Films I loved in January 2016

31 January 2016
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Jacob Tremblay as Jack Newsome and Brie Larson as Joy Newsome in Room

I’ve been a fan of Irish filmmaker Lenny Abrahamson for a while, but with Room he has made his strongest film to-date. The events are mostly depicted from the perspective of a 5-year-old boy who has never known anything else other than the small room he is locked in with his mother who gave birth to him there. The information about the nature of their situation is carefully revealed so that the film never becomes too harrowing, while at the same time it is always clear what the stakes are. Similar to Abrahamson’s 2012 film What Richard Did, a major plot development halfway through the film results in a dramatic narrative shift, but the overall focus remains on what it is like for a child to experience the world after such a traumatic introduction to it. Parts of this film had me wound up extremely tight with its masterful command of tension while other parts were almost overwhelming with its emotional power.

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Rooney Mara as Therese Belivet and Cate Blanchett as Carol Aird in Carol

Todd Haynes’s ability to make films that challenge traditional film style and narrative structure is only matched by his ability to make films that are seemingly conventional on the surface, but just as provocative, bold and intriguing. Carol is one of his seemingly conventional films with its mannered story of an affair between two women – with significant class and age differences – in New York, USA, in the 1950s. Haynes used the themes and iconography of Douglas Sirk’s melodramas to great effect in his 2002 film Far from Heaven to explore social issues from the same period with a contemporary perspective. In Carol he overtly references David Lean’s 1945 drama Brief Encounter to tell a love story, which similarly plays out in key scenes through glances, gestures and other moments of unspoken communication. Considering the style, era it is set in and themes, Carol‘s supposed conventionality is what makes it so enjoyably unconventional.


Cemetery of Splendour

Apichatpong Weerasethakul’s  Cemetery of Splendour is a suitably dreamlike film, set in and around a make-shift hospital that cares for soldiers who cannot awaken from their sleep. This strange and gentle film does have a narrative, but it’s secondary to the film’s visual and thematic exploration of contrasts such as nature and science, dreaming and being awake, the human world and the spirit world, tradition and modernity. There are moments of sly humour and mysterious intrigue, but suggesting it delivers typical cinematic pleasures would be misleading as the joy of this film is not obvious or easily explained. A sequence where the light slowly changes colour is one of the film’s highlights and no words can do justice to such a sensory moment. The first time I saw Cemetery of Splendour I was exhausted and continually drifted in and out of sleep while sitting in the cinema, which was just as enjoyable a way of watching the film as the second time when I was fully awake and alert!


Stanley Tucci as Mitchell Garabedian and Mark Ruffalo as Michael Rezendes in Spotlight

Tom McCarthy’s Spotlight is a suburb ensemble drama about the team of investigative reporters from The Boston Globe who in 2001 uncovered the full scope of child sexual abuse by Roman Catholic priests in Boston. The appalling nature of the abuse and coverup in other parts of America and the rest of the world, was explored in-depth in Alex Gibney’s 2012 documentary Mea Maxima Culpa: Silence in the House of God, but Spotlight is more focused on the how the team of journalists were able to gain trust, uncover evidence and expose the crimes in a climate where their investigations were largely not welcomed. It is also a fascinating look at just how much technology, communication and journalism has changed in the fifteen years since the film was set. Most impressive is how Spotlight avoids being emotionally overwhelming, but allows characters to express feelings of anger, horror, betrayal and loss at key moments to remind us how high the stakes are.


Christian Bale as Michael Burry in The Big Short

The energy and sense of controlled chaos that Adam McKay brings to the various  Will Ferrell comedies that he has previously directed can be felt in The Big Short, a comedic drama about the people who foresaw and then effectively bet on the financial crisis of 2007-2008. And yet as much as I have enjoyed many of McKay’s previous films, I did not imagine that he was capable of so skilfully presenting the dry and dull details of the financial market in a way that is this accessible, entertaining and alarming. The Big Short joins the ranks of the growing number of excellent narrative films and documentaries to have emerged over the past few years to draw attention to the blend of greed, predatory behaviour, stupidity and egomania that allowed the global financial crisis to not just happen, but to then let the perpetrators off the hook so they can do it again. We should all be very angry and McKay helps us to feel that.

