Monday, April 7, 2014
Monday, March 17, 2014
It's a bit worrisome when you are struck speechless by a film about which you are going to record a podcast. Such was the case with 12 Years a Slave.
Fortunately my Spoiler Guys were only a Skype session away in Sydney, and ready to help put words to the pain, catharsis and cinematic triumph we had all witnessed.
Oh and there are also a few giggles to be had: mostly at Marc's violin-toting childhood, but also at my own terrible...terrible Irish accent.
Apologies in advance, especially considering it's St Patrick's Day.
To be sure (sorry) you can download the podcast on iTunes or stream via Soundcloud below:
Friday, March 7, 2014
I may have only recently left my sunburnt country, but I jumped at the chance of taking a cinematic trip home with to discuss Wake in Fright with Francine Stock:
You can download the podcast here, stream via the BBC Radio 4 site here, or via Soundcloud:Francine Stock talks to Tilda Swinton about the much-anticipated film by Wes Anderson, The Grand Budapest Hotel and why romance is particularly special to those aged under nine or over 90.And inspired by Anderson's take on hotel life, film historian Ian Christie and critic, Kate Muir look at these citadels of glamour, alienation, opportunity and even horror.The director Ted Kotcheff looks back at his 'lost' Oz psychological thriller Wake In Fright from 1971, now re-released, while critic Alice Tynan discusses why Australian cinema-goers at the time found its uncompromising portrayal of life in the outback hard to stomach.And why the craft of stunt artists demands a lot of bruises, but no recognition in the mainstream awards like the Oscars
Dubliners can go and see Wake in Fright at the Irish Film Institute - and the film is also on limited UK release from March 7th.
Thursday, March 6, 2014
Gracious! Where have the last six months gone?
A new city. A new job. And a newly found aversion to packing boxes. So. Many. Boxes.
It's been an absolute whirlwind, but I'm having a ball! Even more so now I'm back in the booth.
Granted, media screenings are a bit tricker to make here in Dublin (evening screenings don't seem to be a thing), but that hasn't stopped me clocking some serious time in the cinema, nor kept me from my Spoiler Guys.
Yes! We're back in podcasting action with eps on The Wolf of Wall Street and the Oscars - with more spoiler shenanigans to follow.
And speaking of recording, I am absolutely thrilled to be back on BBC Radio 4's The Film Programme this week, chatting about the Aussie classic Wake in Fright. This time the booth was in RTE (turns out I live around the corner!) rather than my fave ABC Tardis, but some things remain the same: talking cinema is too much fun.
It's good to be back!
Monday, September 9, 2013
Tonight I emigrate to Dublin.
I've always remembered "Adventure is out there!" and now it's time to head Up and off on my own expedition to the Emerald Isle.
This may come as no surprise, especially if you happened to catch my final appearance with the wonderful Linda Mottram on 702 ABC Sydney - when, bless her, she let the cat out of the bag with this:
So yes, my man and I are bustin outta here (with much less angst than this music video!) to take up residence in Dublin. In a twist on James Joyce, we've been referring to ourselves as "Dublinees" - though this was topped yesterday when my darling niece asked when we were moving to "Goblin".
Today is the day! It's all systems go for Goblin.
I can't wait to revisit the sights and discover the cinemas that Dublin has to offer. Any tips on either, please do shout. Otherwise...watch this space... writings, reviews and The Spoiler Guys will continue, international-style.
And so it seems The Plot Thickens...
Friday, August 30, 2013
Seen through the eyes of a six-year-old, this film about the spectre of divorce makes for haunting viewing indeed. Directing team Scott McGehee and David Siegel (Bee Season) deftly transpose the 19th-century England of Henry James’ novel What Maisie Knew to modern-day Manhattan, and craft some remarkable gilded cages for their pint-sized protagonist (Onata Aprile).
Maisie might want for nothing materially, but the emotional vacuum created (or preceded?) by the increasingly vicious separation of her parents – fading rock star Susanna (Julianne Moore) and British art dealer Beale (Steve Coogan) – is nothing short of suffocating. This abandonment is put into sharper relief by the hasty remarriages on both sides, where the new, much younger partners Margo (Joanna Vanderham) and Lincoln (Alexander Skarsgård) are each quite literally left “holding the baby”.
Keeping the camera low to align the audience with Maisie’s perspective, McGehee and Siegel capture an absolutely astounding performance from young Aprile. Devastatingly natural, her largely observational role is complemented by a similarly compelling supporting cast. Moore in particular is blisteringly good in her rendition of a narcissistic rock chick, and while Coogan’s Beale is just as negligent, it’s a film that is fascinating to discuss and find out where your personal judgments fall.
Published in the August 2013 issue of Limelight Magazine
Australian release date: 22 August 2013
Tuesday, August 27, 2013
A visceral, mind-bending curio, Upstream Color isn’t for the faint of heart... or stomach! But for those brave souls willing to wade in to auteur Shane Carruth’s willfully enigmatic, narratively fractured story, you will be rewarded with a spine-tinglingly unforgettable voyage.
In a film that leeches into you like watercolour on canvas; the less you know about the story going in, the better. But in broad brushstrokes, I can reveal that Carruth co-stars alongside a spellbinding Amy Seimetz, and the pair play two troubled strangers, mysteriously drawn together by forces beyond their control. As Kris, Seimetz’s physical transformation is harrowing at times, at others, thrillingly triumphant. And it’s a testimony to Carruth’s staggering visual and sonic artistry that Kris’ vulnerability reaches straight out from the screen and fuses with your own anima.
Indeed, as a sensory experience, Upstream Color might find a more appreciative audience as an art installation. And yet the comforting cave of the cinema provides a welcomed sight, especially when the lights come back up and you’re grappling with what on earth you’ve just seen!
Buoyed by captivating performances and a palpable spirit, Carruth leads us into deep existential waters, and if you’re anything like me, you’ll be gladly swept away.
4 1/2 Stars
Published in the August 2013 issue of Limelight Magazine
Australian release date (limited) 22 August 2013
Always nice to get a pull quote: