Fair Game

I rather enjoyed this B-movie. The film is considered an Ozplotation classic.

About the movie

A young woman running a wildlife sanctuary in the Australian outback is in for trouble when three kangaroo hunters confront her. Bored with killing kangaroos, they decide to kill the animals in the sanctuary, and when they see how attractive the owner is, they decide to have a little “fun” with her, too. They may get a bit more “fun” than they bargained for.

About Ozplotation

Ozploitation films are exploitation films – a category of low-budget horror, comedy, sexploitation, and action films – made in Australia after introducing the R rating in 1971. The year also marked the beginnings of the Australian New Wave movement, and the Ozploitation style peaked within the same time frame (early 1970s to late 1980s).

Ozploitation is often considered a minor wave within the New Wave, covering a wide range of genres from sexploitation, biker films, horror and even martial arts.

The origin of the term “Ozploitation” is credited to the documentary Not Quite Hollywood: The Wild, Untold Story of Ozploitation. This 2008 feature explores Ozploitation films made during the Australian New Wave. The film includes interviews with numerous figures involved in Ozploitation, as well as fans of the genre, including American director Quentin Tarantino, who coined the phrase “Aussiesploitation”, which director Mark Hartley then shortened to “Ozploitation”.

Australian horror film production trebled from fewer than 20 films in the 1990s to over 60 films between 2000 and 2008. According to one researcher, “global forces and emerging production and distribution models are challenging the ‘narrowness’ of cultural policy – a narrowness that mandates a particular film culture, circumscribes certain notions of value and limits the variety of films produced domestically. Despite their low-culture status, horror films have been well suited to the Australian film industry’s financial limitations, they are a growth strategy for producers, and a training ground for emerging filmmakers”.


The film explores Hilma af Klint’s enigmatic life, now recognized as one of the Western world’s first abstract artists. It is a well-played portrait of a woman today regarded as an icon in the art world.

About Hilma af Klint

Hilma af Klint (26 October 1862 – 21 October 1944) was a Swedish artist and mystic whose paintings are considered among the first abstract works known in Western art history. A considerable body of her work predates the first purely abstract compositions by Kandinsky, Malevich, and Mondrian. She belonged to a group called “The Five,” comprising a circle of women inspired by Theosophy, who believed in the importance of trying to contact the so-called “High Masters”—often by way of séances. Her paintings, which sometimes resemble diagrams, visually represented complex spiritual ideas.

In 1880, her younger sister Hermina died, and at this time, the spiritual dimension of her life began to develop. Her interest in abstraction and symbolism came from Hilma af Klint’s involvement in spiritism, very much in vogue at the end of the nineteenth and beginning of the twentieth century. Her experiments in spiritual investigation started in 1879. She became interested in the Theosophy of Madame Blavatsky and the philosophy of Christian Rosencreutz. In 1908, she met Rudolf Steiner, the founder of the Anthroposophical Society, who was visiting Stockholm. Steiner introduced her to his own theories regarding the arts, and would have some influence on her paintings later in life. Several years later, in 1920, she met him again at the Goetheanum in Dornach, Switzerland, the headquarters of the Anthroposophical Society. Between 1921 and 1930 she spent long periods at the Goetheanum.

Af Klint’s work can be understood in the broader context of the modernist search for new forms in artistic, spiritual, political, and scientific systems at the beginning of the twentieth century. There was a similar interest in spirituality by other artists during this same period, including Wassily Kandinsky, Piet Mondrian, Kasimir Malevich, Fidus, and the French Nabis, in which many, like af Klint, were inspired by the Theosophical Movement.

The works of Hilma af Klint are mainly spiritual, and her artistic work is a consequence of this. She felt the abstract work and the meaning within were so groundbreaking that the world was not ready to see it, and she wished for the work to remain unseen for 20 years after her death.

The Pope’s Exorcist

An entertaining film (if you can label a supernatural horror film that) directed by Julius Avery from a screenplay by Michael Petroni and Evan Spiliotopoulos, based on the 1990 book An Exorcist Tells His Story and the 1992 book An Exorcist: More Stories by Father Gabriele Amorth.