Bone Tomahawk

Kurt Russell as Sheriff Franklin Hunt in Bone Tomahawk

The western genre is undergoing a curious revival in independent cinema and one of my favourites of the recent batch is Bone Tomahawk, which has been released directly onto home entertainment in Australia. It’s certainly my preferred current western that features Kurt Russell in a slow burn narrative that focuses on the dynamics between a group of characters before culminating in scenes of ultra-violence. Combining the traditional storyline from The Searchers, about the search for a kidnapped white woman, with the graphic horror, psychological anxiety and brutal post-colonial social critique of the cannibal film, Bone Tomahawk is a seamless fusion of genres that completely won me over.

Thomas Caldwell, 2016

Favourite Films of 2015

23 December 2015

These are the films that I felt were the most innovative, important and influential; taking into account my own personal response to each one including how likely I was to want to see them more than once. Previously I’ve only considered films with a full theatrical release, but changing distribution models mean I’ve also included films with limited seasons, VOD releases and released direct to home entertainment.

Favourite ten films released in Melbourne, Australia, in 2015

1. Birdman or (The Unexpected Virtue of Ignorance) (Alejandro G Iñárritu, 2014)
Released January


Inside Out2. Inside Out (Pete Docter, 2015)
Released June


Inherent Vice
3. Inherent Vice (Paul Thomas Anderson, 2014)
Released March


4. Mad Max: Fury Road (George Miller, 2015)

Released May


The Salt of the Earth
5. The Salt of the Earth (Wim Wenders and Juliano Ribeiro Salgado, 2014)
Released April


The Lobster
6. The Lobster (Yorgos Lanthimos, 2015)
Released October


2014_09_17HTM_0124_Tim Conigrave (Ryan Corr), John Caleo (Craig Stott) copy
7. Holding the Man (Neil Armfield, 2015)
Released August


8. Wild (Jean-Marc Vallée, 2014)
Released January


Far from the Madding Crowd
9. Far from the Madding Crowd (Thomas Vinterberg, 2015)
Released June


10. It Follows (David Robert Mitchell, 2014)
Released April


Honourable mentions

Twenty more films I loved this year, listed alphabetically:

‘71 (Yann Demange, 2014)
Released March


A Most Violent Year
A Most Violent Year (JC Chandor, 2014)
Released February


A Pigeon Sat on a Branch Reflecting on ExistenceA Pigeon Sat on a Branch Reflecting on Existence (En duva satt på en gren och funderade på tillvaron, Roy Andersson, 2014)
Released October


Amy (Asif Kapadia, 2015)
Released July


CloudsClouds of Sils Maria (Olivier Assayas, 2014)
Released May


EXM_D018_02784Ex Machina (Alex Garland, 2015)
Released May


LeviathanLeviathan (Leviafan, Andrey Zvyagintsev, 2014)
Released March


London RoadLondon Road (Rufus Norris, 2015)
Released September


Love & MercyLove & Mercy (Bill Pohlad, 2014)
Released June


MarshlandMarshland (La isla minima, Alberto Rodríguez, 2014)
Released June


Mission: Impossible – Rogue Nation (Christopher McQuarrie, 2015)
Released July


still_252359Taxi Tehran (Jafar Panahi, 2015)
Released December


The AssassinThe Assassin (Nie yin niang, Hou Hsiao-Hsien, 2015)
Released November


The Diary of a Teenage GirlThe Diary of a Teenage Girl (Marielle Heller, 2015)
Released September


THE DISAPPEARANCE OF ELEANOR RIGBYThe Disappearance of Eleanor Rigby: Him and The Disappearance of Eleanor Rigby: Her (Ned Benson, 2013)
Released March


The DressmakerThe Dressmaker (Jocelyn Moorhouse, 2015)
Released October


Jason Segel copy 2The End of the Tour (James Ponsoldt, 2015)
Released December


The Look of Silence (Joshua Oppenheimer, 2014)
Released November


The MartianThe Martian (Ridley Scott, 2015)
Released October


The Tribe by the Ukrainian writer-director Myroslav SlaboshpytskiyThe Tribe (Plemya, Miroslav Slaboshpitsky, 2014)
Released May

Special mention

Most of the other notable films I saw this year will be released in Melbourne in 2016, so I’ll include them on next year’s list rather than here, but I do want to give a special mention to one glorious film, whose fate in Australia outside of the festival screenings it received throughout 2015 seems to remain unknown:

Song of the Sea
Song Of The Sea (Tomm Moore, 2014)

This list was compiled for the Senses of Cinema 2015 World Poll


Thank you for reading my monthly summaries throughout the year and thank you to those of you who listen to my various radio spots. I was sad to finish up on the Breakfasters on Triple R (3RRR 102.7FM) a few weeks ago, but I decided that after being their Thursday morning film critic for the past six years, it was time to move on. However, Plato’s Cave keeps going from strength to strength and will return in 2016, and hopefully there will be a few more things that fall into place too.

