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Kids with no future took to their sketchbooks and in turn to the streets, revolutionising the history of graphic design — and the daily life of the transport police. Subway trains — those moving canvases — were the fastest way to ensure your name dominated the city, and to this day remain the ultimate target. Even the legal writers, I know for a fact that 99 per cent of them still dream about seeing their name roll into a platform on the side of one of those steel snakes. But to so many writers, creating graffiti in the environment where the whole movement was invented is really the only way.

But one thing, thankfully, will never change. A LWLies review will not be inhibited by any perceived rules. Just as movies are about more than the two hours you spend sitting in the cinema, our reviews are a chance to talk about much more than the immediate experience of the film in question. There are many different aspects of the movie-going experience and we will embrace them all. Ever waited six months for a boxoffice behemoth?

Read a book that you loved and nervously watched the adaptation? Been pleasantly surprised by an off-the-radar independent? Anticipation plays a crucial role in your reaction to a movie. Rather than ignore it, we think it should be measured and acknowledged as part of the movie-going experience.

Marked out of 5. All other things aside, how did you feel for those two hours? Were you glued to your seat? Did the film speak to your soul? Was it upsetting, disappointing, or just plain boring? Were you even awake? Great movies live with you; you carry them around wherever you go and the things they say shape the way you see the world. Did this movie fade away or was every moment burned into your retinas? Was it a quick fix action flick, good for a rainy Sunday afternoon? Or the first day of the rest of your life?

Did you hate it with a fury only to fall in love with a passion? Or did that first love drain away like a doomed romance? Like Beowulf, Jesse James Brad Pitt is laden in skins and heavy with sin, traversing the outback, seeking resolution or retribution. Like Odysseus, he leaves his wife and children in a quest — the repercussion of his criminal actions — but always dreams of home.

To find peace. To die. Like those ancient epics, this is a film that exclusively prioritises men: how men love, relate to and betray each other. The political machinations of power and trust are as complex between The James Gang as they must have. Conventionally speaking, the film is too long, too slow and has endless codas. It draws an obvious parallel between Jesse James and the cult of contemporary celebrity.

What is completely compelling about this depiction of James and his men in their final throws, their last robbery, their disintegration, is the depiction of male vulnerability, co-dependence and interaction. This is the best portfolio of character studies in years, neither pseudo or sensitive, the result of superb direction throughout from Andrew Dominik.

And the frank brutality, frank reality, continues when they shoot and gnaw at each other. But the machismo is always offset by thought, emotion, conscience, aesthetic context and query. Casey Affleck almost steals the film from Pitt, who just manages to supersede his own celebrity and convince. Pitt and Affleck are so mesmerising physically that it could be one long superficial seduction. Except you can feel the rough. And it is precisely this combination of style and content that shines alongside the confidence to let this film be what it is; an opus, an epic and not a crowd pleaser.

Lorien Haynes. Stranded in a desolate Israeli town in which conductor Tawfiq Sasson Gabai believes his band are due to give a performance, the slow realisation that they may have taken a wrong turn along the way ends with. With a firm handle of tone and texture think Jarmusch goes east , Kolirin manages to weave a series of delightfully. Though the film may be dismissed by some as a slight and overly genteel piece of work, at its core lies a genuine. LWLies: What is it you love about film? Sington: I find the world more interesting through the viewfinder of the camera.

I think this is particularly relevant for somebody who spends most of his time filming elements of the real world rather than creating a world. You make the world more interesting. You can make other people see the world the way you see it, which is ultimately what any artist is trying to do. I have a very vivid childhood memory, which was going to see , which came out at the same time Apollo was happening. I think I must have been seven years old and seeing that film on the big screen in this darkened room It was an incredibly vivid experience.

LWLies: Is that where your interest in space stems from? Sington: I think that both Apollo and had an effect on me. I did become interested in astronomy and science. I think it was that perspective from Apollo, of the Earth being such a small thing in the universe, that really permeated my consciousness.

Sington: Yeah, and I think that was important. For them it was personal and not intellectual. LWLies: That whole aspect of seeing the earth really seemed to change the astronauts. Was that religious aspect something you probed for? For a lot of them, with that perspective, all the divisions and quarrels of the earth seem a bit ridiculous. Moments that shake us to the core today are sterilised for classroom consumption tomorrow, watered down each generation by familiar indifference.

Emotion, it seems, has no place in the history books. In the Shadow of the Moon does just that, bringing together 10 of the 12 surviving astronauts from nine Apollo space missions to tell their own tale in their own words. Even the reclusive Neil Armstrong, whose hermitic tendencies kept him from participating, becomes more than just a page of history through the awe-struck insights of his lunar comrades. Andrea Kurland. If these men discovered the meaning of life, this might be worth a look. Three Enjoyment. In Retrospect. Less transcendent than expected but, damn, these old folk did some cool shit.

Three So what do you do nearly a decade after making a well-received documentary about the travails of little known German-American flying ace Dieter Dengler? Since emerging from a Bavarian backwater to make his first phone call at the age of 17, his directorial approach has been characterised by courage, invention and no little eccentricity.

