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22 June 2016 |
That McGuire, eventually, and presumably under pressure from the club's board and a major sponsor, offered what seemed to be a sincere apology, barely diminishes the fact that the comments were made in the first place, compensates for the lack of real repercussions, or excuses the time and effort that was required to get the incident on the agenda at all. Like a good parable, Mustang illuminates the ethical deficit of such a scenario, where women can so readily be bulldozed by powerful male voices.
16 June 2016 |
In one scene, as Taylor and Davis argue, the dialogue comes down and the score comes up; her voice is literally taken from her. When Davis then physically assaults her, the message is clear: his music and his violence are notches on the same spectrum. This conflation of creativity with destructiveness is a typical error of mainstream biopics about great artists who were not nice people. Yet applied in the context of spousal abuse it is not only specious but ethically dubious, even dangerous.
08 June 2016 |
Vice-principal Rickard claims the credit for having lifting the status of the once struggling public school, and sees in the smart but troubled new student Mark both the potential to do well and a danger to his own legacy. For his own part Mark, who was previously kicked out of the private school to which he had earned a scholarship, sees in Rickard a misguided do-gooder and, later, something a little more dangerous: an ambitious man whose ego is the flipside of insecurity.
01 June 2016 |
It's the last chance for Ricky, who has been through a lot of other foster homes before winding up at Bella and Hector's. We don't know the detail of these experiences, but it is telling that the natural nurturer Bella's smallest gestures - cooking breakfast for Ricky, or putting a hot water bottle in his bed at night - are kindnesses like none he has ever known. It contrasts with the child welfare worker''s mantra of 'No child left behind', which on her lips becomes menacing, or at best a bureaucratic inanity.
25 May 2016 |
As is the time-honoured tradition of Hollywood PIs, Holland has long bound the wounds of some unresolved grief in alcohol and cynicism. Notwithstanding individual tastes that are by no means aligned with gender, this is the kind of movie that can tend to appeal to puerile male interests while diminishing respect for women. In this regard Shane Black, a mainstream filmmaker who is more self-aware than most, tries to have his cake and eat it too, by both drawing and subverting the objectifying male gaze.
18 May 2016 |
With PNG's Supreme Court finding last month that the detention of asylum seekers on Manus Island was unconstitutional, the shamefulness of Australia's border protection policies was once again laid bare. Advocates will be familiar with the facts and arguments that Chasing Asylum articulates. What sets it apart is its wealth of hidden camera footage caught within the grim confines of the centre on Nauru, and Orner's conversations with detainees and social workers who bore witness to the dire daily reality there.
11 May 2016 |
The film explores the dynamic between men and their ageing parents, as Frank, trying to make up for neglecting his relationship with his own dead mother, clashes with Sarah's neglectful adult son. Essential to this sifting of family and belonging as central to the identity of suburban males, is a rumination on houses as homes versus property. As a real estate agent, Frank is repeatedly chastised by a young father who feels increasingly priced out of the market.
05 May 2016 |
Despite its epic scope it is also deeply intimate and, dare I say, spiritual. Roy regards his son with a mixture of stern, protective love, and helpless wonder. They are joined in their quest by Roy's childhood friend Lucas, a state trooper converted to Alton's cause after literally seeing the light in his eyes. Also by Alton's mother, Sarah, who of all the cohort has the most direct experience of the 'sense of awe' that ultimately unfolds from the 'mystery' of Alton's story.
20 April 2016 |
Socialite and amateur operatic soprano Marguerite cuts an intriguing and tragic figure, devoted to her craft but oblivious to her lack of talent. Yet the joy she gains from believing she is a great singer doesn't depend on the reality or otherwise of that belief. Is it right or wrong for those who care for her to allow her to continue in her delusion? The question echoes the concept of a life-lie, invoked by Henrik Ibsen to argue that human beings are sometimes better off living in at least partial ignorance of reality.
13 April 2016 |
The show's implicit subversiveness runs deep. It is embodied in the fact that its cast consists of mostly Black and Latino performers portraying White characters, using a vernacular and musical styles popularly associated with these cultural groups. It thus stands as a riposte to the history of black/brownface and whitewashing in popular entertainment. Crucially, in a show about 'founding fathers', it is the story's women who not only provide its emotional core but are also the most fundamentally heroic.
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