May 182013


Hello film lovers, and welcome to the May 2013 edition of Film Link Goodness; the first edition in the swanky new looking An Online Universe. Thank you all so very much for your kind words about the redesign. We love it and we hope we’ve created a site which is an enjoyable place to stop by and read a little.

It’s blockbuster season and film festival season, so there is plenty going on at the moment. Check out the goodness after the jump.

The biggest news in this neck of the movie woods is the announcement of the full 2013 Sydney Film Festival programme. I couldn’t be happier with the incredible variety of films on offer. Festival Director Nasheen Moodley has really done a fantastic job in his second year with the festival.

My most anticipated film of the year Only God Forgives is one of the 190 films playing at the festival. I cannot wait to see this at the beautiful State Theatre with a few thousand other movie lovers. It’s going to be some Saturday night.

The knowledgeable geeks over at Graffiti With Punctuation have collaborated their Sydney Film Festival picks in GWP Roundtable post. There are a great mix of films here. It’s not a bad place to start if you find the programme a little overwhelming on first glance.

Festival Hub Director and all-round movie maverick Matt Ravier has put together a list of a dozen films to see at the fest. Matt knows his stuff, so whatever I can’t see at the festival, I’ll make sure to catch some other time. While you’re visiting Matt’s site, make sure to read all about the amazing happenings planned for the Festival Hub, and the passion behind its creation.

bling ring cannes

The 2013 Cannes Film Festival is currently under way, with a number of highly anticipated 2013 titles having their world premieres. A film I am looking forward to immensely is Sofia Coppola’s The Bling Ring. The film has received mix reviews (it’s currently on 50% on Rotten Tomatoes), with Richard Corliss saying that it’s “on the blah side”.

In his review, Robbie Collins says,

“Everything comes together for the good here: visuals, performances, raucous soundtrack, Coppola’s teasing flirtation with, yet ultimate lack of commitment to, some kind of concrete morality”.

Over at Graffiti With Punctuation, Alicia Malone is giving readers an inside look at the festival with her informative and rather amusing Cannes Diaries.

Bonjour Tristesse is providing his usual amazing coverage of Cannes with daily recaps. If you want to get a comprehensive overview of how the films were received, this really is the best resource.


Upstream Color is a film that I have enjoyed reading every one else’s reactions to. Often these reactions consist of varying forms of “huh” and “wow”. Films that confuddle people are so much fun.  Ryan McNeil gave the film 3.5/4 and to close his review he says, “Any film can tell you a story: UPSTREAM COLOR makes you feel it”. I cannot wait to see this at Sydney Film Festival next month.

MudJeff Nichols’s follow-up to 2011’s amazing Take Shelter is a film I feel like I’ll never get to see. Take Shelter was such a powerful move-watching experience, and I have been eagerly awaiting the Matthew McConaughey-led film. Mud has a confirmed release at Cinema Nova in Melbourne, but there is no Sydney release confirmed at this stage. In his review Alex Withrow calls the film, “an eerie southern tale of innocence lost and adolescent confusion”; and rates it an A-. I really hope I get a chance to see this on the big screen.

If you think writing feature-length reviews are hard, then trying writing a review that’s also a limerick. The talented folks at The Limerick Review do just that! I am in awe of how they can be both poetic and incredibly insightful.

To end this edition of Film Link Goodness, I am sharing with you a limerick review of The Hunt by my extremely talented friend Lisa Malouf.

This film will get to your soul:

As a lie gets out of control.

The performances: magic,

The story: tragic,

As the damage takes it toll.

Beautiful work Lisa! Thanks for reading. and have fun at the movies.


By Sam McCosh