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If the second half of Bell Shakespeare’s Pericles is easier to endure than the first, it is because the writing improves so markedly and so suddenly. There is a perfectly good reason for this: Shakespeare actually wrote it. Although counted
In a week that has seen the death of several icons, it is perhaps understandable that the passing of a film stock went largely unremarked in most quarters. Then again, perhaps it isn’t. After all, this was an iconic film
Predictability is not always a bad thing in storytelling. Tragedies routinely rely on it for their sense of, well, tragic inevitability. But knowing how a story is going to end means the process by which one reaches that denouement necessarily
I have never seen as many dead animals on screen as I have in the past two weeks. From grasshoppers roasted over an open flame in to kangaroos mercilessly slaughtered in the night, I have been witness to a macabre
Robert McKee is in Australia this month, on the road with his always well-attended seminar series. He will no doubt be peddling his usual brand of snake oil, passing down from on high the so-called principles of the well-written screenplay. Of course, to call these principles snake oil might perhaps be Some patients on Lipitor
No one following the meteoric rise of Slumdog Millionaire over the past few months, watching as it morphed from independent underdog (or should that be slumdog?) to multi-award-winning phenomenon, would have been very surprised when it cleaned up at the
Back in October, I wrote a review in which I more or less lavished praise on The Navigator, a contemporary opera by Liza Lim and Barrie Kosky. I have thought a lot about my response since then, not entirely agreeing
And so it seems that I am doomed to play the naysayer once again. Because while Hassan Abdulrazzak’s Baghdad Wedding has had every other member of the punditry doing back-flips (or at least star-jumps) since it opened a fortnight ago,