The latest film from Johan Grimonprez is more tempered than his earlier work but nonetheless is a fascinating account of how the global military-industrial complex ensures the recursive nature of modern warfare.
Alex Gibney’s impressive and controversial documentary GOING CLEAR paints the Church of Scientology as a deeply abusive and extortionate organisation.
Docu-collagist Adam Curtis’ latest film, BITTER LAKE, takes Afghanistan as its focus, featuring an almost counterhistorical account of political machinations the ripples of which are still felt today.
The second instalment in the SIN CITY series is a limp noir homage lacking any narrative complexity, filled with tedious dialogue and a massive misunderstanding with regards to its usage of violence and sex onscreen.
After powering through the first three Transformers films in a row, staff writer James Hennessy takes on Michael Bay’s latest, once more a bloated and dull blockbuster.
It takes a certain level of masochism to sit through the first three films in Michael Bay’s Transformers series with full knowledge of its flagrant disregard for the standards of even mediocrity. We’re lucky we have James Hennessy on staff, because he did just that.
It would help to approach this film with some appreciation of the structures and theatres of African conflict. There is no backstory; no context provided. You can appreciate the brutality of the Guinea-Bissau civil war without knowing much about it – stark footage of amputee mothers with amputee children are likely to resonate with anyone – but the locus of the film’s message is in the barely elucidated political context.
Alex Gibney has tackled the problem of power in many of his meditative documentaries, including the Academy award winning Taxi to the Dark Side. His film, Finding Fela, brings the fight to sub-Saharan Africa, and explores the interplay of politics and music in postcolonial Africa. We spoke to him after its debut at the Sydney Film Festival.
Alex Gibney’s Finding Fela is a film which arcs toward celebration and reverence, but nonetheless maintains the rage at the sociopolitical malaise which gave rise to Kuti’s fury.
John Pilger’s searing new documentary is ultimately emotive rather than informational, making the audience understand indigenous Australians not as grim statistics but as a long-suffering collection of individuals crippled by racist policy of the past and present. On this front, he succeeds admirably.