The fact that Dengler really did suffer months of repetitious and demeaning imprisonment at the hands of Laotian militia does not make it any more interesting to watch Christian Bale in the lead role treading the boards of a rickety bamboo hut for the umpteenth. His recalcitrant co-prisoners are even less entertaining. Aside from Steve Zahn who does a great line in wild-eyed insanity before he meets a local with a questionable attitude to machete safety , most of them seem content to go quietly bonkers in the comfort of a southeast Asian cell.

As all Hollywood directors know, such low-level capering does not a blockbuster make, which probably explains why Rescue Dawn bears all the hallmarks of an action movie without providing a great deal of action. Mike Brett. Rather than constantly making silly faces, bizarre hand gestures and showing off like a goddamn pro, Garrel really needs to dilute this painful funny guy act before he unleashes it on an. Forced to regulate his vivacious manner after his girlfriend Ludivine Sagnier apparently drops dead in a nightclub from a broken heart wretch! Despite flashes of inspiration,. The same goes for Cook, who manages to be every bit as unexceptional.

After years of indifference and neglect, the bar is so very low that this is what passes for standard rom-com. Unknown over here, the question is, does he deserve his own feature? In fact, the film stands as a beacon for the creative lethargy that has consumed this genre. The hyperactive Cook plays Charlie, a regular guy who gets, loses then wins back the girl just in time for a happy ending. The twist here is that Charlie is a good luck charm for chicks: every girl he sleeps with goes on to marry the next man she meets.

One Enjoyment. Johan has been honest with his wife Miriam Toews about his adultery, but this does little to reconcile the conflicts raging within him. Inspired by primal, NeoBiblical imagery and the work of Carl Dreyer whose Ordet is directly referenced , Silent Light is a moving meditation on love and betrayal. The opening and closing time-lapse photography sequences, which reveal a night sky as it slowly turns from dawn to daybreak and back again, are among the most breathtakingly executed cinematic moments of our age. Though the director has complete mastery of both sound and vision, this is no cold and calculating exercise in technical bravado, but rather a tender, moving and profoundly spiritual work from a first class filmmaker.

Jason Wood. Battle in Heaven divided even admirers but a new film from Reygadas is becoming an art house event. LWLies: There are those who find your work exceptional, but there are others who take exception to it. Why is that? Reygadas: I try not to expect anything. I absolutely do feel that I make films for the public; to share them is the primary reason for making them. But because I think of the public as individuals, I also know that I have to make every decision according to my own tastes and principles.

LWLies: You are driven by attention to detail. Given the already challenging conditions in which you were working did this at any time become frustrating? Reygadas: Actually all the frustrations were forgotten because I think that the attention to detail always paid off. For example, we wanted to be very receptive to the accidents and surprises that occur with humans and with nature, and we would sometimes wait for rain that would seem as if it was never going to come.

When it did come, it came so long and so hard that the waiting was worthwhile. We once waited for rain for a whole week. Just sitting in the middle of the countryside next to cows. The day that we decided that we would go back to the house and prepare something else it began to rain. What also happened is that although the film looks very green, when October arrived it brought with it a terrible cold and it turned all the green grass and general vegetation yellow.

That created some real continuity problems, causing us to shoot a few sequences down south where it was still verdant. In the end it can be exciting to work like that. LWLies: Is there a moment from the new film that particularly strikes you? Reygadas: I like the water sequence. I like the sound and the reflections. I also like the sequences where the cows are milked. The machine makes me think of Metropolis. Is that a deliberate choice? We enjoy the success of others.

The whole industry benefits if there is success and diversity. The year is and the predominantly Russian?! While nubile hotties shotgun Drambuie and shake their booty to the latest Styx album, the contents of their mink purses are quietly siphoned off to fund shady drug-running ops.

Their slow-burn sibling rivalry finally comes to a head when Joseph busts into one of the clubs on the trail of a dealer, which in turn forces a moral dilemma onto Bobby: does he shop his kid brother to a bunch of nasty Eastern crims, or give up an empire which has taken years to build? A very. Jack Dundee. This is the quintessential yes or no question of our time. Fuck the system!

While the black and Hispanic communities are the first to volunteer, on the lofty heights of Capitol Hill, Senator Irving Tom Cruise dances a verbal tango with Janine Roth Meryl Streep , a sceptical oldschool hack, promising her from behind his giant mahogany desk that everything is set to change. But why, when attacked by Afghanistan, did America go to war in Iraq?

But for all its balshiness,. Lions For Lambs feels halfhearted. Like every American movie that purports to offer The Truth about the Middle East, certain targets are resolutely off limits. But like it or not, these are the same soldiers responsible for the photos from Abu Ghraib, the same soldiers who tortured and sexually abused Iraqi civilians and urinated on detainees. American to adequately address the big questions of our time. Monisha Rajesh. Brick Lane follows Nazneen, a Bangladeshi girl sent to England in the s to marry an older man.

But Nazneen is no cipher. Thanks to a sensitive performance from Tannishtha Chatterjee, she. Nazneen is strong and sensual, brave even, first in her decision to explore the charms of the radical Karim Christopher Simpson , and then to reject him for her husband. He is the archetypal immigrant — a firm believer in English values, and cheerfully stoic in the face of prejudice. But where Nazneen will find resolution or at least some sense of inner rootedness Chanu will see his faith go unrewarded. First his belief in the. The East End of London also plays its part.