But for now, I will leave you with the poem I was inspired to write after seeing Mission: Impossible – Rogue Nation:

Cruise Control

Cruise Control (click to enlarge)

Thomas Caldwell 2015

Films I loved in December 2015

19 December 2015

Jafar Panahi in Taxi Tehran

Ever since Iranian filmmaker Jafar Panahi was banned from making films, he has created highly meta docufictions  that are playfully defiant, intellectual musings on what film is and means to people, and mournful laments about political oppression in Iran. Taxi Tehran continues along similar lines and sees Panahi playing himself (or appearing as himself?) as the driver of a taxi picking up passengers around Tehran. While it’s tempting to assume the entire film is a construct you are never too sure and in the end it doesn’t really matter as the joy of this film is spending time with such a humane, charismatic, thoughtful and innovative filmmaker.

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Jason Segel as David Foster Wallace in The End of the Tour

An adaptation of David Lipsky’s book Although of Course You End Up Becoming YourselfThe End of the Tour depicts the conversations Lipsky had with David Foster Wallace that formed the basis of Lipsky’s profile on Wallace for Rolling Stone magazine. A sort of road movie version of My Dinner with Andre, the topics covered during the film include detachment, loneliness and spiritual starvation in the modern era. It’s also a very entertaining portrayal of two contemporaries – one far more successful and talented than the other – engaging in petty rivalry, intellectual oneupmanship and ultimately a genuine attempt for mutual respect and friendship.


Carey Mulligan as Maud Watts in Suffragette

Suffragette focuses on one group of working-class women in England at the start of last century to tell the story of how the members of the Women’s Social and Political Union, who were campaigning for the right for women to vote, became increasingly militant in their activities. By depicting the injustices, unfairness and cruelties that the women in the film endure, it is a powerful reminder of how institutionalised discrimination can only be overcome when equality is demanded not politely requested.


Jennifer Lawrence as Joy Mangano in Joy

While Joy doesn’t reach the same heights as David O. Russell’s brilliant mid-career films Three Kings and I Heart Huckabees, it’s my favourite film of his from the past five years. Based on the true story of inventor and entrepreneur Joy Mangano, it is a rags-to-riches film about a woman who against all the odds turns her life around. But with an excellent cast that includes Jennifer Lawrence in the lead and Russell’s assured direction, this is a tense and emotional film with the potential to be a feel-good Christmas classic.

And finally… yes, I’ve seen Star Wars: The Force Awakens and I loved the experience of seeing it with a bunch of fans who like me I suspect have treasured memories of how large the original trilogy loomed in their childhoods. And while I’m not sure how much it holds up as a film in its own right, it delivered some wonderful rushes of nostalgia and the promise of a rich new set of characters for future instalments. I had a ball seeing this film and I suspect I’m not alone.

Thomas Caldwell, 2015

Films I loved in November 2015

2 December 2015
The Assassin

Shu Qi as Nie Yinniang in The Assassin

It becomes clear very early in The Assassin that Taiwanese director Hou Hsiao-Hsien is more interested in mood and impression than traditional narrative storytelling. Following the actions of an elite assassin in 9th century China during a period of political turmoil, Hou’s film is a sensory experience placing greater emphasis on moments of stillness rather than the brief snippets of superbly choreographed action. Audiences willing to embrace Hou’s austere visuals and meticulous style will be overcome by the beauty and harmony of this film.

The Look of Silence

Adi Rukun and his mother in The Look of Silence

In many ways Joshua Oppenheimer’s The Look of Silence is superior to the surreal and confronting The Act of Killing, his previous documentary about the 1965-66 Indonesian killings. This personal focus on Adi Rukun, as he confronts some of the people directly responsible for the brutal death of his brother, allows many moments of quietness and stillness where what is unspoken carries just as much repressed pain, guilt and grief as what is spoken.


