November 2018

Arts & Letters

‘The Old Man and the Gun’ and the outlaw Robert Redford

By Harry Windsor
David Lowery’s new film pays too much tribute to the Sundance Kid

Harry Windsor

Harry Windsor is a critic for The Hollywood Reporter and the former editor of Inside Film.

Cover

November 2018

From the front page

Image from ‘House of Cards’

The magnificently messy ‘House of Cards’

The show that made Netflix a major player comes to a satisfying and ludicrous end

How you are when you leave

This must be how it feels to retire

Accused under privilege

NSW Greens MP Jenny Leong denounces a colleague

Image of Scott Morrison and the ScoMo Express

The ScoMo Express backfires

The PM’s farcical bus tour cements spin over substance as his brand


In This Issue

Illustration

Free speech has never been ‘free’

The idea that all opinions should be ventilated is misguided

Illustration

APEC comes to PNG

Shipped-in Maseratis and single-use venues are a world away from real life in Port Moresby

Cover of Killing Commendatore

‘Killing Commendatore’ by Haruki Murakami

Art, music and mystery abound in the Japanese author’s latest novel

Illustration

Life in a coroners court

Meet those who speak for the dead to protect the living


More in Arts & Letters

Image of Eddie Perfect

Eddie Perfect goes to Broadway

The Australian composer has two musicals – ‘Beetlejuice’ and ‘King Kong’ – opening in New York

Image of Julia Holter

A bigger, shinier cage: Julia Holter’s ‘Aviary’

A classically schooled composer seeks shelter from the cacophony of modern life

Detail of a painting of Barron Field

Barron Field and the myth of terra nullius

How a minor poet made a major historical error

Still from Christopher Robin

A man and his bear: Marc Forster’s ‘Christopher Robin’

Adults will find this new tale of Winnie the Pooh surprisingly moving


More in Film

Still from Christopher Robin

A man and his bear: Marc Forster’s ‘Christopher Robin’

Adults will find this new tale of Winnie the Pooh surprisingly moving

Still from Leave No Trace

The hermitic world of Debra Granik’s ‘Leave No Trace’

The ‘Winter’s Bone’ director takes her exploration of family ties off the grid

Still from Brothers’ Nest

Dirty work in Clayton Jacobson’s ‘Brothers’ Nest’

The filmmakers behind ‘Kenny’ take a darker turn

The elevated horror of Ari Aster’s ‘Hereditary’

This debut feature will test the mettle of even the most hardened genre fans


Read on

Image from ‘House of Cards’

The magnificently messy ‘House of Cards’

The show that made Netflix a major player comes to a satisfying and ludicrous end

Image of Scott Morrison and the ScoMo Express

The ScoMo Express backfires

The PM’s farcical bus tour cements spin over substance as his brand

Image from ‘Suspiria’

Twisted sisters: Luca Guadagnino’s ‘Suspiria’

Sentimentality ruins the magic of this otherwise unsettling and actively cruel film

Image from ‘The Other Side of the Wind’

Orson Welles’s ‘The Other Side of the Wind’ and Morgan Neville’s ‘They’ll Love Me When I’m Dead’

The auteur’s messy mockumentary and the documentary that seeks to explain it are imperfect but better together


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