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Mann – Magic Act

Can Michael Mann be considered a Hollywood auteur? In the following tribute to his crime films by Plot Point Productions, we see, rather than direct narratives, a recurring fascination with archetypes, mood, colour, lighting and composition. Moody blurring of the lines between cop and criminal – professionals with a code of ethics and devoted diligence […]

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Scene Of The Crime: Drive

Love In An Elevator, Livin’ It Up When I’m Goin’ Down Driver (Ryan Gosling), the stoic, monotone, toothpick chewing doomed hero of Nicolas Winding Refn’s cool, eighties-riffing neo-noir Drive, is an enigma. A blank slate from an unexamined troubled past,  a James Dean / Richard Gere a-like driver for the movies, who seeks to be “a real […]

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Peeping Tom: The Cinema Of The Complicit

Has ever a film had more of a 360 degree critical turnaround than Michael Powell’s 1960 psychodrama, Peeping Tom? Possibly Heaven’s Gate, although at least Powell wasn’t blamed for the perceived ruin of a whole studio. Dilys Powell of The Sunday Times described Peeping Tom as “essentially vicious”. It seemed the director was wilfully flaunting a daring approach, horror as complicit voyeurism, […]

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