About Father Amorth

Gabriele Amorth S.S.P. (Italian: [ɡabriˈɛːle ˈaːmort]; May 1, 1925 – September 16, 2016) was an Italian Catholic priest of the Paulines and an exorcist for the Diocese of Rome. Amorth and five other priests founded the International Association of Exorcists.

His work in demonology and exorcism gained him international recognition. Father Amorth claimed to have performed tens of thousands of exorcisms, at least 60,000 throughout his career. He became one of the most prominent and controversial figures in the Catholic Church in the modern era.

Amorth was born in Modena, Emilia-Romagna, Italy, on May 1, 1925. He was ordained a Roman Catholic priest in 1954 and was appointed an exorcist of the Diocese of Rome in June 1986 under the tutelage of Candido Amantini. He was a member of the Society of St. Paul, the congregation founded by Giacomo Alberione in 1914. In 1990, he founded the International Association of Exorcists and was president until his retirement in 2000.

Both Father Amorth’s father and grandfather were lawyers. His contributions during World War II as a courageous fighter for the Italian resistance movement were followed by his pursuit of legal studies. Additionally, Father Amorth served as a deputy to Giulio Andreotti, a prominent figure in Italian politics who would later become Prime Minister within the influential political organization of the Young Christian Democrats.

Amorth died at the age of 91 on September 16, 2016, a short time after he was hospitalized for pulmonary complications.


Interesting costume drama which focuses on Leonardo’s emotional life.

In 1506, Leonardo da Vinci, the most famous artist of his time, is accused of the murder of Caterina da Cremona. Questioned by Stefano Giraldi, an ambitious officer of the Duchy of Milan, Leonardo begins to tell his life, starting from the first meeting with Caterina in Andrea del Verrocchio’s workshop. Giraldi, fascinated by the artist’s personality, begins to suspect that Leonardo may be innocent and investigates to discover the truth.


Madde lives a hectic life in Stockholm. One day she receives a letter from her father Leif who wants her to come back to her childhood home. An intense weekend with her father changes her attitude to the rural area she left a long time ago.

A rather predictable movie portraying a broken father-daugther relationship.

The Man From the Deep River

A classical cannibal flick from Italian director Umberto Lenzi that I enjoyed watching.

The plot circles around John Bradley, a photographer on a mission in the Thai rainforest. John falls asleep in a canoe and awakens to find his assistant dead. A native tribe captures John in a net and carries him to their village. The tribe is at war with another more primitive tribe of cannibals, and John soon finds himself trapped between the two tribes and his feelings towards the chief’s daughter.

Other than being the first cannibal film, Man from Deep River is also notorious for several scenes of extreme violence and gore, which is standard for the genre. 


This film was highly controversial when it came out in 1973. It deals with the Nazification of Germany from 1933 to 1945, told through a compilation of Nazi footage, newsreels, propaganda films, and Eva Braun’s home movies. The videos speak for themselves without any narration. Most of the film is a compilation of reels of everyday life in Germany. Watching private footage of those close to Hitler that I’ve never seen myself was distressing, knowing what all this led up to a few years later. The film beings with aerial footage of Berlin’s heyday in the 1930s and ends with similar footage depicting a heavily bombed Berlin in 1945.   

Star Trek: Picard

The first episode of Picard offered an overwhelming dose of nostalgia. Being a follow-up to the series Stark Trek: The Next generation, the nostalgia is inevitable. My only hope is that the team behind this promising show will find ways of breaking some new ground for Star Trek, thus creating a new fanbase.


I didn’t watch this movie in the days of yore, but as far as movies from the 1980s go this one fits in nicely in the genre. The story is a cross between Alien and Underworld, but with a better soundtrack, and far more explicit nudity.

This is a very underrated film and it breathes the sound and narrative of an entire decade. Horror and science fiction can be a perfect match. This film proves that point.

The Last Jedi

The special effects in this movie were excellent. Still, during the viewing, I constantly asked myself why they insisted on making some events so far out that the fans of this franchise left the theater with ambiguous feelings.

Not to spoil anything, but how can you drop bombs in space without gravitational pull? Not to mention the scene where a beloved character floats around in space, seemingly dead, yet (by using the Force, I gather) manages to find her way to safety.

It’s a decent movie that could have been even better.

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