Forgetting Sarah Marshall was one of the surprise pleasures of 2008. An Apatow comedy that was relatively modest about it’s ambitions it featured a break-out performance from English comedian Russell Brand, playing a version of his own louche stage persona. As it so often goes with surprise hits, a spinoff was rushed into production and we […]
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I don’t have much room this week and I want to spend most of it gushing over Slumdog Millionaire so let’s get started. Back in 2003, when the Incredibly Strange Film Festival was still its own bumptious stand-alone anarchic self, we opened the Festival with the summer camp spoof Wet Hot American Summer and goodness […]
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It’s the weirdest coincidence. In two out of the three films I saw this week someone was shot in the ear. Seriously, go figure. Since I started this gig I’ve seen more than 400 films and no one has ever been shot in the ear and then, just like that, two come along at once. […]
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Forgetting Sarah Marshall is an ideal post-Festival palate cleanser: a saucy comedy fresh off the Judd Apatow production line (The 40 Year Old Virgin, Knocked Up). Here he gives the spotlight to one of his supporting players: Jason Segal (Knocked Up) plays tv composer Peter who within two minutes of the start of the film …
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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.”