Is it too early to suggest that we might be living in a golden age of cinema? Think of the filmmakers working in the commercial realm these days who have distinctive voices, thrilling visual sensibilities, solid intellectual (and often moral) foundations, a passion for combining entertainment with something more — along with an abiding love […]
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Earlier this year I arbitrarily decided that the Hannah Montana 3D concert movie was not cinema and chose not to review it. Now, a few short weeks later, I exercise my right to indulge in rank hypocrisy by stating that the U2 3D concert movie is cinema and, thus, belongs in this column. Pieced together […]
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In past columns this reviewer has pretty much unilaterally labelled 27 year old Ryan Gosling as the new Marlon Brando (thanks to extraordinary performances in Half Nelson and The Believer) but it is unlikely that even Brando would have been brave enough to choose Lars and the Real Girl as one of his projects. Lars […]
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This week’s Capital Times film review, lavishly illustrated and with a few links into the bargain: BLACK SNAKE MOAN (Craig Brewer); MY BEST FRIEND (Patrice Leconte); BREACH (Billy Ray); THE WAR WITHIN (Joseph Castelo); NO RESERVATIONS (Scott Hicks); THE ITALIAN (Andrei Kravchuk)
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This week’s Capital Times cinema review (published 18 October), featuring Out of the Blue (Robert Sarkies); Little Miss Sunshine (Jonathan Dayton and Valerie Faris) and Junebug (Phil Morrison). Updated.
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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.”