Author: Tim Kroenert
There are more than 200 results, only the first 200 are displayed here.
-
ARTS AND CULTURE
- Tim Kroenert
- 12 October 2016
2 Comments
Representation of minority identities in popular entertainment is key to amplifying and dignifying those identities and their stories. Conversely, the lack of representation is a form of silencing. It's why the charges of racism laid against the all-black Luke Cage is so laughable. 'I will never get tired of seeing a bullet-proof black man,' series creator Cheo Hodari Coker told the LA Times earlier this month, positing the character as a riposte to the phenomenon of police shootings of unarmed black men in the US.
READ MORE 
-
ARTS AND CULTURE
- Tim Kroenert
- 05 October 2016
1 Comment
At the opening of the Environmental Film Festival Australia in Melbourne last week, festival patron and former Greens senator Bob Brown highlighted the movement against oil drilling in the Great Australian Bight. He painted a picture wherein a major spill in the region could lead to an environmental disaster stretching as far from the site as the NSW coast. His words make the release of Deepwater Horizon, about the disaster that led to the 2010 BP oil spill in the Gulf of Mexico, even more timely.
READ MORE
-
ARTS AND CULTURE
- Tim Kroenert
- 28 September 2016
1 Comment
Snowden's disclosures regarding the data-mining activities of the US government sparked a worldwide debate about security versus privacy that rages to this day. If his status as either a villain or a hero - a traitor, or the ultimate patriot - remains a matter of debate in some circles, you won't die wondering in which camp Oliver Stone sits. In Snowden the famously didactic filmmaker posits an utterly sympathetic portrait within the structure of a lithe and gripping political thriller.
READ MORE
-
ARTS AND CULTURE
- Tim Kroenert
- 21 September 2016
1 Comment
At a Sydney school, a group of teenage refugees come together to share their stories, first with each other, and then with their friends and families via a live theatrical performance. Treehouse Theatre is run by three dedicated teachers, who facilitate the sharing, and help transform the children's stories into scripts that can be performed. Their stories are yet another reminder of the human cost of conflict, and of policies that exclude and further traumatise those who are fleeing from it.
READ MORE
-
ARTS AND CULTURE
- Tim Kroenert
- 15 September 2016
1 Comment
On 15 January 2009, US Airways pilot Chesley 'Sully' Sullenberger successfully executed an emergency water landing on the Hudson River in New York, after both engines on the passenger jet he was flying were disabled following a collision with a flock of geese shortly after takeoff. Miraculously, and thanks largely to the veteran pilot's razor instincts and resourcefulness, all 155 passengers and crew on board escaped the ordeal all but unscathed. In Sully the incident itself is portrayed in near forensic detail (aviophobics might best stay away). But it is the human touches that really make it soar.
READ MORE
-
ARTS AND CULTURE
- Tim Kroenert
- 08 September 2016
2 Comments
Don't mistake this for an idyll. Incongruently, the youngest child has built a bone shrine to Pol Pot. The father oversees a rigorous physical exercise regime; later he will boast that they have the fitness levels of elite athletes. Yet during a rock climbing expedition, Ben is unsympathetic when one of them injures himself, insisting the boy draw on his personal resources to extricate himself from very real peril.
READ MORE
-
ARTS AND CULTURE
- Tim Kroenert
- 01 September 2016
There are hints of darkness behind the laughs. We learn Brent spent time in an institution some time after the original 'documentary' aired. He is shunned by his band members, who see themselves as reluctant employees rather than friends. What emerges is a rather affecting portrait of a man whose self-identity is at total odds with reality, and threatening to come crashing disastrously down.
READ MORE
-
ARTS AND CULTURE
- Tim Kroenert
- 25 August 2016
War Dogs is the latest in a string of films from the past few years that are custom made for our cynical times; deeply ironic black comedies and dramas featuring antiheroes who profit to the point of excess off the misery of others. Where those films dealt with the finance industry and gained relevance from the backdrop of the Global Financial Crisis, this one shifts focus to the grimier world of arms dealing, in the context of Bush era conflict in Iraq and Afghanistan.
READ MORE
-
ARTS AND CULTURE
- Tim Kroenert
- 19 August 2016
6 Comments
The film's quiet humour leaves open many spaces for reflection on getting older, and on mortality. Tomas is uncomfortable with the subject of death, but Julian is determined to confront it with honesty and dignity. His activities during those four short days reveal he possesses a well formed conception of his own humanity and mortality that is not short of admirable. We are as sympathetic to Paula raging against her cousin's resignation, as we are to Tomas' growing acceptance.
READ MORE
-
ARTS AND CULTURE
- Tim Kroenert
- 12 August 2016
1 Comment
There's a bagel character, coded as Jewish, and a lavash (Armenian flatbread), coded as Palestinian, who clash because they have to share an aisle. 'Isn't the aisle big enough for both of you?' asks Frank. In this and other ways the film points to the destructive power of religious belief corrupted by self- or socio-political interest. On the other hand it ignores the role religion can play in developing robust ethical thinking about the ways in which we can interact meaningfully with others and the world.
READ MORE
-
ARTS AND CULTURE
- Tim Kroenert
- 05 August 2016
The interviewees regard Vertigo with awe, waxing lyrical about its psychosexual subtext; but not a word is said about the inherent misogyny of a film that is explicitly about a man's objectification of a woman. The film's most interesting segment however concerns the pre-eminence of guilt in Hitchcock's films, and the role it plays in shaping human activity. This, says Martin Scorsese (a filmmaker similarly preoccupied with guilt and sin), may define Hitchcock as an essentially Catholic filmmaker.
READ MORE
-
ARTS AND CULTURE
- Tim Kroenert
- 30 June 2016
1 Comment
This strange and engrossing Italian film proffers an unsettling rumination upon the rituals of mourning, and upon a mode of grief which itself is a kind of death. It opens with a sweeping close-up of an imposing crucifix, and the fine musculature of a graven Christ. A mass of mourners is then revealed, and before them a woman, immobile and weeping silently. The camera angle cuts to calf level, to reveal a trail of urine more copious than her tears, running down her leg to her shoes.
READ MORE