Festival titles are returning to cinemas at such a rate that it seems like pre-Festival cinemagoer cynicism was well-placed. 50% of this week’s new releases were screening locally only a month ago but as they are easily the best half of the arrangement I’m inclined to be forgiving. Armagan Ballantyne’s debut NZ feature The Strength […]
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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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Hilary Swank’s new twin-hanky romance P.S., I Love You is a remarkable achievement. In all my years of cinema-going I don’t think I have ever seen a film get more wrong. From the clunky premise to the ghastly costume design; through awkward reverses in tone plus no small amount of self-indulgence on the part of …
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This week’s Capital Times film review featuring 300 (Zack Snyder); Stomp the Yard (Sylvain White); TMNT (Kevin Munroe); Meet the Robinsons (Stephen J. Anderson); Vitus (Fredi M. Murer); The Namesake (Mira Nair). 557 lavishly illustrated words of wisdom with links to the official sites for each film.
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This week’s Capital Times film review, illustrated and uncut: The Wind That Shakes the Barley (Ken Loach); Fast Food Nation (Richard Linklater); Friends With Money (Nicole Holofcener); The Grudge 2 (Takashi Shimizu) and Beowulf & Grendel (Sturla Gunnarsson)
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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.”