Napkins

Astounding for the way that it exploits the unease around its branching thematics- a haunted/haunting confluence of Mansfield's geographic isolation and the tenuous domestic frame trying and failing to contain a landscape maybe malicious, maybe indifferent, certainly unknowable. There is enough to be considered about the work responding to a century of colonial arrogance with a shivering… Continue reading Napkins

Harry Potter and the Prisoner of Azkaban

Only Cuarón and Yates (in the first Deathly Hallows) managed to understand and so properly exploit the ambiguities of what they were working with. For some reason the Harry Potter films arrived already jaded- where the books started wide-eyed and itching for wonder before they found disillusionment, the films were always post-magic, as though the living… Continue reading Harry Potter and the Prisoner of Azkaban

The Mummy (1999), Wallace & Gromit: The Curse of the Were-Rabbit, The Land Before Time

We were way too high to be around people and worst of all the people there were all waiting for it to kick in but it wouldn't, so we became not only these freak clown things but also the thieves who stole everyone else's good time and didn't know what to do with it except… Continue reading The Mummy (1999), Wallace & Gromit: The Curse of the Were-Rabbit, The Land Before Time

The sun that never sets: the beige fin de siècle of Vanilla Sky

'Vanilla sky' might as well work as a label for the turn of the millennium adult oriented entertainment of which Vanilla Sky is very much a part, and on which Vanilla Sky also seemingly comments (its offensively inoffensive visual, its retrograde approach to form and thematics). The insipid homespun (Hollywood) take on approved European festival import is most plain… Continue reading The sun that never sets: the beige fin de siècle of Vanilla Sky