A little late, but still recommended, Jane Campion remembers Janet Frame and making An Angel at My Table, in The Guardian: Each room and even parts of rooms were dedicated to a different book in progress. Here and there she had hung curtains to divide up the rooms like they do in hospital wards to give […]
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But I ask the questions again — why remove the captaincy from the world’s best captain? Why truncate the career, in any way, of the highest run scorer in our history? Hamish McDouall discusses the retirement of Stephen Fleming at Stuff
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In 2003 the paper-thin romantic comedy How to Lose a Guy in 10 Days paired Matthew McConaughey with Kate Hudson and made over 100 million dollars. The rules of Hollywood economics, plus the overwhelming dictates of focus groups and researchers, meant they would have to be reunited. So, as soon as Hudson’s baby-body was fit …
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Noted without comment: Westpac stadium — as soulless and joyless as it sounds — was already deserted before nightfall had truly come. Mike Atherton, The Telegraph
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No Country for Old Men is essential cinema in two senses of the word. First and foremost you must see it, probably more than once. But it is also cinema reduced to its essence. Everything contributes: Cormac McCarthy’s respectfully adapted original novel; beautifully composed images superbly photographed by Roger Deakins (the only creative on the …
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Brilliant in conception and stunning in execution, here’s a wonderful pro-Obama video: [kml_flashembed movie=“http://www.youtube.com/v/jjXyqcx-mYY” width=“425” height=“350” wmode=“transparent” /] [Via AmericaBlog]
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Dan Slevin is a New Zealand-based writer, broadcaster and consultant. He has reviewed cinema for the Capital Times weekly newspaper since September 2006, seeing and reviewing every film commercially released in Wellington in that time (except, for some reason, Flicka or Beverly Hills Chihuahua).
Dan is a regular contributor to Radio New Zealand National’s Nine to Noon programme and produces and co-hosts the weekly movie podcast, Cinematica.
In addition to being the finest swordsman in all France, he is also the meanest hombre west of the Pecos. He tweets here.
Why Funerals & Snakes? In Jean-Luc Godard’s Contempt (Le Mépris; 1963), Fritz Lang said of CinemaScope: “It’s only good for funerals and snakes.”