Jennifer Lawrence as Katniss Everdeen in The Hunger Games: Mockingjay – Part 2

The excellent Hunger Games film series comes to an end with The Hunger Games: Mockingjay – Part 2, a film that builds on the previous instalments’ critique of violent spectacle, reality television, propaganda and celebrity culture as products of authoritarianism, to also explore how violent resistance is capable of becoming as barbaric as what it seeks to overthrow. The result is a film that is not only immensely exciting and entertaining, but contains complex observations on the nature of violent conflict, far more so than most films made for adult audiences.


Daniel Craig as James Bond in Spectre

Speaking of which, I tend not to think much of the Bond films so to my surprise I really enjoyed Spectre. I suspect it is because it addresses many of the issues I have with the franchise by exploring the idea that Bond is little more than a robotic assassin/hedonist who has become obsolete. I enjoyed the surveillance themes, the inclusion of a love interest who is a relatively developed character rather than a conquest, and the presence of so many genuinely exciting action sequences. This is a film that is actually about something and for the first time since On Her Majesty’s Secret Service in 1969 seems to develop, or even evolve, Bond as a character.

This month I also enjoyed the cinematic impressionism of Terrence Malick’s Knight of Cups, a film that once again explores Malick’s preoccupation in the ongoing philosophical struggle between the way of nature and the way of Grace, as explored most successfully in his 2011 film The Tree of Life. I was also extremely impressed with the tense drama 99 Homes, where its tale of an opportunistic real estate operator taking advantage of the US housing market collapse allows it to successfully function as Wall Street for the contemporary era. And finally, I was very pleased to see the New Zealand horror comedy Deathgasm released on home entertainment as I had a ball seeing this love letter to heavy metal and schlock horror earlier this year at a late night festival screening.

Thomas Caldwell, 2015

Films I loved in October 2015

31 October 2015
The Lobster

Colin Farrell as David and Rachel Weisz as Short Sighted Woman in The Lobster

The social satire The Lobster, by Greek filmmaker Yorgos Lanthimos, is an absurd and droll film that is specifically about the way we define ourselves according to our relationship status, but more broadly about the ridiculousness of any form of tribalism or absolutes. It mocks both the imposition of established social norms and the imposition of rules resulting from reactionary rebellion. It is violent, depressing and cruel, and the funniest film I’ve seen this year.

A Pigeon Sat on a Branch Reflecting on Existence

A Pigeon Sat on a Branch Reflecting on Existence

Similarly melancholic, absurd and darkly funny is A Pigeon Sat on a Branch Reflecting on Existence, the final film in the loosely defined ‘Living Trilogy’ by Swedish filmmaker Roy Andersson. A series of bleak and dead-pan scenes that are immaculately composed visually, there is still something strangely humane in this film even when it contains confronting imagery. The message I took home is that life is short, painful, depressing and thinking about atrocities done in our name can be unbearable, but in between all the terrible and banal bits, there are moments of joy and there are plenty of moments of humour.

Kate Winslet as Myrtle 'Tilly' Dunnage in The Dressmaker

Kate Winslet as Myrtle ‘Tilly’ Dunnage in The Dressmaker

The film adaptation of Rosalie Ham’s novel The Dressmaker continually shifts between being a grotesque and camp comedy about small Australian towns, and being a dark insight into the hypocrisy and double standards of a small community where judgement is passed on the undeserving while perpetrators of abuse and oppression get away with their cruelty. Australian filmmaker Jocelyn Moorhouse handles the dramatic tonal shifts magnificently, resulting in a film that combines stylistic flairs from gothic romances and westerns, and a brilliant homage to the iconic ‘Put the Blame on Mame’ scene from Gilda.

Matt Damon as Mark Watney in The Martian

Matt Damon as Mark Watney in The Martian

It wasn’t all dark, cynical, existential social critiques this month, as October saw the release of two excellent Hollywood crowd-pleasers by established directors doing was I felt was their best film in years. Ridley Scott’s faithful adaptation of Andy Weir’s novel The Martian maintains the Arthur C Clarke-inspired combination of hard science with a probable futuristic story and likeable human characters. The resulting science-fiction/survival film not only privileges and promotes intelligence, ingenuity and knowledge as heroic character traits, but is a celebration of human resilience and resourcefulness.

