It was sad to hear Larry Cohen had died on 23rd March 2019. Thank you to Diabolique for allowing me to honour him.
Film critic extraordinaire Stephen A. Russell let me bang on about the recent trend in time-loop entertainment in his article for The New Daily published on 15th February 2019 called ‘The do-over fantasy: Netflix’s Russian Doll and Happy Death Day 2U’.
It was nice to appear on the roster again with my former Inpress compadre and film reviewer, Craig Mathieson, who now runs the website BINGE-R, among other things.
Science Fiction Theatre in the UK is a monthly film club dedicated to the exploration and celebration of classic science fiction cinema.
Launched in 2013, SFT has hosted over 50 events at different venues across London. Its founder, Graham Ainsley, decided that was a bloody good reason to produce a book so, accordingly, he assembled a team of writers and graphic designers to run through the first 50 films, accompanied by original poster art for each one.
I was lucky to write about this beauty…
I’m chuffed, to say the least, that Screen Education has chosen my piece, The Act of Seeing: Cinema, Ethics and Responsibility, as one of the feature articles on their website for edition No. 91 of the magazine.
This was a mind-twister of an article and, given the breadth of subject matter, I enlisted a number of expert interviewees to put forward their opinions. Huge thanks to Matthew Beard, Steve Thomas, Stuart Richards and Alexandra Heller-Nicholas for lending their voices to this ongoing debate. Their contributions have helped make this particular article a work of which I can be very proud.
‘The Act of Seeing’ also functions as a partner piece to my previous article, ‘To Watch or Not to Watch, That is the Question’, examining similar ethical considerations on watching cinema but from a different angle, which you can read online at Diabolique.
I urge you to subscribe to Screen or purchase a copy so you can share in the many other insightful film articles this edition has to offer.
Once upon a time, in the summer of 2017, I wrote a story for Metro called ‘The Great Southern Creature Feature’ that used the release of the independent monster movie, Red Billabong, as a launching pad to talk about Australia’s proclivity for eco-horror.
While I was contractually unable to share this story with you until now, I’d like to point out that this particular edition of Metro is still available for purchase online, where you can enjoy this story (and many more) in all its colourful, printed glory.
Otherwise, here’s a plain text version for your reading pleasure… Continue reading “The great southern creature feature”
The brief was ambitious (and contentious) but Luke Buckmaster from Flicks.com.au approached over 50 Australian film critics and asked us to vote for the greatest Australian films since the year 2000. The clincher was: we needed to rank them in order of best to worst, with number one being our choice for the best film of the century so far.
As you can appreciate, this was a very challenging task, and I speak for myself in saying that the inclusions and running order changed several times. However, when all the votes were tallied, the top ten looked like this… Continue reading “The 25 greatest Australian films of the 21st century”
What do you do in a 10-minute interview with one of the greatest actors of our time? You ask him about his role as private eye Mike Hammer and a lesser known made-for-TV movie from 1974, All the Kind Strangers.
That’s what I did when I spoke to Stacy Keach for Diabolique...
Mattie Do is a pioneer. She is one of very few filmmakers in Laos, and she is her country’s first female horror filmmaker. She also may have secured Laos’ first ever nomination for an Oscar with her second film, Dearest Sister.
Alexandra Heller-Nicholas from Senses of Cinema commissioned me to write a piece on Mattie Do and – 8,000 words of interviewing later, faithfully transcribed by the always awesome Faith Everard – this piece came into being.
While this article is half the length of the actual interview, it is, hopefully, one that manages to capture Mattie accurately in her own words, as well as the big things she’s doing with some small films that are light years away from Hollywood.