This is a satisfyingly squalid vision of the capital, but one which finds a beguiling urban poetry in the collision of markets, flats and everyday lives that thrive far away from the usual postcard spots. A local squabble saw plans to film on the real Brick Lane shelved, however, and you can have some sympathy with those residents who thought they were being unfairly stereotyped. Matt Bochenski. But on the other hand, Piddington indulges his subject, including his droll asides and glorying in his oddness.

Chapman compared himself to Travis Bickle and Jake La Motta, comparisons dutifully repeated by Piddington, but the reality is that Chapman was nothing like as compelling as his fictional heroes. While others nod in the direction of self-awareness, horror — especially lo-fi horror — has taken to flying its used underwear from a flagpole, flaunting what otherwise would be damned as a sheer lack of originality.

At first glance, Shrooms is no different, setting out its store like a pubescent meticulously planning an evening of masturbatory delights. American teens jock, virgin, bitch, stoner, etc. Filmed in Ireland, Shrooms is a literal and metaphorical trip, as well as a model of narrative confusion.

The brilliantly realised evil in the woods, the disposability of these stock teenagers, and a memorable comedy moment involving a talking cow all give Shrooms an air of superlative quality. However, it is seriously let down by a final twist that is so obvious it can only be explained as a knowingly lame money shot to sate those horrorsexuals who love this kind of sadistic self-abuse.

James Bramble. In keeping with the traditions of grindhouse it may. It could be a gesture of sly self-awareness. You run, they chase, they bite, you die. The original Sleuth saw Michael Caine appear as Milo Tindle, a playboy hairdresser sleeping with the wife of Andrew Wyke, a wealthy author. Tindle visits Wyke at his gadget-laden home and asks the older man to agree to a divorce.

Meanwhile, scriptwriting duties are handed to Harold Pinter — Nobel Prize winner and general all-round bad boy of UK theatre. Caine clearly enjoys the chance to work with a pithy. The film is thus forced to rely on the Wyke-Tindle rivalry, but this too loses its edge. By the. The real mystery here is where all the talent went.

Neon Kelly. One for Branagh, one for Caine, two for Pinter. Minus one for Law. Over the course of the night, they torment, abuse, confide in and flirt with each other in this shifty psychological drama. Based on a film by murdered Dutch director Theo van Gogh, Interview has an experimental vibe. Both Pierre and Katya are hideous creations — him wheedling and lecherous, her desperate and needy. They circle each other like dancers, or maybe vultures, constantly caught between dependence and revulsion. Its themes are timely, however. We live in an age of media hype and saturation, where an abducted child is just another soap opera, and self-appointed celebrities gaze out from the pages of newspapers.

In Pierre and Katya, both entertainment and journalism reach their twin nadirs; both professions fuelled by mutual antagonism, but each assured of its own destruction if it rejects the other. What Interview fails to do, however, is go the extra step and place the blame at its proper door. That said, the film still suffers for its implausibility. The interview itself is a fantasy scenario, and indeed, for a film with so muck yak, yak, yakking, remarkably little of substance is ever actually said.

Indie hottie Shannyn Sossamon fits us into her busy schedule. Why did you get it so late? Sossamon: They were cutting it really fine with casting. They were desperately in need of a girl to play Mikal, but nothing was working. I actually was frustrated that the casting took so long. When I got the script, I was so in love with it that I was mad. I want this! I just got lucky I guess. Sossamon: I think that anything you do is going to be horrible to watch.

LWLies: The film has a lot in common with something like The Chumscrubber, as they both suggest that there is something very rotten at the heart of American teenagers. Do you think this is true? Sossamon: I think there is a much deeper awareness of a certain darkness at a much younger age. But also, on the positive side, kids are more open about such things as love. LWLies: Do you think that the relatively upbeat ending detracts from the message of the film? It looks totally bleak but maybe a young, impressionable kid will just see attractive kids that dress cute and hang out in a bar with Joy Division playing.

But that is cinema; filmmakers will always want the film to look beautiful no matter how ugly it is. How do you see yourself as an actress and what governs the choices you make? Sossamon: That reputation really is not true. I wish I had done more independent material. Sossamon: No. I had to grow into my talent and passion in front of everybody.

Ed Andrews. Based on a short story by Israeli hipster Etgar Keret, and directed by Croatian Goran Dukic, Wristcutters has a solid indie pedigree, underscored by an irresistible soundtrack by gypsy punks Gogol Bordello. Visually, this is a smart take on the afterlife as a dusty reject zone of the real world.

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That the film was shot on location in LA speaks volumes for its sense of ennui. But while there are timely things to be said about this generational malaise, Wristcutters. Rather than exploring the roots of teen suicide, Dukic is more interested in his own self-conscious cool. With his jaunty angles, offbeat surrealism and a cast seemingly ripped from the pages of a grisly fashion mag Shannyn Sossamon is the best looking junkie in the before-, during- or afterlife , he substitutes insight and empathy for pseudoprofundity and artless posing.

