Ep. 20 – Irréversible (Gaspar Noé, 2002) / The International Market and World War Z
Conor Bateman, James Hennessy and Caelin Kramer


New ep of the podcast, we argue about Gaspar Noé’s provocative and controversial Irréversible and talk about the increasing importance of the international film market on Hollywood faire such as Pacific Rim and World War Z.

Ep. 19 - Miller's Crossing (Coen Bros., 1990) / Snowpiercer and Studio Intervention
Conor Bateman, James Hennessy and Caelin Kramer


After a three month break, we’re back to talk about the Coens’ Miller’s Crossing and the controversy surrounding the proposed cuts to Bong Joon-ho’s Snowpiercer.

Also - we have a new co-host in Caelin, who is taking over from Mel for this semester.

Yep, I’m now a co-host of this here podcast!  We should be back with a new ep every week.


Brett Helquist’s illustrations for A Series of Unfortunate Events 

I used to love inspecting the cross-hatching in these illustrations

I spent about two weeks of my holidays painting this set of 4 acrylic portraits of characters from Twin Peaks.  Pretty pleased with how they turned out, especially Audrey.

I’m thinking that I might be able to sell them on the internet to some rabid Twin Peaks fans, maybe $200 for the set, since I spent 100+ hours on it and paint and canvas and shit is expensive?  I dunno if that’s overly optimistic, or if I should try to sell them separately.  Anyone got ideas on how best to go about this?

Dear god, only now do I get this joke…  Time to revisit The Simpsons?



Before Midnight at the Sydney Film Festival

Just returned from seeing Before Midnight at the gorgeous State Theatre with fellow Linklater fangirl, last-baudelaire.  There is much to say, but I don’t wish to spoil anything, so I’ll refrain from waxing lyrical for the moment.  However, I will say three things: 1) BM definitely feels like a necessary, intelligent progression of the Before series (hurrah), 2) Julie Delpy is fucking hilarious and 3) be prepared to be hit right in the feels.

That is all.



At long last, I have experienced the much-hyped phenomenon that was Drive.  Expectations were high and not quite met, but that’s ok.  The fact that I’d heard so much about it already meant that the movie held few surprises - obviously not a failing of the film, but unfortunately I think it detracted from the ‘freshness’ of my experience.  I held some reservations about the overt arthouse-ness (such…excessively long…pauses), but on the whole I loved it.  I can see where the ‘style over substance’ accusations against Refn might be coming from, and if it lacks the restraint of Drive, I can understand why the critical reaction to Only God Forgives has been so brutally negative.  But man, given the levels of stylistic creativity and control on display in Drive, it’s hard to be too concerned about a shortfall in ‘substance’…  Anyway, this is probably all old news to the rest of the film-watching population, I’m going to go belatedly obsess over this movie and its soundtrack elsewhere now.