When I go to Berlin to perform
I only need a knapsack and these (points to arms)
And these (points to legs)
You don’t know me, or the possible effects of my words
You owe me fifty pounds
I have a passion I feel is degenerated by
Unwittingly bei[…]

Ryan Gander is pre-occupied with the perceived failure of Utopian Modernism. Gander’s childrens book The Boy Who Always Looked Up is an account of the final days of reviled Hungarian architect Erno Goldfinger, as told through the eyes of a you[…]

The special effect occupies a unique space, albeit an almost always pre-defined one which is rarely deviated from.
Unlike other constructions of illusion and artifice, the job of the SFX maestro is never to actually trick. Their job is ostensibly to […]

Miike again – surprisingly, Izo doesn’t seem to have made much of an impact since its UK premiere a few months ago. Unsurprisingly, it made quite the impact on me. Difficult, though not for the reasons one would have expected. The almost […]

This month’s Sight and Sound features a review of Takashi Miike’s new film Gozu, and tentatively calls 2001’s Visitor Q his masterpiece. The reviewer’s take on Miike’s prolific career (Visitor Q and Ichi the Killer are c[…]

There is no shortage of adaptations that suffer from comparisons to their source material, but Uli Edel’s misguided Last Exit to Brooklyn suffers more acutely than most. I’d hate to think that any novel is unfilmable, but perhaps I just l[…]