Danny Bangs. Has the credentials to be both insightful and entertaining. LWLies: How has Weirdsville been received so far? Moyle: People in Britain seem to love the movie, so we love them. You can reach people here. They also have to pay back their drug dealer for a stash that they were supposed to sell but ended up using instead — hence the OD. Naturally they plan a burglary to remedy the situation, and naturally it all goes wrong. At some point, satanists and medieval dwarves get involved — how and why are irrelevant. Weirdsville has a low-budget charm mixed with high-end performances.

Bentley and Speedman are the best sort of actors for this sort of film — unpretentious and selfless. Alongside Taryn Manning as their junkie mate, they make a beautifully absurd triumvirate. Dysfunctional and directionless, their drug use is never belittled or trivialised for comic effect, and the harsh realities of being. And it really is much more than that. Jonathan Williams. How much was in the script and how much came from you and the nature of the shoot? I give that speech everyday to the cast and crew. I happen to believe in invisible energies and karma, but if the producer was here, he would say that the personalities of the top people have to be a lucky match.

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That was the coke era and there was a lot of paranoia. LWLies: What about the cast when you were making the film — how did they get on? Moyle: I have to give the cast some credit for taking a chance on this, because it could be just silly with dwarves and satanists. Moyle: It jumps genre, and the conventional wisdom is not to do that.

Moyle: I have a feeling that this movie is going to be good on video. Just because the level of brainpower is, you know America elected Bush twice. Here Penn tracks the real-life progress of WASP-y rich kid Christopher McCandless Emile Hirsch who, in , ditched a life of white collar ambition in Harvard Law for a penniless twoyear trans-American odyssey of spiritual fulfilment.


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It culminates in a brutal, unforgiving and yet weirdly transcendent climax, with McCandless alone and emaciated in the Alaskan wilderness. Along the way Penn goes widescreen crazy, pushing the envelope of nature cinematography. Polemically, the film is a love letter to America from one of its prodigal sons Penn, a nominal friend to Hugo Chavez, is the closest thing to a pinko traitor that Hollywood has ever produced.

It speaks of a place of unerring natural beauty, of mostly altruistic denizens, and of a rugged and often hostile landscape that, given half a chance, can bring out the elemental truth in Man. Penn has said that Into the Wild is a mission statement of sorts. If so, we await the subsequent emergence of his oeuvre with nothing less than baited breath. Kevin Maher. Oddly disturbing. Five To film musical numbers in such a languid fashion is an odd but rewarding use of juxtaposition, but the film loses its steam far before it nears its two-hour run time.

And then, of course, there are the converted, who, still bathing in the afterglow of the first, are ready to welcome a successor with open and uncritical arms. But Elizabeth: The Golden Age is a confusing hybrid, at once confirming your unwavering faith in the talents of both stars and makers, yet leaving you with the niggling sense that some things are better left alone.

The year is , and having reigned for nearly three decades, Queen Elizabeth I. Cate Blanchett is forced to confront continued assaults on her throne. Evidently a more moneyed production than its predecessor, the set pieces here are majestically drawn and at times irresistibly rousing. Yet beneath the trappings of grandeur, comparative weaknesses abound. The storytelling is not as intricate; the intrigue not as insidious; and the love story, though intermittently moving, fails to convey the delicacy and subtlety of the romantic entanglements fashioned by the first film.

Judged as a discrete whole and not a. Emma Paterson. Out of the heat of the moment, however, this epic may end up leaving you slightly cold. In Memory of Me is different. Before being accepted into the priesthood he must complete his novitiate — think Full Metal Jacket with mops and prayers instead of rifles and swearing — where he will be tested by the faith, and vice versa.

The atmosphere of the monastery is mundane, yet the film itself is, for a while, unpredictable. With a change to the score, the first half could play like Hitchcock. There is an air of mystery not just in the hidden truths of the Bible that the acolytes must endlessly ponder, but in the dark corners and locked doors of the monastery itself, especially the infirmary, to which Andrea is inexplicably drawn. Someone is in there, something is going on, but who and what are secrets left unresolved. Instead, Costanzo delivers an internalised account of the essential struggle of Christianity.

There are two films here, neither of which satisfies in its own right. As a mystery thriller, In Memory of Me lacks the curiosity to explore its own potential. As an examination of spiritual doubt it lacks insight. Rembrandt worked with a large canvas, wait till you see American Gangster. And what a duel it is. Ruthless in his elimination of opponents, and visionary in his ambition, Lucas created a staggering network of dealers and users, whose needs he met by smuggling 98 per cent pure heroin through Vietnam in the coffins of dead US servicemen.

Except that. By the time the long arm of the law finally begins to feel his collar, he has established a business empire to rival Rockefeller, his success so spectacular that even the New York chapter of the American-Italian mob has been absorbed into his operation. Although this is nominally a two-hander for Oscar winners Washington and Crowe, Denzel.

Nevertheless, with Casino and Goodfellas writer Nicholas Pileggi on board as executive producer, Scott stays just the right side of the fine line separating homage from derivation. LWLies: So what is air guitar? An art form, a sport, a joke? LWLies: And a joke? LWLies: It sounds sort of like professional wrestling.

