WATCH is FiveThousand's guide to movies in Adelaide. While we focus on art-house and independent releases, we never shun our secret pop-culture pleasures. WATCH also has its fingers on the pulse of film-festivals and specially programmed events and we give tickets away every week. We have also been known to organise special preview screenings, which we always chicken out of introducing on the microphone before the previews start playing.
A bunch of unfeasibly attractive teenagers go bush. Laughing, flirting, frolicking beside creeks and campfires… Something bad’s definitely about to happen. Luckily, this isn’t yet another of those shitty horror flicks Australian filmmakers insist on continuing to make. This all-Aussie action blockbuster is based on John Marsden’s beloved young-adult novels set in an Australia invaded by an unspecified foreign power.
Everyone's had the moment when they realise their dad's not all that. For Luke Skywalker, it was shortly after having his hand cut off on Cloud City, for me it was the day I watched Dad, resplendent in a pair of red Speedos, challenge my cousin to a race across the backyard pool at a barbecue in Wodonga circa 1987.
Since I don't enjoy films whose gaze lingers on sadistic violence, I was a little worried about Michael Winterbottom's adaptation of Jim Thompson's brutal pulp novel. For god's sake, Jessica Alba and Kate Hudson have stunt doubles for their bashings, and someone appears in the credits as Alba's "prosthetic makeup artist".
Filmmakers often struggle to incorporate the comic-book form into comic-book adaptations. Dick Tracy tried deep-focus lens tricks and limited colour scheme; Ang Lee's ill-fated Hulk used split-screen ‘panel' effects; Sin City and 300 cut-and-pasted Frank Miller's artwork. But Edgar Wright sets a new standard with Scott Pilgrim's clever framing, frenetic pace, split-screens, gaming imagery and onomatopoeic textual sound effects.
Is it too soon for a farce about bumbling English jihadis? Perhaps for some‚ fearless British satirist Chris Morris (Brass Eye, Nathan Barley) certainly plumbs the grim depths of homegrown terrorism. But along with David Baddiel's The Reluctant Infidel, Four Lions marks a watershed in British ethnic-tension cinema: militant Islam is something to laugh at.
You see, the problem with Hollywood 'Blockbusters' is that a lot of the time they never quite bust the block. That is, if 'block' was ever intended as a metaphor for our heads, brains included. Instead they often relinquish depth and complexity (shit, even intelligence) for explosions (wow!), tits (wow.
More and more, people argue, "TV is better than movies!" Not all TV obviously, I mean the dramas that everyone shits a brick about (The Wire, Breaking Bad, etc) Another example that shouts "fuck you" to the multiplexes is Eastbound And Down, an HBO sitcom focusing on baseball star, Kenny Powers (Danny McBride, the white-trash improv genius from Pineapple Express) who's squandered success on vices galore, returning to his hometown as a washed-up P.
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