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The Life Aquatic with Steve Zissou. Dir. Wes Anderson. Buena Vista Pictures. 2004.
Wes Anderson’s fourth full-length film, The Life Aquatic with Steve Zissou, details the life of oceanographer and documentarian Steve Zissou following the death of his professional partner and best friend. The film, like many directed by Wes Anderson, ultimately became a cult classic, but not before being met with serious criticism from film critics. The dissonance…
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Flicka. Dir. Michael Mayer. 20th Century Fox. 2006.
Flicka is a film partially based on the novel My Friend Flicka by Mary O’Hara written in the 1940’s. This movie however, is set in the 21st century and the main character is not a boy, but a girl by the name of Katherine “Katy” McLaughlin. This gender change from book to movie could be…
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Lady and the Tramp II: Scamp’s Adventure. Dir. Darrell Rooney and Jeannine Roussel. Walt Disney. 2001.
In this sequel to Lady and the Tramp, the story of Lady’s and Tramp’s rambunctious young pup, Scamp is followed. Scamp desperately wants to be free to run, play, chew, and to not follow the strict rules imposed upon him through family life. In search of the adventure he wants, Scamp runs away from home…
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Earthlings. Dir. Shaun Monson. Nation Earth. 2005.
Fig. 1 The original release poster for Earthlings, the film’s oft repeated challenge to the viewer to ‘make the connection’ features prominently alongside pictures of plants, animals and the evil emperor Commodus (representing humankind). ‘How do you know if someone is Vegan? Don’t worry, they’ll tell you’. So proclaims an increasingly popular meme. Type preachy into…
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Gates of Heaven. Dir. Errol Morris. New Yorker Films. 1978.
Figure 1: The original cinematic release poster for Gates of Heaven. Eighty-Five minutes of predominantly medium close-up shots without narration with a focus, superficially at least, on the pet cemetery business. You may think that the initial prognosis for Errol Morris’s 1978 debut Gates of Heaven is bleak; indeed you would be in good company.[1] Morris’s fleeting between concepts led…
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The Misfits. Dir. Arthur Miller. United Artists. 1961.
The Misfits (dir. Arthur Miller, 1961) The final two scenes in The Misfits (dir. Arthur Miller, 1961) epitomise the varied conflicts that underpin the changing zeitgeist narrative of the film.[1] The relationship between the bucking beast and the faded hunter is complex; the mustang and the cowboy are two of the most poignant and pervading symbols…
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The Elephant in the Living Room. Dir. Michael Webber. NightFly Entertainment. 2010.
The Elephant in the Living Room (2010, dir. Michael Webber) As The Elephant in the Living Room rolls towards a conclusion Webber appropriates a pair of Brumfield’s home videos to give a raw and powerful insight into a personal tragedy.[1] These juxtaposed excerpts represent the film’s climax and epitomise both the intense emotional relationship between Brumfield and Lambert as…
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Happy Feet. Dir. George Miller. Warner Bros. Pictures. 2006.
Happy Feet (Dir. George Miller, 2006) is a film normally associated with the representation of environmental issues, encouraging environmental awareness and consciousness of the animals worldwide affected by human actions. It also presents the theme of individuality, with the main character Mumble shunned for being different but eventually accepted into the penguin community after he is…
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Alice in Wonderland. Dir. Clyde Geronimi, Wilfred Jackson, Hamilton Luske. Walt Disney Studios. 1951.
‘Alice in Wonderland’ is a 1951 animated musical about a young girl, named Alice (Kathryn Beaumont), who follows a white rabbit in a waistcoat (Bill Thompson), down his rabbit hole, to fall into a fantastical world where she must overcome constant confusion and bewilderment, as this world becomes ‘curiouser and curiouser’. She meets a myriad…
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