And my job, because I had to keep taking time off work. As silly as the whole thing is, you find yourself getting a bit obsessed. LWLies: We see you with groupies at one point in the film. Is that common for air guitarists? You basically become an instant rock star and you get a lot of the perks that come along with that. LWLies: Do you still get that now? We met at the Edinburgh Film Festival and that was two years ago now.

Steve Watson. He is C-Diddy, the air guitar sensation who enthrals all who come before his wobbly belly and Hello Kitty breastplate. But Air Guitar Nation is about more than laughing at grown up rock fantasies. And he is not alone in his bizarre. Fascinating and hilarious, Air Guitar Nation has the distinct sense of being in the right place at the right time to capture a cultural phenomenon in all its weird and contradictory glory. His redemption comes in the form of the girl he saves, Vanessa Elisha Cuthbert , a quadriplegic who comes to love and rely on Bob.

Slater plays Bob as an out-and-out nutcase — the violent alter ego of Milton from Office Space — and just about convinces as a psychopathic dweeb. Better is Cuthbert as a bitch brought low by her accident. She outshines Slater in this above average just comedy drama.

Jung is a wordless, suicidal thirtysomething who, through the bizarre — and not entirely healthy — attention of the younger boy, will come to a tentative acceptance of life. Matt Bochenki. With the lead actors taking multiple roles, what starts as a dark comedy slews into Truman Show-style paranoia and finally into slushy TV movie territory. Still, worth seeing just to spend some time with God.

Told you it was weird. Steph Pomphrey. Chabat who, after being bullied into potential marriage by his five sisters and doting mother, hatches a plan to pay Emma Charlotte Gainsbourg , the sister of his best friend, to be the perfect girlfriend who unceremoniously dumps him at the altar. However, the selfdeprecating wit and circumstance of I Do will strike a chord with more than just the Bridget Joneses of the world. Ailsa Caine. You will be. Helen Cowley. A brilliant film that is impossible not to mull over, again and again.

If only there was someone at the helm of Death at a Funeral to stop it roaming into the genre doldrums of mediocre sub plots, impromptu nudity and faeces gags. Frank Oz proves himself thoroughly unequal to the task, limply directing Matthew Macfadyen as a master of ceremonies at a family funeral that digresses into a series of farcical events; all of which are best avoided. Supported by the Peter Moores Foundation, whose mission is to open opera up to a wider audience, The Magic Flute is a tedious effort that has probably set the project back at least 50 years.

Jonas Milk. Adverts from the s! Although Moore is still over-fond of tugging at the heart strings, this is a more mature and thoughtful film than previous efforts. Dan Stewart. Christopher Plummer is a grumpy cinephile coerced by would-be director Cameron Michael Angarano to help him make a student movie. Mancunian crime lord, Dominic Noonan. Noonan is a compelling character, but the film is plagued by ill-fitting montages and needlessly over-stylised camera work which hamper the otherwise promising subject matter.

Today I confess to the world that I am not an entirely normal cinemagoer. I have unusual interests and surprising proclivities. I am a professional theologian: wherever I go and whatever I see, I am disposed to probe films for their spiritual or religious dimension. Films illuminate, orient and open up new horizons for living in much the same way as divine revelation or scripture in religious societies of the past. And now cinema is using its unique combination of artistic cachet, mass appeal and affective power to elbow its way onto the theological agenda alongside the dusty texts and threadbare arguments that are the more traditional concerns of my colleagues and I.

I am making my confession here because filmgoers of my persuasion are inordinately interested in death. By way of introduction, let me run a few sublime to ridiculous examples past you. All these films and others besides are of interest to me and my ilk because, explicitly and intentionally, they allude to the most frequently filmed death of them all — that of Jesus Christ. Despite being tragic, painful and frequently confusing, the deaths that follow the pattern of the Jesus story are, ultimately, meaningful.

By alluding to the death of Jesus Christ, the filmmaker even smuggles in at least a rumour of resurrection, of life that conquers death. In fantasy, cinema can afford to be direct — the grey wizard dies but returns dressed in white; a lion is raised to life by a magic deeper and stronger than that of a witch. But in the stories set in our world, overshadowed as it is by the remarkable achievements and cocksure certainty of the natural scientists, most directors resort to a playful ambiguity — impossible bells toll above a North Sea oilrig; the prisoner lives on in the legend told and re-told by inmates; and the renewing influence of the young priest lingers in his isolated country parish.

CS Lewis and JRR Tolkien amateur theologians both , whose books have generated serious boxoffice receipts in recent years, had their own, slightly idiosyncratic, explanation for the power of the Christ-shaped story. They believed that all the most potent myths that humans have invented since they first huddled together in caves became reality in the person of Jesus. Of course, others say that these Christ-figure films are no more than infantile escapism from the harsh facts of life and death.

Cowardly fantasies or echoes of a redemptive hope for all humanity? Let the viewer decide. Jonathan Brant. July 14, — July 30, Arch-jokester Ingmar Bergman was always up for a laugh. Good effort. Having moved to the magazine after a successful spell as the film critic for local Ferrara newspaper Il Corriere Padano, Antonioni lasted only a few months until he was ousted. Cinema is forever indebted to his vision. It is difficult to imagine modern British cinema shorn of his cheeky, Jack-the-lad touch.

