REVIEW: The Legend of Molly Johnson [2022]

Sing it in your sleep. A favorite of Leah Purcell‘s as a child, Henry Lawson’s short story “The Drover’s Wife” was always at the front of her mind upon growing into adulthood as an artist. It only makes sense then that she would take that tale from 1892 and reimagine it as an Australian western able to bring her own ancestral history as a fair-skinned Aboriginal woman into the light. First, she had to give the titular wife a name: Molly Johnson. Next, it was fleshing out a dramatic narrative…

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TIFF16 REVIEW: The Limehouse Golem [2017]

“Here we go again” It took fifteen years of perseverance—acquiring the rights, losing them, and reacquiring them at the behest of screenwriter Jane Goldman stoking the fire—but producer Stephen Woolley finally got Peter Ackroyd‘s 1994 novel on the big screen as The Limehouse Golem. There were some big names attached from Merchant Ivory originating plans to Woolley hoping for Neil Jordan years before developing it with Terry Gilliam. Don’t let this taint your opinion when peering upon Juan Carlos Medina‘s name on the director’s chair, though. Despite being only his…

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TIFF14 REVIEW: The Riot Club [2014]

“People like us don’t make mistakes” I’ll bet Laura Wade’s 2010 play Posh is something special to see on stage. A fictionalized take on Oxford University’s exclusive Bullingdon Club—sons of wealthy Brits who attended the best boarding/prep schools before following in their patriarchy’s footsteps to enjoy vandalizing college rooms as an initiation ploy and restaurants as part of their yearly evening of hedonistic excess—it’s debaucherous centerpiece of a banquet has to be an invigorating experience live. I say this because its depiction in Lone Scherfig’s film The Riot Club (adapted…

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