Thomas Caldwell

Of all the bits of American culture that have been absorbed into Australia, their version of Halloween is one of the best. Last night my son wore his homemade costume, hung out with his friends and visited the neighbours. There are other aspects of Americanisation far more worthy of condemnation.

Another film released in Australia today that I really loved is HAPPYEND, a Japanese coming-of-age film set in the not too distant future when everything is getting just that little bit more authoritarian and repressive. Further thoughts at: letterboxd.com/cinemaautops...

I liked BUGONIA a lot and attempted to briefly explain why it is more a film about human behaviour rather than politics, without giving too much away, on my @letterboxd.social account: letterboxd.com/cinemaautops...

I can't stop thinking about Guillermo Del Toro's FRANKENSTEIN. It'll be on @netflix.com soon but catch it on the big screen if you possibly can. Further thoughts over at @letterboxd.social: letterboxd.com/cinemaautops...

That occurred to me too. There were points when I wondered if it were originally pitched as a separate series and was later retrofitted into the franchise. Having said that, my favourite episode after the pilot (5, the flashback episode) was the one that was most traditionally an ALIEN story.

Rewatched PHANTOM THREAD over the weekend and knowing what happens gives it a whole different layer of enjoyment and appreciation. But nothing will beat the experience of seeing this for the first time in a packed cinema of people laughing in shocked delight at the audacity of where it goes.

Took a while to get through ALIEN: EARTH as after its incredible first episode it never quite lived up to its promise. But there are elements of the series that are among the best of what the franchise has done recently. Some reservations but I’ll absolutely watch the next season if it happens.

A HOUSE OF DYNAMITE is a nerve-racking reminder of how close the world is to nuclear war. Rebecca Ferguson stands out as one of the high ranking people struggling to remain professional in a situation of high anxiety. It's now odd to see a film about the US government where people are competent.

I don't think I've seen a film about living with dementia as tender as FAMILIAR TOUCH. It portrays the experiences of protagonist Ruth and her carers with so much dignity and compassion, while staying honest about the hardship and grief involved. There's a lot of comfort in this film's humanity.

If you were thinking of making a donation to the arts then today - #AusArtDay - is a great day to do it. There are loads of amazing arts organisation worth helping out but it would be wonderful if you could include St Martins Youth Arts Centre in your generosity and support. And please share!

The assemblage of police body camera footage to create such a compelling narrative in THE PERFECT NEIGHBOR (@netflix.com) is so impressive. It is a devastating and heartbreaking story that also works as a profound microcosm of contemporary America's damaged psyche and propensity towards violence.

Kelly Reichardt’s latest, THE MASTERMIND with Josh O'Connor as a likeable yet inept art thief, starts as an endearing and amusing low fi heist film but unfolds into an insightful examination of a man who's so disengaged, self-centred & self pitying that he's oblivious to the harm he does to others.

I've listened to WTF with @marcmaron.bsky.social since 2013 and I'm going to miss it. But I'm so impressed it went out in style on Maron and his producer's terms. A solo heartfelt 2nd last episode and then one final interview with one of the greatest previous guests: @barackobama.bsky.social. Bravo!

Not sure when I got the German blu-ray of THE NEVERENDING STORY but I've now seen both versions of one of my beloved childhood films. Nostalgia means I'll never be able to be truly critical of it but it does feel timeless; if it were to be remade now you could easily depict the Nothing as AI slop.

Diane Keaton in THE GODFATHER

Diane Keaton in ANNIE HALL

Diane Keaton in REDS

Diane Keaton in SOMETHING’S GOTTA GIVE

Diane Keaton could move seamlessly between comedy and drama, and is one of the reasons so many iconic 1970s (and beyond) films are so amazing, influential and memorable. She was one of the greats.

It wasn't my intention to wait until now to see ONE BATTLE AFTER ANOTHER but it meant I saw it on 70mm at the Astor Theatre along with a really fun and savvy pre-show. Anyway, pretty great, right? Probably will become the defining film of 2025. A couple more thoughts: letterboxd.com/cinemaautops...

I was listening to a podcast just recently where the hosts were discussing TOPKAPI, which is what prompted me to finally watch RIFIFI. I really want to track down a copy of TOPKAPI now. Apparently De Palma lifted from it directly for MISSION: IMPOSSIBLE.

It's a terrific edition. I'm pretty sure I watched all the extras back when I first bought it as I used to be a lot more thorough about doing that.

I finally watched my DVD of RIFIFI last night, addressing a very long overdue #filmblindspot. It is easily one of the all-time great heist films, and arguably the one that set the standard and template that all others should be measured by. More fragmented thoughts at
letterboxd.com/cinemaautops...

‘We are such fans of your music and all of your records. I'm not speaking of yours personally, but the whole genre of the rock and roll.’

Considering how common the mockumentary has become it’s remarkable how few things have come close to nailing the format as THIS IS SPINAL TAP. So much of the joy comes from being lulled into feeling it’s an actual doc and then a random line catches you off guard and you laugh until your face hurts.

Robert Redford in Barefoot in the Park

Robert Redford in Butch Cassidy and the Sundance Kid

Robert Redford directing Quiz Show

Robert Redford in All is Lost

Arriving at the tail end of Classical Hollywood, becoming a star of New Hollywood, a director and an essential player in facilitating the wave of independent American cinema in the 1990s, Robert Redford's impact on the last 60 years of American cinema was enormous. Vale to a great artist.

I rewatched my 20th anniversary DVD of the original TRON, which I bought 23 years ago. Damn. One detail that's aged well is the villain is a smug tech arsehole who amassed power by exploiting the work of others to create an AI entity that's ruining the potential that computing once offered humanity.

SKETCH is released in Australia tomorrow. I was expecting a whimsical and wacky family film about drawings that come to life. Instead, it's a darkly funny kids horror with nods to PET SEMATARY, JURASSIC PARK & ARACHNOPHOBIA and more than a little DNA from 1980s Joe Dante and Steven Spielberg films.

HIGHEST 2 LOWEST sees Spike Lee in full operatic mode and Denzel Washington in full bombastic mode, and I'm here for both. Lee's distinct style is both familiar and surprising in the way it so often draws attention to itself or seems to go against the grain. A highly energetic morality play.

DRESSED TO KILL was a big De Palma #filmblindspot for me, so I’m glad to have finally seen it. It’s sleazy, exploitive, silly and problematic as hell but I really enjoyed the craftsmanship and unashamed perversity & voyeurism of it all. A beautiful fusion of Hitchcockian themes & giallo aesthetics.

I’ve never seen that! I really should address that oversight soon especially as I have the blu-ray.

I didn’t want to be the one to say it, but that’s the vibe I was getting too!

My creepy backyard.