Feature: ''It's not the end of the world' for The Isthmus

Here's an apocalypse-themed fun piece I wrote for The Isthmus. What role do you play in end-times?

You can read it online here.

It's not the end of the world

By Anna Angel

I’m a big a Robert Frost fan as they come (at least, in any country where his poetry isn’t included in the national curriculum). I have his words tattooed on me, and I think he would have been a damn clever sort. But even I can admit his take on the apocalypse may have been a bit narrow.

Some say the world will end in fire;

Some say in ice.

From what I’ve tasted of desire

I hold with those who favour fire.

But if it had to perish twice,

I think I know enough of hate

To say that for destruction ice

Is also great

And would suffice.

Robert Frost – ‘Fire and Ice’

Sure, there’s those who point the finger at fire, and ice hasn’t gotten off scot-free. But what about alien invasion, nuclear annihilation, the Rapture, Mayan prediction or freak cosmic accident? Luckily for the pessimistic and end-day curious amongst us, pop culture has picked up where Frost left off. In fact, we’ve become a little obsessed.

Feature: 'The Golden Era (terms and conditions apply)' for The Isthmus

Here's another piece I wrote in August for The Isthmus, discussing our cultural obsession with 'retro' in light of our actual past. I really enjoyed exploring the issues surrounding this one. 


You can read it online here.


The Golden Era (terms and conditions apply)


By Anna Angel

“You were definitely born in the wrong decade,” a friend says as if it is fact. Sure, I wear vintage clothing, collect retro oddities and have been seen at gigs doing the twist. But I couldn’t agree with rockabilly queen Imelda May when she told British press “the ‘50s were better in every way”. I’m grateful not to have grown up in Australia in the first half of the 20^th century. Why? My childhood epilepsy – then widely misunderstood – would probably have landed me in a psychiatric institution, such as this one, for a lack of better treatment options, as might my struggles with anxiety and depression. While that’s an uncomfortable thought, prospects would have been positively bleak if I had of been Aboriginal, gay or a non-European migrant. As morbidly hilarious as 1950s anti-gay propaganda and relics of the societal oppression of women may seem now, these were hardly ‘simpler’ times for many members of society. I set out to discover why we idealise elements of the past such as music, fashion and dinner table decorum and glaze over the glaring injustices.

Run, Rabbit Issue 1

This is what we made.
There's been a really positive response so far, and I'm so impressed with the contributions that came my way. What could be better than working with creative, inspiring people on an exciting and rewarding project?
Read all about it at www.runrabbitmagazine.com.
If you think you, or someone you know, might be interested in contributing to the next issue, here's what we're looking for:

Feature: 'Attack of the superhero' for The Courier-Mail

8 June 2011

There's something about men in tights, writes Anna Angel.

GREEN Lantern Corps, the intergalactic police squad, fights some of the universe's nastiest villains, but will struggle to topple Marvel's heroes at the box office.

DC's much-loved comic series Green Lantern opens on June 17 in a live-action, 3-D adaptation starring Ryan Reynolds and Blake Lively.

The timing lands it in a battle for movie-goers' dollars with Marvel's mutant prequel X-Men: First Class, which has been called the thinking man's superhero movie, and Captain America's live-action debut on July 28.

It's also fresh on the heels of Marvel's portrayal of Thor, god of thunder, which won over the fans despite being labelled a ``Shakespearean epic for nerds''.

The marketing team behind Green Lantern, which centres on a test pilot bestowed with a mystical green ring and responsibility for keeping universal peace, have all claws out. Two trailers for the Warner Bros production have gone viral.

With the third Batman movie, The Dark Knight Rises, and Avengers set for release next year, comic fans can expect this standoff to get even bloodier.

Feature: 'Girl power on screen' for The Courier-Mail

30 May 2011

Big-screen comedy Bridesmaids has been praised for avoiding stereotypes, writes Anna Angel

WOMEN in comedy, with the exception of all-rounder Tina Fey, seem to be always the bridesmaid, never the belly-laugh inducing brides.

Finally, a raunchy wedding comedy from producer Judd Apatow is proving there's more than one smart, funny woman on the big screen.

Bridesmaids has all the trappings and toilet humour of Apatow films such as Knocked Up and The 40-Year-Old Virgin but is written and led by women.

Co-writer Kristen Wiig, of Saturday Night Live fame, stars as Annie, an out-of-luck maid of honour navigating her best friend's wedding with a crew of kooky bridesmaids, including Australia's Rose Byrne.

Critics have praised the film for its genuine depiction of female friendships in a genre content to simply pit a loveable sap against a maniacal bridezilla and call it a day.

The ``chick-flick for dudes'' smashed box-office expectations during its opening weekend in the US, suggesting audiences are ready to toss the pallid bouquet of bridal rom-coms usually on offer.

Opening on June 16 across Australia, Bridesmaids just might dethrone the royals for wedding of the year.

Review: 'Morning Glory' for Tom Magazine

For TOM Magazine.