Mark Rylance as Rudolf Abel and Tom Hanks as James B Donovan in Bridge of Spies

Mark Rylance as Rudolf Abel and Tom Hanks as James B Donovan in Bridge of Spies

And the other big Hollywood film of note from October is Steven Spielberg’s inspired-by-a-true-story Cold War film Bridge of Spies, where the contribution Ethan Coen and Joel Coen made to the script is both noticeable and welcome. As well as beautifully recreating Berlin in 1957 as the Berlin Wall was constructed and being an effective spy thriller, this is a film that champions justice, diplomacy and mutual respect as the key factors for ensuring that what you are fighting for doesn’t become compromised.

In brief, I was very impressed by the Australian documentary Putuparri and the Rainmakers, where the personal story of one Indigenous man’s struggles with his own demons is used as a launching point to tell a broader story about a compelling land title claim in the Kimberley’s Great Sandy Desert. And on a completely different note, I really enjoyed the independent American film Results, a sort of anti-romantic-comedy involving personal trainers that while undermining many of the conventions of the genre, was still sweet, charming and funny. All the performances are great, but Guy Pearce deserves a special mention for making his fitness guru character so endearing and adorably sincere.

Thomas Caldwell, 2015

Films I loved in September 2015

4 October 2015
Bel Powley as Minnie Goetze and Kristen Wiig as Charlotte Worthington in The Diary of a Teenage Girl

Bel Powley as Minnie Goetze and Kristen Wiig as Charlotte Worthington in The Diary of a Teenage Girl

The Diary of a Teenage Girl is an extremely impressive portrayal of teenage sexuality, especially that of a teenage girl. Emerging actor Bel Powley gives a wonderful performance as 15-year-old Minnie Goetze whose sexual coming-of-age includes having an affair with her mother’s boyfriend. She is neither a victim nor a Lolita-style nymphet, she is simply a curious and sexual young person who has found a convenient way to explore her desires with an older man who probably should know better, but is more passively opportunistic rather than being an exploitive predator. This was a fun and funny film exploring all the complications and difficult terrain that such a scenario creates, without overt judgement or moral panic.

Olivia Colman as Julie in London Road

Olivia Colman as Julie in London Road

After Broken I was keen to see what theatre and director Rufus Norris would do next, and yet I was still surprised by how much I liked London Road. It’s an adaptation of a theatre show where interviews with the residents of the UK town of Ipswich, during the aftermath of the Ipswich serial murders in 2006, were set to music. This is a bold and compelling way of presenting the pain of a community in a way that resonates emotionally. It uses heightened artificiality to highlight that it is a reconstruction of actual interviews and events, and somehow this gives it a powerful authenticity.

Mya Taylor as Alexandra and Kitana Kiki Rodriguez as Sin-Dee in Tangerine

Mya Taylor as Alexandra and Kitana Kiki Rodriguez as Sin-Dee in Tangerine

Sean Baker is another filmmaker whom I’ve been keen to see what he does next so I was very much looking forward to Tangerine. While not as focused as his excellent 2012 film Starlet, it similarly depicts a side of Los Angeles that is typically marginalised and can attract instant judgement. In the case of Tangerine it is about the subculture of transgender women who are sex workers. Made in collaboration with the transgender women who also star in the film, the result is a loud, hyperactive and frequently very funny ride through a series of misadventures on Christmas eve. Completely unapologetic in attitude and shot on iPhones to create a new style of guerrilla filmmaking for the digital era, this reminded me of some of Gregg Araki’s more audacious films from the early 1990s.

Bob Hunter in How to Change the World

Bob Hunter in How to Change the World

If nothing else, How to Change the World is astonishing for the wealth of archival material it brings to light for the very first time, depicting the beginnings and early years of Greenpeace. It is mostly a conventional documentary that chronologically depicts the known facts behind Greenpeace’s origins and its visionary ideals and strategies, managing to also incorporate different sides of the various arguments over the many disputed areas. However, it also delivers an engaging discussion about the nature of leadership, the ethics of documenting versus intervening, and the struggle between pragmatism and idealism. And it also highlights how its reluctant leader Bob Hunter was a remarkable person whom we all owe a large debt to for his part in making us give a damn about the planet we live on.

I also caught up with a number of films on home entertainment that I felt worth mentioning, including Michael Winterbottom’s The Face of an Angel about a filmmaker trying to make an ethical film about a real-life murder. I completely understand how its refusal to conform to generic expectations has been infuriating for so many, but I was engrossed by how well the form of the film reflected the values it was endorsing.

I also enjoyed the South Korean drama/thriller Haemoo, very loosely based on a true story from 2001 about a group of Korean-Chinese illegal immigrants travelling by boat. While far from being a perfect film, I was impressed by the measured build, the severity of the situation when the film takes an extreme turn into something darker than expected, and the moral conflicts that play during the tense second half.

