for J.K. Simmons. In this story of a young drummer called Andrew Neyman, played with blood and sweat by Miles Teller, who ends up under the tutelage of Terence Fletcher, a brutally demanding music teacher, Simmons is electrifying. Dark brutal, disturbing, and inspiring, the action on this battlefield never flags.

124572_gal_400

'screens'

Cinema: Force Majeure

Reviewed by Michael Dalton

Force Majeure, recently chosen as Sweden’s bid for the Foreign Language category at next year’s Academy Awards, is one of the most fascinating films of the year. It’ll take some stiff competition to not only keep this film out of the race but to keep it from winning. It is one of those films where everything comes together. It clicks into place like so many jigsaw pieces and yet director Ruben Ostlund lets it stagger and spin as the characters try to make sense of their disillusion. 

2919999b_400

'screens'

Cinema: Fury

Reviewed by Michael Dalton

If I didn’t know better, I’d swear David Ayer’s war film Fury is an adaptation of a graphic novel. Set during the final days of World War II in Germany as seen through the eyes of a small group of American soldiers who trundle around in their tank dubbed Fury, Ayer presents us with the wages of war: the suffering, the terror, and the methodical, repetitive slaughter. It’s all shot in one colour scheme composed of grey, green, and brown and by the time we join this little unit, they’ve significantly and happily upped the body count. Its an ugly film and adequately acted, but its too cartoonish, and too shallow.

124688_gal_400 

'words'

The English Civil Wars: A Beginner's Guide

 

Reviewed by Donald Lawie

 The nation we know as The United Kingdom has a long and turbulent history. Invasions, wars and insurrections occurred throughout recorded history and continued into the twentieth century. One of the most divisive periods spanned the two decades from 1640 until 1660 and is covered by the general title of “The English Civil Wars”. Charles the First, the second Stuart king of England, believed that he was destined by Divine Right to rule his country as he saw fit. The elected and appointed members of the Parliament believed that The People should have a say in the conduct of the Government which in turn should exercise a controlling influence on the Monarch. These irreconcilable attitudes inevitably led to conflict, impasse and finally armed insurrection by the Parliament against the King.

 

'words'

City of Dark Magic

 

Reviewed by Liz O’Brien


In Prague, the City of Dark Magic, Sarah, a young music academic from Boston accepts a summer job in Lobkowicz Palace. Her task is to sort through the Lobkowciz family's treasure troves of musical instruments, handwritten scores from masters such as Mozart, Beethoven and Hayden and associated letters and documents in preparation for display in the planned palace museum. Her acceptance of the job is bitter sweet as it follows on from the recent unexpected death of her mentor at the palace. He was entrusted with the same task and has left her obscure clues to a mystery that extends beyond his death, hinting at something bigger and even more sinister.
'screens'

Cinema: Tammy

Reviewed by Michael Dalton

In the first five minutes of Tammy, Melissa McCarthy’s latest train wreck, she screams “Shit!” after knocking over a deer, stumbles bloodied and dishevelled into her job at a fast food joint where she gets fired, in a fury contaminates everything in the restaurant’s kitchen by either licking it or throwing it or shaking her grubby mop of hair all over it, tells the customers the chicken burgers are made of “dick and beak”, goes home to find her husband lunching with another woman and gets her face smacked, and then weaves down the street, screaming, crying, all the way home to mummy. In the hands of the resourceful Melissa McCarthy who wowed audiences in her Oscar-nominated performance in Bridesmaids this might’ve worked but in the hands of Tammy's Melissa McCarthy, it’s phoned in, tiresome, and deafening. I felt sorry for her.

119885_gal_400 

'screens'

Cinema: Before I Go To Sleep

Reviewed by Michael Dalton

In John O’Connell’s review for The Guardian of S. J. Watson’s bestseller Before I Go To Sleep he declared, “it’s exceptionally accomplished…a brilliant example of how an unpromisingly high-concept idea can be transformed by skilful execution” while James Kidd of The Independent said “The fun comes from spotting the plot holes that Watson later exploits for all they’re worth”. I suspect audiences will have mixed responses to the film adaptation too. It’s a great idea, a woman who sustained a massive beating ten years ago wakes up each day with no recollection of anything, not even who her husband is. The horror of such a predicament, already covered in more detail in Christopher Nolan’s Memento, is easy to imagine but filtering it onto the screen is a challenge director Rowan Joffe isn’t up to. He did a better job with Brighton Rock in 2011. The film was average but it was so beautifully shot and scored I was left feeling like I’d traveled to the stormy shores it was set on. Before I Go to Sleep is like stepping into quicksand. Not pleasant.

before-i-go-to-sleep02_400

'screens'

Cinema: The Judge

Reviewed by Michael Dalton

As engaging as the new courtroom drama The Judge is, it’s hard to ignore its “Movie of the Week” conceits. There’s nary a scene here that won’t look awfully familiar. It tells the story of Hank Palmer, a hotshot Chicago lawyer (Robert Downey Jr.) who, after a long absence, comes home to Carlinville, Indiana for his mother’s funeral, his brother Dale (Jeremy Strong) who’s a little slow but a genius with all things mechanical, another brother, Glen (Vincent D’Onofrio), more bitter, whose promising baseball career was cut short by a car accident, a sexy old flame, Samantha (Vera Farmiga), who stayed behind because she “loves this town”, and, in the title role, his crusty and distant father Joseph (Robert Duvall), an alcoholic and sober for three decades, now on chemotherapy, who’s been part of the legal system for longer than his son and about to find himself on the other side of the legal system.

the-judge-robert-downey-jr-robert-duvall-2-600x400_400

'words'

Not What It Seems: Badudu Stories

 

Reviewed by Sharon Norris

In the Wongutha language of south-east Western Australia, the term ‘balanha badudu’ means ‘it’s not what you think it means.’ This phrase is the common theme that threads its way through four short stories by indigenous author May L O’Brien that feature in the 2014 Fremantle Press publication Badudu Stories.

 

'words'

The Lost Child

 

Reviewed by Jay Daniel Thompson

The lost child has been a powerful figure in the Australian cultural imaginary. This figure has embodied the kind of innocence and powerlessness that is commonly attributed to children. Also, and relatedly, the lost child has symbolised the passing of another, ostensibly more innocent era.

 

Contents

Search Box