Morning Glory could have been a welcome break from the circuit of summer rom-coms and thrillers, but Aline Brosh McKenna’s scripting results in a wholly unsatisfying payoff. Rachel McAdams finally gets the kind of lead role she deserves, as the bubbly and hard-working morning television producer Becky Fuller. McAdams is always a delight, and Ford and Keaton have long proven their ability to save a struggling film. From the same screenwriter as The Devil Wears Prada, and with similarities abound, Morning Glory gets off to a great start. Unfortunately, the talented lead trio becomes the only reason to keep watching past the halfway mark.

Review: 'Rare Exports: A Christmas Tale' for Tom Magazine

For TOM Magazine. Read the original review here.

Rare Exports: A Christmas Tale

Director: Jalmari Helander.

Starring: Jorma Tommila, Onni Tommila, Peeter Jakobi, Rauno Juvonen, Per Christian Ellefsen

Reviewed by Anna Angel
This novel, sinister Christmas tale began in 2003 as a short by Finnish director Jalmari Helander that quickly gained momentum on the internet. Quirky ideas that capture audiences for a matter of minutes don’t necessarily translate into feature-length films, so it’s interesting to see if Rare Exports: A Christmas Tale can avoid going stale.

This is the antithesis of 1998’s A Very Brady Christmas and any recent Hollywood offering (though there’s a distinct lack of cheesy Christmas releases this year, which is somewhat disappointing). This is not an uplifting movie, and there are no Christian morals to be shared. Helander’s Santa Claus is decidedly different to Coca-Cola’s version  -  so different that he sniffs out and smacks to death any children in his vicinity, rather than gifting them the latest Mattel creations. 

Review: 'Easy A' for Tom Magazine

Whoops! Forgot about this one, was published on Tom Magazine last week.
Easy A

Director: Will Gluck.
Starring: Emma Stone, Amanda Bynes, Penn Badgley, Dan Byrd.
Reviewed By Anna Angel.
Fodder for pun-embracing reviewers like myself, Easy A calls for an old-school style of grading. Gluck makes a near-faultless pass at smart modern comedy - self-referential and tinged with an obvious nostalgia for yesteryear, with imperfect and therefore likeable characters - but falls short of flying colours. The film is the strongest release in its genre perhaps all year, however it relies too much on its predecessors, particularly John Hughes’ teen masterpieces, seeming content to pay homage rather than blaze a new trail. Let’s call it a big, red, embroidered A-minus sewn onto Ferris Bueller’s t-shirt, with extra credit for the talented and sassy cast.

Review: 'The Disappearance of Alice Creed' for Tom Magazine

The Disappearance of Alice Creed

Director: J Blakeson.

Starring: Gemma Arterton, Martin Compston, Eddie Marsan.

Reviewed By Anna Angel.
Paranormal Activity taught us you don’t need a blockbuster budget and CGI effects to keep audiences in suspense. The Disappearance of Alice Creed, by J Blakeson, pipes up that you don’t need a spacious or varied set, or more than a few players, either. This British film borrows a formulaic kidnap scenario  -  but how it unfolds from there is worth discussing. Or, it would be, if it wouldn’t ruin the movie for you. All I can say is that when Danny and Vic, your thugs for the evening, go to kidnap and hold Alice Creed, a millionaire’s daughter, for a large ransom, it doesn’t quite go to plan. Vague enough for you? 

Read more at TOM Magazine.

Review: Eclipse for Tom Magazine

The Twilight Saga: EclipseDirector: David Slade.
Starring: Robert Pattinson, Kristen Stewart, Taylor Lautner.
Reviewed by Anna Angel.

I am in two minds about the third film instalment of the widely criticised, and secretly (often fanatically) cherished world of the Twilight Saga. It is the best adaption of the franchise, surpassing the dead-in-the-water New Moon by far, but the film’s premise is ridiculous, often unbelievable and stunted. It is not the film’s or the actor’s fault that Stephanie Meyer did a job on her characters in the latter parts of her saga, pushing the believability of their choices to the limit and providing little in the way of action. Eclipse is saved by increasingly winning characterisation, shirtlessness that makes grown women squeal in embarrassing pitches, and gooey moments that don’t feel as forced as in the first film.

Review: 'The Road' for Tom Magazine

For Tom Magazine

THE ROAD (Dimension)

Anyone who has read Cormac McCarthy’s bleak masterpiece will know what to expect from the film. This is a faithful adaptation of his Pulitzer Prize winning novel that is every bit as heart-wrenching. The language powerfully conveyed an overriding desolation, and was converted expertly into a grey and sparse visual landscape. This is a vivid picture of the world’s future without rose coloured glasses; a nuclear winter has set in, and humanity is pushed to its limit.

Review: 'She's Out of My League' for TOM Magazine

She’s Out Of My League

Directed by: Jim Field Smith.
Starring: Jay Baruchel, Alice Eve, Nate Torrence, Krysten Ritter, T.J. Miller.
Reviewed by Anna Angel.

