Sincere apologies to anyone who may be first hearing about this now 😭
I wrote about the enduring appeal of stop-motion animation in the booklet, with some contributions from Melbourne stop-motion extraordinaire Isabel Peppard (make sure you check out her handiwork if you’re not already familiar with her).
And if you’re new to THE PRIMEVALS, here’s the pitch:
A film 45 years in the making from the late David Allen, no monster or special-effects fan will want to miss THE PRIMEVALS. THE PRIMEVALS is a glorious tribute to classic animation, with a true sense of adventure that reminds the audience why movies are magical.
Unfinished and left on the cutting-room floor for three decades, the epic sci-fi adventure THE PRIMEVALS, from the infamous Full Moon Features, has been resurrected for the screen with TWO cuts of the film and a FULL feature-length documentary!
Twenty years of service to the film & cinema industry? And to think I’m still working out what I want to be ‘when I grow up’! But seriously, it’s an honour to join the ranks of The Society of Australian Film Pioneers.
Thanks to fellow members Jamie Blanks and Annette Smith for nominating me. Eternal love to the amazing Lee Gambin for giving me the confidence to keep going.
Now for the next 20 years… Must write screenplays… Must write screenplays… Must write screenplays…
Right at this very moment, I’m mid-judging for the Inaugural Dark Nights Film Festival, 11th to 13th October @ Ritz Cinemas, Sydney.
Talking about inaugural things, this is the first time I’ve been on a judging jury for Best Unproduced Screenplay, but having judged a number of categories at other festivals in the past (not just film), it’s a credit I’m very pleased to add to my résumé.
Hats off to the hard work of the many writers who have submitted their screenplays. I’m done with the shorts, now I’m onto the features.
Come along to the festival itself to hear the results.
My cherished friend and co-conspirator in film, Lee Gambin, passed away suddenly from a heart attack on Thursday 23rd May 2024. I am still in disbelief. It has taken me until now to formally acknowledge his death here on my website, on his birthday, 13th July. He would have turned 45.
I am so blessed to have known Lee and to have been drawn into his orbit as a close friend. To have been loved by Lee was a special thing. To have shared in his passions in cinema was a extraordinary privilege, the kind of which very few people get to experience in life. I count myself among the lucky few.
Lee still feels very close. There are countless audio commentaries, podcasts, radio shows, panels and other appearances where we shared the stage together. Gone but still here. I love you, darlst ❤️
Read more about Lee in these beautiful obits from two other dear friends:
Thank you to all of those who voted, and congrats to the winners 🙏
PS. If you’re not familiar with Rondo Hatton the Man, here’s some more info (and a glorious mug you’ll never forget – see featured image): https://en.wikipedia.org/wiki/Rondo_Hatton
Saturday 3rd February is the day when you lucky folks get the chance to see one of the most misunderstood films of the 20th century, SECONDS (1966), on the gigantic Astor Theatre screen to kick-off Cinemaniacs‘ 2024 program.
IT WILL BE AND LOOK AMAZING!
Watch the trailer below for a taste of this forthcoming spectacle, then click on the link for tickets. I’m doing the intro and I’m proud to say I literally wrote the book on the film with my writing partner-in-crime, Jez Conolly.
I didn’t anticipate watching enough in the way of new release cinema to create a Top 10 for 2023 but, as it turns out, my list magically manifested. And here it is, with films listed in no particular order:
LATE NIGHT WITH THE DEVIL (dirs. Colin Cairnes & Cameron Cairnes) 2023 marks the ‘Year of the Australian horror renaissance’ with this one leading the charge – a highly original take on the genre as seen through a 1970’s US late-night variety show lens. Features a transformative performance by David Dastmalchian from his previous creepoid roles to all-American TV show host. Pitch perfect in every way.
TRIANGLE OF SADNESS (dir. Ruben Ostlund) Officially a 2022 release, but a repeat watch for me as part of its theatrical run at the start of the year. Simultaneously gross, terrifying and so very funny (because it’s true). The most astute and penetrating socio-political commentary in recent memory. Machiavelli would be proud.
TÁR (dir. Todd Field) A singular and fascinating film, despite its flaws and Cate Blanchett’s overacting (and over-conducting). I came out with many reservations but, to its credit, it’s lingered with me across the year. Full marks. Also, full of conversations and exchanges that held me transfixed despite its lengthy running time.
POOR THINGS (dir. Yorgos Lanthimos) Everything that makes the cinema of Yorgos Lanthimos so scintillating – weirdness, uncomfortable sex, magical realities, astute gender observations, etc. Throw in some Frankenstein, Dr Jekyll & Mr Hyde and Island of Dr Moreau themes and this recipe could have been custom-cooked for the likes of me.