See ya Jim, it was swell while it lasted. The chinless dickhead may have inspired the Pirates franchise by being so wooden you could sail him, but after solo flops like Elizabethtown and Kingdom of Heaven, Bloom is back in the UK doing theatre for the foreseeable future. Out of choice? Yeah, right. Maybe Nicole Kidman will join him. Quentin Tarantino can direct them. Hear that loud pop? His monster hit was penned when he was still a young pup, and it gifted him the requisite fuck-you money to launch his scarifying assault on Hollywood.

A rich, selective and thoroughly lurid series of roles were to follow as Pickett embarked on the golden triumvirate of his best-remembered. Whether fighting for the right of children not to be left alone with homosexuals or the right of businessmen not to employ black people, he is always looking out for the little guy. The chisel-jawed tough guy was a role he gladly embraced in such epics as Planet of the Apes, The Ten Commandments and Ben Hur, fighting against oppressive, limp-wristed hippies who wanted to stop him kicking some arse.

However, nothing touched Charlton. As President of the National Rifle Association, he excelled himself by taking his pro-gun message to such communities as Littleton, Colorado, in order to provide comfort in the wake of the high school massacre at Columbine. Although not quite dead yet, for someone his age and a penchant for playing with firearms, he really is pushing his luck. The loony-left are already circling, waiting for their chance to prize the AK out of his cold dead hands. After knocking it out of the park as Dr. But Pickett soon wearied of Tinseltown. He is survived by his agent, Saul Hagglestein.

After and Elvis — few are so blatantly warranted as the death of Sean Connery returned to keeping his passing hush hush, his corpse was exhumed, reanimated and offend Connery did Who why?

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But years? Hollywoo may facts The grave? Finally, soul will find the that pray we though and t, retiremen its e announc to allowed has been answers. As realist aesthetics collide with infotainment agendas as seen in recent blockbusters such as Babel, Syriana, The Kingdom and A Mighty Heart , political documentaries are hoovering up audiences seeking further food for thought. But to what end? But these are real stories. Moore is ostensibly apolitical about his subject in Sicko — the healthcare system functions by big business standards regardless of who is in office.

Moore is working with the tools available, appealing to a disconnected and listless audience with the same methods the Republicans have used to gain power that is, alarmist programming such as Action News, and the zombie avatar of Rupert Murdoch. Ty Burr, in his review of Fahrenheit. And just before the plane crashes, everyone will be watching the in-flight movie.

At the back of the plane squabbling over the last parachute would be Rick Caine and Debbie Melnyk, the makers of Manufacturing Dissent. They also discovered that Moore might not be a very nice guy. They argue that in merging politics with entertainment, Moore is weakening the righteousness of the Left. Yet the film itself is guilty of character assassination, occasionally slipping into. The focus is on a number of engaging narratives with strong and charming central characters who stand as examples of the unjust nature of these absurd laws all overlayed with an NME soundtrack.

Polemical documentary is the way to go when all other avenues have failed. You need to make the film enjoyable to watch. When trying to get across inaccessible messages that are quite complex, it can be something as simple. Once the good guys were in power, they disengaged with politics, only to awaken with popcorn in their laps and a war on their plates.

His book, on which the film is based, gives support to the storyline. Oh, and you can buy the soundtrack. On a different subject, but with no less damaging ramifications, A Crude Awakening presents the scarily real possibility that our oil supplies will soon run out. Swiss filmmakers Basil Gelpke and Ray McCormack have made a horror film; dramatic, gripping and gratifyingly scary. They offer none of the soothing solutions of An Inconvenient Truth, which, unlike many of its forebears, is an optimistic film, believing that we are creative and capable of shaping an alternative way of life.

Global warming is a populist issue. What really gets people motivated is the thought of their wooden slat house on the Whitstable beachfront one day being lost to the rising sea. That their children, or their grandchildren, may have less than they want. It seems that the way these documentaries are getting through to people is by using situations that have meaning to the potential audience. Movies have taught us to expect a happy ending, but not what to do once the credits roll.

Ah, Edinburgh. Crepuscular sandstone, your body rising suddenly from the gold-green Forth like cooling towers of lava, tar-stained stalagmites, or the ornate, organic edifices of a million ants. Once a year, Edinburgh sacrifices itself to the arts. Fouling its lonely streets with the petty throngs of tourists, junketing journalists, armies of art-students, and every aspiring, ascendant or expiring actor and comedian in the country.

The Edinburgh International Film Festival has remained a junior partner in this artistic free-for all. Much of this is down to glamour, or rather a lack of it. This is something to be praised, the sort of defiant parochialism that still, to a degree, defines Berlin and Venice. But the relative absence of glitz has kept EIFF out of the media limelight, at the very moment every arts journalist is in town. The move will give Edinburgh a distinctive role as an arbiter of quality before the summer schedules and film festival madness.

The exponential increase in the cost of everything at Edinburgh festival time was presumably also a factor. The competition saw 10 teams of filmmakers aged shoot fiveminute episodes in 10 locations. While a bit rough around the edges, the final product was remarkably good considering the obstacles the crews faced. How did you get involved in the project? Did you feel in competition with the other filmmakers?

