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Reviews written

since 09/11/2000

33

Vol. 2 (The Outro/Parental Advisory) [PA] - Bonzo Dog Band (The) 29/06/2007

Frying Pan, Frying Pan

We're Only in It for the Money - Frank Zappa 24/10/2006

Flower Power Sucks

Hitch (DVD) 22/04/2005

The Cure For the Common Man?

Fiction 07/04/2005

Daniel Time

Paths Of Glory (DVD) 05/04/2005

But To The Grave...

Paths Of Glory (DVD) -The Film- In many ways Stanley Kubrick’s Paths of Glory is a pre-emptive strike in the investigation of core themes, themes that would feature prominently in all subsequent Kubrick pictures until his death. Though it can be argued that his earlier heist feature The Killing displayed a certain clinical panache in its dissection of an unsuccessful robbery (and the subsequent fall of the hoodlums) it is with Paths of Glory that the real work begins. The film marks both the end and beginning of the important phases of Kubrick’s career: the end of lower budget, studio controlled pictures and the beginning of a more independent style of filmmaking (shortly broken, with much ensuing complaint, with his director-for-hire turn on Spartacus) a method that would see him praised as an auteur rivalled only by very few. For a director often accused of emotionally distant character studies, Kubrick loads Paths of Glory with excruciating pathos. Without consciously thinking the audience is drawn into the cold construct of the plot, gripped by the tight anticipatory drag of the story and the heartrending fate of the central characters. The dialogue is sparse, another trademark, but more than merely functional. This sparseness increases towards the climax of the film robbing the characters of their essential humanness – perhaps the most classically Kubrickian idea of all. The set-up is simple: during an impossible suicide mission to capture a heavily fortified German position, the Ant ...

Thirteen DVD 16/03/2005

It Happened So Fast

The Aviator (DVD) 04/03/2005

Evidence for the Scorsese Slide

The Aviator (DVD) This is a review written for university in the style of Sight and Sound magazine. Please excuse the sniffy attitude (and general lack of journalistic ability.) Martin Scorsese’s latest picture The Aviator marks certain continuing trends in his work specific to the last decade. The first (and most significant to the box office) is his collaboration with Leonardo DiCaprio, a collaboration which began with Gangs of New York (2002), and is set to continue with Scorsese’s next picture The Departed. The second is the reuse of another Scorsese muse, cinematographer Robert Richardson, also part of the director's circle since Casino. Richardson’s visual flourishes and design make The Aviator Scorsese’s most uniquely stylish film to date. It is however the third trend that best classifies the real significance of the movie: Scorsese, over the course of a decade, has gotten progressively worse with every film he makes. That’s not to say that The Aviator is a bad picture; it certainly has merit when viewed as a singular work. Indeed, as a straight biopic, dealing with Howard Hughes’ success in the film and aviation industries, it succeeds remarkably well. The audience is given a concise account of the formative years of Hughes’ madness. Hughes, as a historical figure, appears to be ideal fodder for a Scorsese picture. As with Taxi Driver’s Travis Bickle, Hughes is embroiled in fighting his own personal demons, struggling under the weight of his own potential. Scorsese portrays ...

Expedia.co.uk 26/04/2001

I've looked, and I haven't found much better

The Best Of - Blur 26/04/2001

Just One Band

Circ Shampoo 17/04/2001

Shiny, Happy Person

Clint Eastwood - Gorillaz 16/04/2001

It's all in your head

altavista.com 10/04/2001

Lost And Found

Moon Safari - Air 25/02/2001

The Sound Of Cut Grass

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