The idea of the prodigal son returning home after an extended absence has been done a lot in movies. Because it’s so thematically rich though, unlike other plot cliché’s, it’s also been done well, memorably in movies like The Indian Runner, You Can Count on Me, No Looking Back and in Australia’s own (extremely worthy, early Russell Crowe vehicle) The Crossing.Read more ›
Articles by: Chris Smith
Chris is a freelance film writer and critic based in Melbourne. When he’s not watching movies he likes listening to music and reading. His top ten, all-time favourite film makers are: Francois Truffaut, Martin Scorsese, Orson Welles, Alfred Hitchcock, Steven Soderberg, Francis Ford Coppola, Werner Herzog, Brian De Palma, Ridley Scott and Sergio Leone.
What’s a French film festival without an unabashedly full-blown, over the top romance? Serving that purpose this year is Happiness Never Comes Alone, a movie that is to cinema what a ridiculously large lollipop is to confectionary: it starts off with a pleasant enough sweetness, but goes on way too long and by the end, it just hurts your teeth.Read more ›
Finally getting a theatrical release in Australia (strangely after the release of the two films Woody Allen made after it; Midnight In Paris and To Rome With Love), You Will Meet A Tall Dark Stranger feels like a stylistic companion piece to his earlier, and much more successful, European piece, Vicky Cristina Barcelona. The film uses the same casual, matter-of-fact [...]Read more ›
There’s a scene halfway through Vicky Cristina Barcelona where the narrator elaborates on the thoughts of the American Christina while spending time in Barcelona: “She was already thinking of herself as a kind of ex-patriot, not smothered by what she believed to be America’s puritanical and materialistic culture which she had little patience for. She saw herself more a European [...]Read more ›
After spending over half a century in development hell (it was originally conceived as vehicle for Marlon Brando at the height of his post Wild One fame), the adaptation of Jack Kerouac’s classic novel has finally made it to the screen, and the results are mixed bag, partly brilliant, partly eccentric and partly pretentious.Read more ›