Jake Wilson

We invited some writers, film critics, and film professionals to nominate their favourite film – not The Greatest Film Ever Sold, but one that matters to them personally.

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David Thomson has been an essential writer on film for around half a century, but in certain circles his reputation has long been in decline. The reasons are obvious enough. He writes too much, and sometimes carelessly; he lets his feelings run away with him; an Englishman who followed his dream to the United States ...

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Steven Spielberg may be the most beloved filmmaker alive, but this has rarely stopped critics from patronising him. ‘Such moods as alienation and melancholia have no place in his films,’ ...

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More has been written about Rolf de Heer than about most Australian film directors of his generation, but Jane Freebury's Dancing to His Song contains ...

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The evocative Prologue to this book has a poetic precision that bodes well for its treatment of this too-long neglected film, and what follows more than answers such expectations.

Jake Wilson's analysis (resuscitation might be a better word) of the 1976 Australian bushranging adventure,

Directory of World Cinema, Volume 19: Australia and New Zealand edited by Ben Goldsmith, Mark David Ryan, and Geoff Lealand

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December 2015, no. 377

Careful readers will soon notice something puzzling about this book, an attractive large-format paperback with frequent colour illustrations. Staring accusingly from the cover is the young indigenous actor Rowan McNamara, one of the stars of Warwick Thornton's 2009 love story Samson & Delilah. The image seems aptly chosen: Thornton's film is an acknowle ...

To highlight Australian Book Review's arts coverage and to celebrate some of the year's memorable concerts, operas, films, ballets, plays, and exhibitions, we invited a group of critics and arts professionals to nominate their favourites – and to nominate one production they are looking forward to in 2016. (We indicate which works were reviewed in Arts Up ...

Part of a series aimed at undergraduates, Ron Wilson’s stimulating guide to American gangster cinema covers much ground in just over a hundred pages. What is especially useful about Wilson’s approach is his ability to place the genre in a context that extends beyond cinema: not so much what actual gangsters said and did, but the various discourses, from pulp nov ...

‘Published interviews with filmmakers are increasingly becoming a thing of the past,’ writes Jason Wood in the introduction to Last Words. You could have fooled me. I suspect that Wood’s statement would come as a surprise to others as well, especially readers of the invaluable Keyframe Daily column on the Fandor website, a digest of international film n ...

Orson Welles once described himself as a ‘king’ actor. Ralph Fiennes seems born to play dukes: nearly all his screen characters, even the crooks and madmen, share an imperious quality that goes with a kind of stony reticence. It felt natural that he should make his film directorial début with an adaptation of Coriolanus (2011), one of Shakespeare’s most misan ...

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