Hollywood’s lolly pythons have squeezed the thrill from the fourth thriller in the Millennium series, the Girl in the Spiders Web. In-keeping with the tradition of ‘translating’ complex narratives into packet pancakes (sugar-coated, two-dimensional, easily franchised), the Girl in the Spider’s Web wastes a talented cast on tired tropes and a plot that ties itself in knots only to arrive at an obvious conclusion.15 November 2018
Oscar Ragg reviews director Alfonso Cuarón’s latest and broods over the streaming giant muscling its way into critical acclaim.7 November 2018
Director Luca Guadagnino is back following his 2017 romance-smash Call Me By Your Name, and boy, are we a long way from sun-soaked Italy. Suspiria takes us to late 1970s Berlin, into the terrifying secrets at the heart of the Helena Markos Dance Company. Guadagnino’s remix of a remake departs in several places from the original Suspiria, directed in 1977 by Dario Argento, but casts a similarly powerful spell.2 November 2018
“I don’t like hotels. They’re a bit lifeless aren’t they?” I follow Ben to the elevator. In the elevator. Ben’s curious about my recording device. I hand it over to him.26 September 2018
What follows is a fairly predictable falling in love story with the added humour of Duncan’s mixture of disbelief and jealously over his idol “fancying” his now ex-girlfriend. O’Dowd plays his classic loveable type but with a sheen of wanker that makes you feel thoroughly uncomfortable and like the world is spinning off kilter.22 August 2018
“It’s a film about Melbourne’s west, you should come with me,” I’d said to Tilly. It was a highly reductive summary, leaving out every single plot element, but it worked—the westside born-and-raised Morley sisters will go see anything that acknowledges our beloved western suburbs.13 August 2018
The night sky is overcast and starless. You’re uneasily aware that nobody else is home and curl up inside a blanket in an attempt for comfort and reassurance. You shiver; the air in the shadowy room is ever-so-slightly too cold for your liking. You draw yourself closer, preparing for the imminent disaster about to occur, and hit the play button on Netflix. Surely that’s the best way of a watching horror movie, right? Maybe not.9 August 2018
Jaime Browne is a prolific Australian screenwriter whose credits include The Mule, the Emmy-nominated Please Like Me, telemovie The King, as well as ABC’s Devils Dust, Laid, The Straits, and Squinters.
His latest project is Brothers’ Nest, “the sleeper hit of the 2018 SXSW festival”, which is currently showing in Australian cinemas. I gave Jaime a shoutout in my review a month ago and this week I got to speak with him about making the film, working as a screenwriter, and diversity in Australian media.