And finally, I was really pleased to see Heaven Knows What, by brothers Ben Safdie and Joshua Safdie. A low fi film about a young woman addicted to heroin and her unrequited love for her boyfriend. It’s free from sensationalism and romanticism, and yet still contains moments of beauty among all its rawness. Most revelatory is the lead performance by newcomer Arielle Holmes whose own experiences inspired the film. After watching the film I was extremely pleased to discover she has continued to act and will appear in Andrea Arnold’s upcoming new film.

Thomas Caldwell, 2015

Films I loved in August 2015

1 September 2015
Ryan Corr as Timothy Conigrave and Craig Stott as John Caleo in Holding the Man

Ryan Corr as Timothy Conigrave and Craig Stott as John Caleo in Holding the Man

The film adaptation of the 1995 memoir Holding the Man broadly fulfils two objectives: it depicts two decades of historical importance to the Australia LGBTI community and it tells a beautiful love story. Covering the years from 1976 to 1995, the growth of queer identity politics and the beginning of the AIDS crisis are never far from the forefront. However, the heart of the film is exploring and celebrating the relationship between aspiring actor Timothy Conigrave and captain of the school football team John Caleo. Falling in love as school boys and then navigating the complexities of the adult world, the film is initially a warm, funny and tender love story about all the joys and awkwardness of first love. This warmth and tenderness is maintained, even later in the film when Tim and John’s lives become affected by AIDS. Free of melodrama and sentimentality, this is powerful and deeply moving cinema with the potential to become an Australian classic.

Shameik Moore as Malcolm Adekanbi in Dope

Shameik Moore as Malcolm Adekanbi in Dope

The thing that most impressed me about Dope was how deftly it oscillated between moments of fun teen-film hijinks and harsh wake-up call moments where the audience are reminded that Malcolm, the teenage protagonist, and his friends live in a neighbourhood rife with criminality and violence. Malcolm is a likeable and endearing self-described geek who loves ’90s hiphop, but there is also a growing rage inside him. Despite being ideal college material, the reality of his socioeconomic background constantly conspires against him. Although I found the treatment of gender a little disappointing, the focus on race and class is extremely potent and there is an incredible energy to this film that reminded me of Spike Lee’s best work, especially the youth focused Crooklyn. And most powerfully, instead of resolving with the obvious moral and naive lesson that some audiences may anticipate, the film concludes with a confronting statement about the reality of what young people with a background like Malcolm need to do to escape the environment they happen to be born into.

Rebecca Hall as Robyn Callen, Jason Bateman as Simon Callen and Joel Edgerton as Gordon

Rebecca Hall as Robyn Callen, Jason Bateman as Simon Callen and Joel Edgerton as Gordon “Gordo” Mosley

The Gift is a very impressive feature film directorial debut by Joel Edgerton, who also writes, acts and produces. It evokes many of the early films by Roman Polanski with its story about a seemingly normal and happy couple whose lives begin to unravel when a third person intrudes into their world. The film functions as a tightly wound thriller that becomes increasingly interesting as it starts to shift its sympathies between characters, but it also provides commentary on the way behaviour that is regarded as bullying in the schoolyard is often acceptable in many aspects of adult life.

William F Buckley Jr and Gore Vidal in Best of Enemies

William F Buckley Jr and Gore Vidal in Best of Enemies

I really enjoyed the documentary Best of Enemies, about the televised debates between Gore Vidal and William F Buckley Jr during the US Republican and Democrat conventions in 1968. Not only does the film deliver a fascinating insight in the changing political and media landscape in the late 1960s, but how this seemingly inspired move to bring intellectual debate to mainstream television was ironically the beginning of the dumbed down personality-driven political commentary that dominates today.

And just briefly, Woody Allen’s latest film Irrational Man once more explores his preoccupation with existentialism and the question of whether murder can ever be justified, in a way that isn’t as dark or satisfying as previous films such as Crimes and Misdemeanors and Match Point, but still a lot of fun. And I also caught up with Maggie, which went straight to home-entertainment in Australia in July. Being a zombie film starring Arnold Schwarzenegger, it was met with enormous false expectations about the type of film it should be, but I was won over by this film for what it is – a melancholic story about a father grieving for his dying daughter.

Thomas Caldwell, 2015


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