I am a big fan of director/writer Adam McKay so I was very happy to get to review his latest Vice for Scenestr magazine. I attended a preview screening with Karen at New Farm cinemas with the customary meal afterwards at the nearby Pig’n’Whistle pub. Such evenings have occurred enough that they’re becoming a habit, a fact I hope continues am very grateful for. I also ran into someone who I knew years ago as a teenager at an after school drama group. He’s since become a reality TV star and is heavily involved in media and attending all kinds of social engagements around town. He’s doing well and it was nice to get to talk to him.
As for the movie, I think this is a less flashy follow-up to The Big Short but cut from the same cloth. You can read more of my thoughts here http://scenestr.com.au/movies-and-tv/vice-review-20181219 I was really keen to see this film and so look forward to hearing your thoughts. The trailer that got me so excited is below.
Produced by Eyeball Media Enterprises Scenestr is an online national magazine with local offices around Australia. Celebrating 25 years in 2018 of publishing history they’ve excelled at moving into the digital realm but they remain at heart from the streets. They still publish magazines in print for Western Australia, South Australia, New South Wales, Queensland and now Victoria! every month too.
THE CAMERAMAN: I’m not an expert on Buster Keaton, having only seen The General many years ago at BIFF 2005 but I couldn’t pass up the opportunity to check out another one of his films screening at BIFF 2018. Arriving solo on an early Saturday morning 20OCT2018 at the Gallery of Modern Art South Bank I quickly saw a line backed up outside the entrance to the 11am session. Clearly I was not the only who thought this was a good idea. On the 80th anniversary of The General I watched the great organ player Ron West accompany live, and here on the 90th anniversary of The Cameraman I was to see David Bailey play the gallery’s 1929 Wurlitzer which came up out of the stage just beneath the screen. The audience was amused by his inventive addition of the iconic Jaws theme amongst other playful choices.
The line for The Cameraman. Copyright Lloyd Marken.
Outside GOMA Saturday morning. Copyright Lloyd Marken.
David Bailey performing. Copyright Lloyd Marken.
Copyright Lloyd Marken.
Where the opening party was held. Copyright Lloyd Marken.
Outside GOMA Cinemas. Copyright Lloyd Marken.
The Cameraman was a crossroads for Keaton, the silent era was fading, he lost creative control in his ventures and his personal life was about to go through an upheaval. In some ways The Cameraman is the last great Buster Keaton film despite him going on for quite some time after. The audience was full of all types of people drawn to the opportunity to see something as unique as a silent film. The print had long been believed lost and the film survives today as a mesh between two old prints. In some ways Keaton’s old movie seems more grand now, in an era of CGI effects I heard one youngster marvel they must have built that whole set for such a short gag, Keaton’s stunt work and balletic grace remains impressive even if it is reported he was not allowed to do them all himself this time around. Some things have dated its true, you can see the construction of how we’re meant to feel but the reason why these films remain timeless is the same reason they had such broad appeal back in the day. The characters were archetypes, the story simple and the gags broad because that is what it makes them universal. Seeing The Cameraman at BIFF 2018 was a treat. Afterwards David Bailey received an ovation.
IN THE AISLES: The next day Karen and I went and saw at 3:45pm at New Farm Cinemas In The Aisles which was in a way a choice made jointly by Karen and I after she got Arctic and I got Ash Is Purest White. From Germany and starring Sandra Huller, Franz Rogowski and Peter Kurth it tells the story of a night shift at a retail store in Germany. A few things came flooding back to me of my time working at BIG W as a young man, the veteran who knew all the good hiding spots, the jittery movements of using a power pallet jack for the first time. I didn’t know what to expect with In The Aisles a romcom that turns dark maybe but instead I got a powerful character piece about three people. There is so much care in every frame and shot of this film from Thomas Stuber that perfectly creates the geography of the store and being out of it. Delicate dialogue that says enough of the characters thoughts but not all of it and the way that the people who knew you at work know you in a way your family never will and vice versa. That they are a family of sorts. I don’t know if it will create the buzz needed but it would be no injustice if this received a nomination for Best Foreign Film at this years’ Oscars. I also noted that seeing a film at an old cinema like the New Farm Cinemas made it feel more like BIFF for me and reminded me the Old Regent Cinemas.
New Farm Cinemas. Copyright Lloyd Marken.
Gilda poster at New Farm Cinemas. Copyright Lloyd Marken.
Rainy BIFF. Copyright Lloyd Marken.
BIFF 2018 for me at least will go down as a particularly rainy BIFF. Also my suggestion would be to move the dates back to the traditional late July Early August run rather than having BIFF running the same time as the Byron Bay Film Festival and I wouldn’t mind seeing Palace as one of the venue partners in future. However I saw some fantastic movies at BIFF 2018 which was a relief since there were so many good ones on offer. I didn’t cover the globe as much but I saw 7 films, two from Australia, three from Europe, an American classic and one from Asia. Only one of them bad. Still have not gotten around to seeing an Iranian film at BIFF yet and there were plenty on offer this year. I couldn’t help but notice there were lots of callbacks to earlier BIFFs and earlier films I had seen there, that is the nature of film festivals I guess. One thing I am very excited about is Artistic Director Amanda Slack-Smith continuing in the role and seeing what she comes up with next year.
It is always a thrill to get to review a film and to attend a critics screening which is what I did on Wednesday night when I saw The Happytime Murders at New Farm Cinemas for Scenestr magazine. A new milestone was reached too, my first media screening where I had to sign an agreement not to breach a media blackout. Karen has taken me to preview screenings previously where mobile phones were confiscated but this was something new for me as a critic where I kept my phone but turned it off during the screening. I was attending a screening at 6:45pm Wednesday and the ban lifted 7am Thursday morning. One can never be too careful. I always enjoy going to New Farm cinemas and hitting the local Pig’n’Whistle afterwards before heading home to write my review.
The film itself is not destined to feature in end of year lists but I did note that one person in our screening chuckled happily away for a lot of the runtime. You can read my review here http://scenestr.com.au/movies-and-tv/the-happytime-murders-review-20180824
Produced by Eyeball Media Enterprises Scenestr is an online national magazine with local offices around Australia. Celebrating 25 years in 2018 of publishing history they’ve excelled at moving into the digital realm but they remain at heart from the streets. They still publish magazines in print for Western Australia, South Australia, New South Wales, Queensland every month and the first issue for Victoria is coming out this month too.
The latest film from Woody Allen has opened in Australian cinemas and we saw an advance screening last Monday night at New Farm Cinemas. It had been a few months since I’d been to New Farm 6 which I found charming and Karen and I didn’t miss the opportunity to trek to a nearby Pig’N’Whistle for dinner afterwards. Just up from the Valley, New Farm is choc-full of grand old buildings with history, wealthy yuppies and odd ball personalities. My work for Scenestr has made me more familiar with the suburb, in particular the Brisbane Powerhouse for which I am very grateful.
The opportunity to review a movie, any movie for a magazine is one that is heavily coveted by all contributors. I had just submitted three reviews the previous evening to cap off the Wonderland festival and was happy to be back on assignment that night.
Wonder Wheel is not one of Woody Allen’s best but it does show him continuing to try new things and features some great acting in a cast led by Kate Winslet. You can read more of my thoughts here http://scenestr.com.au/movies-and-tv/wonder-wheel-review-20171207
Produced by Eyeball Media Enterprises Scenestr. is an online national magazine with local offices around Australia. With over twenty years of publishing history they’ve excelled at moving into the digital realm but they remain at heart from the streets. They still publish magazines in print for Perth, Adelaide, Sydney and Brisbane every month. If you’re into music they’re a great read but they do cover all of the arts including festivals, stand-up comics, fashion, theatre and film. I feel very fortunate to get to write for them.
Earlier this week I was fortunate to be sent along to attend a preview screening of the new Luc Beeson movie Valerian and the City of A Thousand Planets at New Farm Cinemas. New Farm is an inner city suburb of my hometown Brisbane but not a place I regularly visit. The nearby Powerhouse is where we saw The Soldier’s Wife performance. I found the independent New Farm Cinemas magical with an assortment of old movie and cinema memorabilia throughout its foyer. Additionally the seats were comfortable and modern. We may have to return soon.
Valerian itself has had a weak debut stateside while tearing up the box office in its home territory of France. Following bad reviews I attended with serious misgivings but hopeful. I was pleasantly surprised, there are many flaws with it but the 3D is the best I’ve seen since Avatar, there was a message to the film and while the humour, characterisation and dialogue was noticeably weaker I had a good time. Perhaps see and judge for yourself, those who only attend the cinema a handful of times a year face a difficult decision. There will be no doubt better films to see but maybe few that make as good a use of the big screen and 3D.
You can read more of my thoughts here http://scenestr.com.au/movies-and-tv/valerian-and-the-city-of-a-thousand-planets-review-20171008
Produced by Eyeball Media Enterprises Scenestr. is an online national magazine with local offices around Australia. With over twenty years of publishing history they’ve excelled at moving into the digital realm but they remain at heart from the streets. They also publish Scene magazine in print every month focussed mostly on music gigs, festivals, stand-up comics, fashion and interviews with local and international bands. If you’re into music they’re a great read but they do cover all of the arts.
I consider myself very lucky to have had five film reviews published with them consisting of ones for Hidden Figures, Logan, The Fate of The Furious, 20th Century Women and now Valerian And The City Of A Thousand Planets.