ISSN 1712-9559
All Reviews
1.
A reappraisal and appreciation of Billy Wilder's box-office failure, Ace in the Hole, starring Kirk Douglas in his prime.
2.
Jenakowski analyzes the work of Czech stop motion animator, surrealist par excellence, Jan Svankmajer, singling out his 2005 Lunacy, employing Mikhail Bakhtin's theory of the Carnivalesque.
3.
An analysis of the social and intellectual riches provided by Cronenberg's unique exploration of two of the greatest minds of their generation, Freud and Jung, A Dangerous Method.
4.
An ideological reading of the latest Bond film, Skyfall. Author Calvert wonders, is this Bond politically progressive, or a throwback to the Ian Fleming era values?
5.
Can a film be a serious, violent police drama, and be funny? At time very funny.
6.
An analysis of how Jacques Tati contrasts the modern and the vernacular in architecture to sculpt social satire.
7.
The coming together of two great minds on film comedy, Arthur Koestler takes on Henri Bergson.
8.
A book review of two recent studies of film comedy, Hollywood Romantic Comedy: States of the Union 1934-65 by Katharina Glitre and Tears of Laughter: Comedy-drama in 1990s British cinema by Nigel Mather.
9.
Garrett discusses what he sees as a change (largely for the better) in male intimacy in a group of recent male buddy films.
10.
An analysis of performance in Inland Empire centered on the fragmented nature of Laura Dern's characters and the relation of this to narrative comprehension.
11.
A review of Mandy Merck's 2007 book on the Hollywood encounters of writer Dreiser, and filmmakers Eisenstein, Sternberg and Stevens.
12.
A comparative review of the representation of non-violent political activism in two recent Irish films, Bloody Sunday and Omagh.
13.
An analysis of The Time that Remains, a film which, to quote its author Garrett, "...is probably as conscious and as transcendent as any film with a political subject can be."
14.
A review essay of David Church stimulating collection of essays on Canadian avant-garde narrative filmmaker Guy Maddin.
15.
Matthew Hays' somewhat tongue in cheek appreciation of the 1970s (cult?) non-hit, Jonathan Livingston Seagull.
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