TALK TO ME (dirs. Danny Philippou & Michael Philippou) Another Australian-brother-director-duo-horror-bonanza. High-octane, visceral take on the ‘teen shenanigans gone wrong’ genre trope, tightly realised in an Australian setting with solid performances. Notable for its strength across first, second and third acts, especially the third where horror films so often unravel.
THE KILLER (dir. David Fincher) A satisfying propagation of Fincher’s admirable career in thrillers that doesn’t over-reach – right up there with ZODIAC (2007) and THE GAME (1997), inching close to SE7EN (1995). See it for Michael Fassbender’s super-solid central performance, opening ‘How Soon Is Now’ sequence and a string of TV-character aliases.
PAST LIVES (dir. Celine Song) Just when you thought I only like brutality on screen, enter Celine’s Song ode to unrequited love. A film that holds you by the heartstrings from start to finish, riveting while hardly doing a thing. Mines the depth of romantic attachment in a deep and extremely affecting way.
ALL OF US STRANGERS (dir. Andrew Haigh) The second of the sloppy sentimental pics on my list this year. An unexpected queer ghost story of the sad and sorry, rather than ghoulish, kind. Initial thoughts: too devastating to see again. But now I’m ready to dive back in and unpick its tapestry of timelines and realities. Stunning.
FEMME (dirs. Sam H. Freeman & Ng Choon Ping) Another queer stunner – this time, in the form of a gay-bashing-revenge film where the revenge act takes an unpredictable shape. Not necessarily an uplifting viewing experience but a taut, nail-biting one that doesn’t let up until its devastating conclusion.
THE ROYAL HOTEL (dir. Kitty Green) Draw a line from WAKE IN FRIGHT (1971) through SHAME (1987) to this film. A searing depiction of toxic masculinity in outback ‘Orstraya’ that recalls another Kitty Green classic, THE ASSISTANT (2019). Double screen it with the documentary that inspired its making, HOTEL COOLGARDIE (2016).
FATAL ATTRACTION is one of the biggest psychological thrillers of the 1980s, a film that divided opinion at the time of its release, and continues to reveal its hand in the decades proceeding it.
Dan Gallagher (Michael Douglas) is a happily married man and high-flying lawyer living the dream in New York City. When his wife, Beth (Anne Archer), and their young daughter, Ellen (Ellen Latzen), head to the country for a break, Dan succumbs to the sexual charms of work colleague, Alex (Glenn Close). The weekend ends, and so does the fling – for Dan. Alex, on the other hand, sees this as the start of something else.
This film not only took the box office by storm; it spawned a host of rip-offs, was nominated for six Academy Awards, introduced the term ‘bunny boiler’ into our lexicon and had a generation of men quaking in boots. Hell hath no fury like a woman scorned!
I can’t wait to put this film under the microscope… without spoiling (both) its ending(s).
This GLORIOUS event (emphasis intended) featured an introduction by the editor (me); followed by a screening of the film itself, BRIDE OF FRANKENSTEIN (1935); then a ‘meet the authors’ panel with Dr Eloise Ross, Stephen A. Russell, Dr Andrew Nette and Cerise Howard; followed by another screening from the Universal Monster Movie canon, FRANKENSTEIN MEETS THE WOLF MAN (1943).
Somewhere amongst it all, we managed to sell all our books, give away custom-made fragrances, distribute a number of movie-related raffle prizes and – the cherry on top – be welcomed by Sara Karloff, daughter of Boris Karloff, in a special video greeting recorded especially for the night.
For me, most thrillingly of all was the electricity in the cinema – a full house, nonetheless – with everyone there to celebrate a film as old as the hills; proof that the power of a masterpiece never fades.
It’s not often that the words ‘beautiful’ and ‘gorgeous’ are associated with the Australian ‘classic’ HOUSEBOAT HORROR but, by golly by gosh, this blu-ray release of the film by Umbrella Entertainment is a work of art in itself.
I was asked to contribute a biography on the film’s co-creator, Ollie Martin, to the booklet, and I can confidently say this is a one-of-a-kind piece, presenting information about Ollie that is not widely available in this digital age. I’d like to thank Gavin Wood, Ray Boseley, Clayton Jacobson and Ollie’s family, Elle and Boyd, for feeding me with the information that has brought this story to life. I really hope that Ollie is smiling down on us from the heavens.
Take note that this is a limited edition release of HOUSEBOAT HORROR, so get your skates on, if you want to bag a copy. It may already be gone. For my international friends, I urge you to jump on this opportunity to snag yourself a little bit of Australian film memorabilia that’s sure to leave you slack-jawed.
PS. It’s worth the purchase for the ‘Banned in Queensland’ pin alone.
Emma Westwood 