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Dunkirk movie review: Christopher Nolan’s terrific, Kubrickian war film

DUNKIRKweb
Film, Reviews, Screen |
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In the cinema where I watched writer/director Christopher Nolan’s breathtakingly intense new film, the WWII action-drama Dunkirk, the sound was loud. I mean, loud. Utterly, staggeringly, face-meltingly loud. At one point, as Nolan whooshed planes above his characters’ heads for the nth-hundredth time, I wondered whether it might be unrealistically noisy: that is, whether war

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What Netflix’s controversial new show means for the future of Australian television

tothebonex
News & Commentary, Screen, TV |

In the lead-up to the release of Netflix’s new, anorexia-themed drama To the Bone, Australian youth mental health organisation Headspace cautioned against it. Issuing a warning to parents, teachers and young people, Headspace reminded viewers of the dangers associated with at-risk people being exposed to potential triggers. This was a reaction to the trailer, which

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Baby Driver movie review: Edgar Wright’s fabulously innovative jukebox heist caper

BABYDRIVERweb
Film, Reviews, Screen |
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British writer/director Edgar Wright ranks among the most innovative artists working in screen comedy today, up there with the Plasticine-contorting folk from Aardman and the whizkids behind those fabulous Old Spice commercials. His latest film, Baby Driver, is the sort of rarity that grumps such as myself often complain Hollywood doesn’t make any more. Which

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Film critic Luke Buckmaster on the crisis in arts criticism and journalism

audienceWEB

The crisis in Australian arts criticism and arts journalism isn’t next month, or next year. It’s now. On this topic the following comment comes to my mind, published on Facebook in response to a recent article I wrote about television content quotas: “When the economic rationalists came for our automotive industry, many Australians didn’t believe

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It’s time for an Australian content quota on Netflix — before things get more complicated

netflix
News & Commentary, Screen, TV |

Australian television has rarely been better. The future of Australian television may be hanging in the balance. These two statements are not incompatible. With reference to the first: there is a compelling argument to say we are presently enjoying a glut of high quality locally-made content. And that Australian narrative television – led by heavy

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