Film Editorial & Reviews
Based in Melbourne.
Film Editorial & Reviews
One of the great things about good, well made documentaries is the ability of a filmmaker to illuminate the audience on a subject in which they may not have otherwise had even an iota of interest. Unfortunately with Mitch Dickman's R olling Papers this is simply not the case.
James White opens with a hand-held reverse point-of-view shot of our titular protagonist, the camera buzzing around in front of him as if it were a common house fly attracted to James' drug induced sweat, which covers the majority of his face. Suddenly we're plunged out into the street; it's day ....James is late.
I'm generally of the opinion that the less you know about a particular subject from the outset of a documentary the more you're going to enjoy what the filmmakers present to you.
What's usually missing in most romantic comedies is a tangible feeling that the humans we're seeing on screen are indeed real and not some mutated subspecies beamed in from planet romcom. You know the drill: the nice guy always gets the girl, there's a group of friends who seemingly only exist to razz our hero and the drama will inevitably conclude at a wedding in a hail of confetti.
Horror-comedy is a tough little genre to tackle, you have your obvious high water marks in films like An American Werewolf In London, Evil Dead II, and more recently Shaun Of The Dead. What Bloodsucking Bastards sets out to do is marry the zany, off the wall style of these flicks with some deadpan workplace humor ala Office Space.
Australian cinema has always been strong, going so far as to produce the first feature length film with The Story Of The Kelly Gang in 1906. Though it wouldn't break through onto the international moviegoers consciousness until the 70's with films like Walkabout, Peter Weir's masterpiece Picnic At Hanging Rock and seminal Ozploitation pictures like Wake In Fright and the first Mad Max.
"I always liked Hollywood very much, it just wasn't reciprocated"Veteran documentary filmmaker Chuck Workman gives us the first full length dissertation on the elusive Welles. Prodigy, outcast, pariah, myth. Orson's life was indeed astonishing but you wouldn't particularly know it from watching this film.We get the obligatory childhood account, then it's on to the Mercury theatre, the War of the Worlds broadcast and of course Citizen Kane.
The tradition of foreign directors plying their wares in tinsel town is a story as old as Hollywood itself. Utilizing all the current technology available, filmmakers are now able to mount handsome productions from anywhere in the world. More and more Hollywood is going after these directors instead of the other way around.
Samuel L. Jackson is one of the biggest and most recognizable names in the film world. Most well known to audiences for his excellent and now iconic portrayal of Jules Winnfield in Quentin Tarantino's Pulp Fiction. Jackson has played a huge variety of roles and he seems to pop up in almost every other movie, albeit occasionally in films of dubious quality.
First time directors Devon Downs and Kenny Gage delve into the underworld of body art for their debut feature, ANARCHY PARLOR, with plodding results.
Pale Heads Headless ***** In the tradition of Melbourne's greatest and scungiest acts (Powder Monkeys, Eddy Current, Cosmic Psychos) come Pale Heads. A "supergroup" of sorts, though I'm sure the band would balk at that descriptor. They're made up of current and ex-members of Batpiss, The Drones, The Nation Blue and Bang!
Weedeater Goliathan *** During the last 10 to 15 years the "stoner rock" genre has proliferated almost to the point of critical mass. I use quotation marks because I personally don't find the term holds much weight but these descriptors are necessary when attempting to relate to one another on the topic of music.
Coliseum Anxiety's Kiss **** Ryan Patterson's Coliseum have always been about forward momentum. Whether howling about it on earlier cuts like "Head Down & Burn" from Goddamage or lamenting the consequences of doing so on "Save Everything" a standout from 2013's excellent Sister Faith. Or just by virtue of remaining a musical moving target the...
Faith No More Sol Invictus *** Faith No More in 2015 is a curious proposition. Akin to the plethora of reunited groups from the 90s and beyond the band decided after playing a bunch of shows since 2009 that 'hey we might as well put out a new record'.
Various Artists Black Flag Damaged Reinterpretation **** In a similar vein to Robotic Empire's recent Nirvana tribute albums or the CVLT Nation session compliations. Melbourne's Goatsound Recording invited a whole host of local bands to record one track each off Black Flag's seminal Damaged.