Lost in Paris, the new film by Dominique Abel and Fiona Gordon, is the ultimate cinematic irritant. I imagine its target audience as the type of person who could watch The Grand Budapest Hotel and find it to be neither mannered nor detached…
10 Films that Revised the Western
Hell or High Water is shaping up to become one of the most notable modern examples of the revisioned western. To mark its release I’m going to be talking about a subgenre of one of the most celebrated traditions of American…
Interview: Quentin Tarantino brings ‘The Hateful Eight’ 70mm Roadshow Down Under
Like the movies he creates, Quentin Tarantino is larger than life. Any real cinephile needs no introduction to the auteur. I’ve had the pleasure twice now to talk with this genuine top bloke. You always shoot your movies on film.…
70mm Cinema: Days of Future Past
Having now finally seen the 70mm roadshow cut of Quentin Tarantino’s The Hateful Eight, I can firmly say that it was one of the most transcendent moviegoing experiences I’ve ever had. The relish of seeing a modern-day film shot on a film…
Graphic Violence: A universal language in cinema
There is a great divide in the way violence is depicted in movies, which doesn’t really surprise me. Today, excessive violence in film has essentially replaced the trademarks of quality cinema. For most horror films, gore and shocking violence have…
Movie Review: ‘The Hateful Eight’
Quentin Tarantino, the only contemporary director of a blaxploitation film, a samurai movie and a Nazi revenge fantasy, baptizes his audiences in blood, rebirthing them through vengeance. But what’s most fascinating about Tarantino’s latest three films – Inglorious Bastards, Django…