Not really. I think I just focused on our episode. I had put it out of my mind, and it only occurred to me that there were all the other episodes when we were going up to Edinburgh. How did you find the actual experience of making the film? Really tough, especially with the constraints of time and budget.

How did you feel about the final film? Just really pleased and delighted to see this weird, weird film. I enjoyed seeing how the process affected things. It was weird that a lot of episodes really kept the continuity. Each segment of the film was quite different. Some were comedy, some were straight drama. That was quite strange. The whole point about having a go is that you have a try and it could fuck up and you make a mistake. Everyone had good things but everyone had technical problems as well. James Bramble As even the short ride from the airport confirmed, Iceland is a place of breathtaking, almost alien beauty.

Treeless plains stretch out before you, receding into black, ominous- looking mountains that vanish into thick rain clouds. The festival aspires to punch above its weight. It was a perfect opening film. During my short stay I caught up with Israeli director. The conference by the Finnish master of deadpan comedy was one of the highpoints. What can I say? Ed Lawrenson. Working with people you love is just the best place to start. Making the days of the shoot work is your biggest responsibility.

Where possible, team up with a production manager or producer who will production manage the shoot. This is one of the most valuable people on your team and you want a person who is incredibly organised, a great communicator and a lovely problem solver. If they are inexperienced, work with them to help ensure they have everything before the shoot. Your basics are: a shooting schedule, a contact sheet of everyone participating, a location sheet that tells everyone where to be at what time, a health and safety check list including closest hospitals , equipment supplier information and insurance details.

Get these s orted properly before the shoot and you can then just concentrate on making the film fly. Also decide what you want to shoot on, and make a kit list. Make sure you also meet well in advance to discuss a realistic shot list. If you shoot loose, and prefer not to plan your shots, then it can still be vital to prepare an outline shooting schedule. It goes without saying that EVERY shoot runs out of time; set-ups always take longer than everyone thinks.

So discuss this with your DoP and see what suggestions they have. When making my short, Spin, I worked a much slower day into the schedule with my DoP, so that we had some latitude later on if we fell behind — which we inevitably did. We were so grateful for the extra time. The same applies to anyone else on your particular team art direction, costume designer, catering, etc.

Plan, be open, agree on what can be achieved within the budget and try and anticipate problems beforehand. LWLies: How did the book come about? Tuttle: It was a collective idea. Several people who worked with and for Shooting People mentioned that they thought there was a real need for a resource like this, particularly one that emphasises new exhibition possibilities. Are there unique challenges that face short filmmakers as opposed to feature filmmakers?

Obviously things are cheaper but there is less public finance available for short film people and more competition. I think getting short films screened anywhere besides the internet is still hard. Cath Le Couteur is an award-winning filmmaker and Shooting People founder. Every time they step out of doors, onto a street or into a bar, the screen is thoroughly peopled, and you feel this story could belong to any one of these Berliners. Otherwise the look is grainy, even sepia-tinged for this piece set in the lates. Told the tragic tale of one Stefan Zannowich, Biberkopf finds in it not a reason to give up but the will to go on living; he even swears to go straight.

If I were going to like mysteries, this is the sort I would like. Turnaround teams. Celebrating the Trinity Closer to the heart Let's explore diabetes with owls Funny. Closer to the chest Reviewed. A Marble Heart Reviewed. Owlflight How to be Chap Reviewed. Holidays on ice Der Kampf um Englands Krone. The lion's world Reviewed. I enjoyed reading this, and may have to get my copy of The Chronicles of Narnia down.

I see I last read them in This brings back memories of buying a nice set for my youngest one Christmas, and getting into a discussion of the series with his high school brother. I didn't know that! Where are the books. I need to read them again! Versteckspieler Reviewed. Anleitung zum Ungezogensein I thought this would be fun! It's even more fun than that. Welcoming asylum seekers The post-American world Reviewed. A long way down. Stone mattress Reviewed. First of the Tudors I also gave up on Neuland : wie ich mich selber suchte und jemand ganz anderen fand Reviewed.

Owlknight How not to be American The review on the page was quite accurate. Ending well Heute bin ich Meerjungfrau Oh, dear. Schau, ein Kakadu Reviewed. Und was hat das mit mir zu tun? The Drifters Reviewed. Das letzte Fest des alten Europa. Loved this! Love and ruin Reviewed. Art of the pie Reviewed. Pegasus in space I seem to have missed noting the first two of this trilogy.

I read them this month, too. Butterflies and moths in one of Austria's National Parks is rather a specialist topic a bit too specialist for me, if truth be told , but the pictures are lovely, even of all the little brown ones. And besides the many descriptions of individual species, there are good explanations about the various biotops and how they work for these insects.

Wonder if I could do a raven as well.

Darjeeling Tour - Best Places in Darjeeling

Ukrainian whitework. The curious world of Calpurnia Tate The Rowan. The house Dr. I got about half way through Holding Up the Universe before asking myself why I was continuing to read it. Die fremde Reformation : Luthers mystische Wurzeln Reviewed. Trick 17 - Handarbeiten Reviewed.

