The Hurt Locker is a surprising film. Centring on a three-man bomb disposal unit working in Iraq in 2004, the film excites your emotions at the same pace as war: long periods of boredom punctuated by moments of sheer terror.
The world has been devastated by an unknown cataclysmic event. All crops have withered and the only food sources left to the few survivors are the meagre remains that have to be painfully scavenged…or cannibalism.
An Education refers to the blossoming relationship between sixteen-year-old Jenny (Carey Muligan), a top student, aiming for a place a Oxford and David (Peter Sarsgaard), the charming, debonair and decidedly older man who gives her a lift home one raining evening. So begins one of the most thought provoking, challenging and utterly frustrating film experiences of the year.
A Jane Campion film is an intimate affair. As the only Palme D’or winning ‘female’ filmmaker (she has won twice), Campion is in many ways, the torchbearer for mainstream female directors and one of great exponents of women’s stories. Bright Star, her latest film which is gathering its fair share of Oscar buzz, explores the relationship between English Romantic poet John Keats and his lover and muse Fanny Brawne.
There is something about the living dead.
For Fame, we may blame Baz Lurhmann. Putting aside the string of cheesy 80s films that form this one’s heritage (that is Footloose, Flashdance and of course the original Fame), this remake’s reason for being can be put down to the eccentric Australian auteur and his delicious Spectacular Spectacular, Moulin Rouge!.
Jonathan Auf Der Heide’s debut feature film is a haunting retelling of one of the darkest chapters of Australian history. A distant, bleak nightmare becomes animated with such terrifyingly bare realism you will taste the darkest corners of the human condition and smell the fringes of human morality long after you try to forget about this film.