Palme d’Or-winning Japanese drama about a surrogate family living on the margins of modern Tokyo, Shoplifters lulls you in with its gentle intimate rhythm, before dropping big heart-wrenching twists.
A crushingly sad documentary about the short and volatile life of Amy Winehouse, who burned bright before a downward spiral of bulimia, drugs and alcohol that led to her death at the age of 27.
Some books seem to possess a long-lasting hold over your imagination, and I just keep coming back to this deeply strange, macabre and lyrical novel. This must be the fourth or fifth time I re-visited it over the years, and somehow it managed to leave me with a different impression every time.
After I blitzed through the top half of the artwork, the more detailed bottom half with Buzz is coming along at a slower pace, mostly because of my changed work hours and good old-fashioned procrastination. Every time I look down at what I’ve managed to complete after five or six hours of work, I think to myself, is this all I’ve done today? However I am quite happy with the way it’s looking so far.
I made a mistake in my review of The Murder at the Vicarage: while it was Miss Marple’s full-length novel debut, it wasn’t her first appearance, rather it was in a 1927 short story called The Tuesday Night Club. Later, it became the first chapter in this entertaining collection of thirteen short stories, which together form a sort of episodic novel. Midway through the book, I realised that I have actually read it before, but the details of each story completely evaporated from my memory so it was like reading them anew.
“The peak of youth, the foot of old age.”
Jake Gyllenhaal’s unnerving performance as a sociopath for the ages is the main reason to watch this visually sleek film, which rests somewhere in between a dark nihilistic thriller and biting media satire.
Sometimes you end up watching a movie simply because its title and description sound way too arresting to ignore. “Anglican nuns in the Himalayas” was outlandish enough to draw me into watching this unusual and darkly sensuous 1947 British drama with Deborah Kerr.
A vibrant and playful return from one of my favourite electronic artists; a New Zealand folk singer with a penchant for weird.