Government buildings in West Bengal

Tales from the perilous realm I pariticularly enjoyed reading 'On Fairy Stories' again. Eine Prise Heimat Reviewed.

2nd July 1840, Bro. Stölke writes from Hazipore.

The library can have this one back. Maisie Dobbs Fun. The whole goat handbook No, I'm not buying a goat. Fidelity : five stories Beautiful. Another one I need to buy. The Tower and the Hive. What is the What? Annie I seem to have missed listing the next two Maisie Dobbs books as I read them. Birds of a Feather Pardonable Lies.

Sapiens : a brief history of humankind Reviewed. Messenger of truth One more for the road An incomplete revenge The myth of nations Reviewed. Very good. The Girl in the Red Coat. The day the revolution began Reviewed. The black moth Gentlemen of the road Another where I made a recommendation rather than a review.

Wird das was oder kann das weg? The mapping of love and death. I started Manuscript found in Accra , but every book of Paolo Coelho 's that I try to read seems less worthy of my time. I did enjoy The Fifth Mountain , but nothing of his that I have read since. Anyway, off this goes to maybe find someone who is looking for deep wise thoughts.

Elegy for Eddie The voices of Morebath Belonging. Freedom's Ransom I bought The marriage of opposites without opening the book. I can't read the tiny print. The Reformation : a very short introduction I seem to have missed registering this as read. I've listed it as June 1, but I suspect it was before that. The talisman ring Babywatching Reviewed. Textiles : the whole story : uses, meanings, significance In this grave hour That is all the Maisie Dobbs books for now. I've enjoyed them, but they are not my usual fare, and I'm full up of that sort of reading. The charm bracelet The end was a bit saccharine, but otherwise enjoyable.

Kaffeeklatsch Reviewed. Plainsong Reviewed. The grand Sophy. Silence : a Christian history Reviewed. Little Beach Street Bakery Reviewed. Medieval Christianity : a new history In China essen sie den Mond My review is mostly an answer to the other review. Anyway, this is a good depiction of culture shock. Der Wiener Naschmarkt Reviewed. Rushing waters Reviewed. The cafe by the sea Friday's child. Der Duftmacher Reviewed.

I stopped reading Don't worry be grumpy after 25 pages. The stories are very short and very preachy. They aren't bad, but I can't take that level of preachiness. I got about halfway through Shopaholic abroad before giving up on it. Embroidered flora and fauna Reviewed. Larger than life Some parts of this felt familiar.

I only read it a year ago. Kinder des Ungehorsams Much more about Katherine than about Martin. It can go to school. Troublesome words Reviewed. I did not finish The Oxford handbook of feminist theology , but I read pages, so I'm counting it. How to be good Yuck! A perfect proposal Reviewed. Textiles Gestalten mit Kindern Reviewed. The end we start from. The mermaid chair Vagina The reluctant widow. If you are looking for a book for walking with young children, you might want both.

To begin, while there is a good deal of overlap, the first is really about hiking, the second includes several ideas for outdoor activities with children that don't really include walking. The first is specifically Wienerwald, the second is wider ranging. Both have too many walks with a tower as the goal for my purposes. Neither has good enough maps for using without extra material. However my experience is that they are heavy to carry, and the page divisions can make orientation difficult. The first gives very useful icons about the difficulty of a hike. Anything with a plus is going to be difficult to get through with a walker as that indicates things like steps.

Otherwise only time estimates. The second gives kilometer and altitude changes, but you have to read the descriptions carefully to find the points that will create problems. Going through these was useful, as I now have a better idea of what I am looking for. I Have Never Reviewed.

Tapas vegetarisch The prodigal daughter The broken cord. I gave up on Edith Stein. I may try to find something else that isn't so philosophical. Eule oder Uhu? Good idea but badly carried out.


  1. Elia Dalla Costa: 11 (Pietra di paragone) (Italian Edition)?
  2. My Own Financial Blueprint: The 12 Models That Build Your Own Money Blueprint;
  3. The Best Country Songs Ever (Best Ever)?
  4. Being mortal Can I get my doctor to read this? Das grosse k. Mehlspeisenbuch Lots of strawberry recipes. I read the English original. I found the amount of horror at the bombing of Vienna difficult. But I suppose the civilian population were not aware of how terribly Britain had been bombed earlier in the war. Life Skills Updated Review. I had read this before. Forgot all the details and liked it even less than the first time around.

    You didn't really think I could borrow two! Benediktinerstift Admont 30 years old. The Button Box Reviewed. Heart like mine Reviewed. National birds of the world. I quit very early, so I haven't entered it. Home from the Sea Admonter Herbarium Where the wild things are. Eskimo Island Puritanism : a very short introduction. I'm interested, as hearing about Puritan perspectives in God's Secretaries. Gulag Steadfast Kirche, Kunst und Kanzel. Zimt The after party I kept thinking it would get better.

    It didn't. The little bookshop of lonely hearts Best of Schule Origami Schmetterlinge. Did it again. Forgot to renew the library books on time. I read enough of Wer mit Wem to not need to finish it. Same for Guinevere. I deleted a Jodi Piccoult that I might try again later.

    Still reading Edith Stein. This is much better than the other biography of her that I tried to read.