The title tells you everything you need to decide whether this movie is for you. The little guy, Kirk (Baruchel), wants the big fish, the stunning Molly (Eve), but doesn’t have faith that he can reel it in, so stands to ruin his own chances. With a little support, can he realise he has enough to catch the girl? (Loreal, because he’s worth it.) Beware this is not just a heart-warming bundle of laughs to lift your sprits when you realise that you’re almost thirty, still work at Dominos and that acne isn’t clearing up. With moments of admittedly well-done crass humour, and solid characterisation, this film is slightly confused, trying to play to the American Pie audience and their girlfriends, but ultimately funny.

Etc, here.

Review: 'Dear John' for Tom Magazine

For Tom Magazine. Sigh, made me cry like a baby.

Dear John
****
Director: Lasse Hallstrom

Starring: Amanda Seyfried, Channing Tatum, Richard Jenkins

Reviewed by Anna Angel.

This Nicholas Sparks adaptation begins like The Notebook 2: Modern Era. Maybe I just noticed the connections more because The Notebook happens to be by the same author. Either way, it eventually separates itself as an equally tear-jerking and original story on its own. While on a summer break, the young, beautiful, and sweet Savannah (Amanda Seyfried) meets John (Channing Tatum), a soldier on leave, visiting his father. They begin a whirlwind romance, and fall spectacularly in love, spinning some corny lines that are delivered so expertly they feel natural. After only two weeks, they are condemned to a year apart, as John goes back to his mission. It may sound all-too familiar, but the main difference here is that the letters they send each other don’t go unanswered.

Etc.

Review: 'Valentine's Day' for Tom Magazine

A generous review of Valentine's Day, taking into account the general standard of American RomComs, for Tom Magazine. I hear they're already planning a sequel, 'New Year's Eve'. Ouch.

VALENTINE’S DAY

Director: Gary Marshall
Starring: Anne Hathaway, Ashton Kutcher, Julia Roberts, Jessica Biel, Jaime Foxx, Topher Grace, Jennifer Garner, Shirley MacLaine, Jessica Alba, Patrick Dempsey, Taylor Lautner, Queen Latifah, Taylor Swift, and more.
Reviewed by: Anna Angel

One morning, King of the RomCom, Gary Marshall said to himself, "How many celebrities can I fit into one movie and still attempt to build a heart wrenching story arc for each?" The answer was around nineteen, plus cameos. This film - essentially a ‘day in the life of’ interweaving narrative, set in LA on the big day itself - borrows a lot from the success of Love, Actually. While it features seemingly unrelated characters, throwing them together in unexpected ways, Valentine’s Day is more on the romance side than the comedy. Since they’re naturally going to be compared, I’m going to set it straight right now - Love, Actually wins hands down. This movie is cute, funny and clever at times, but nowhere near as frequently as its predecessor is.

Etc.

Review: 'Inglourious Basterds' for Tom Magazine

For Tom Magazine.


Inglourious Basterds
Director: Quentin Tarantino
Starring: Brad Pitt, Eli Roth, Diane Kruger, Melanie Laurent
Reviewed by Anna Angel.

We’ve all come to expect certain things from a Tarantino film. Gore, gore, witty dialogue between intense and over-dramatised characters, and gore. This time around, he gives audiences all the basic ingredients, plus a good dose of humour and satire. Quentin Tarantino presents WWII history, and it is much more interesting than the original.

Inglorious Basterds opens in France, where Jewish girl, Shosanna Dreyfus, brilliantly played by Melanie Laurent, witnesses the execution of her family at the hands of Nazi Colonel Hans Landa. The story follows the revenge of Shosanna, now hiding in Paris, and the Nazi-killing duties of The Basterds, a guerrilla squad of Jewish avengers from the US, lead by Lt Aldo Raine (Brad Pitt). The action picks up when a Nazi propaganda film premiere is to be held at Shosanna’s own movie theatre, giving her the chance to exact her revenge.

From the outset it is often dialogue-driven, and sometimes slow moving, but continually gripping. There are definite moments of heightened action, and slower-paced scenes with underlying tensions. Despite this light and shade, almost every minute of this two and a half hour film is worthwhile. At least, I can honestly say it felt like the fastest two and a half hours of my life. Tarantino, as always, isn’t afraid to shock, and the result is levels of gore that will have you covering your eyes; those uncomfortable with bloody violence need not apply.

While the characters of Raine and Landa are comical, exaggerated and fundamental to the success of the film, they are dangerously shallow stereotypes. This is a brilliantly funny and shocking film if taken satirically, as the quest for revenge seems to negate all humanity, with both the Nazis and their avengers portrayed as bloodthirsty and unforgiving. Tarantino makes no attempt to be historically accurate, favouring juicy, fictitious drama over the facts, perhaps another reason why this film shines when taken lightly. Inglourious Basterds is in cinemas now.
ENDS