(NOT QUITE) MASTERPIECE THEATRE: Revisiting “Soldier”

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Here at “The Erratic Narrative” we’re embarking on a new (and, as always, erratic and a little sweary) series of posts, entitled ‘(Not Quite) Masterpiece Theatre’, where we will examine a variety of perhaps forgotten, but certainly underappreciated (or just flat out hated) “almost, but not quite” pieces of cinema across the genres. These are movies that, at the time (and possibly still), were treated poorly by critics and audiences alike, but over the years, like a great (or at least drinkable) wine, have stuck like mold to the edge of our tasting glass.

First up, an absolute beauty! I vividly remember watching the VHS tape and thinking: “This one’s a keeper!”. The very definition of a (not quite) masterpiece: SoldierContinue reading

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We Have To Talk About “Una”: intention and the creative act

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“…complex…”, “…no easy answers…”, “…raises a ton of legitimate questions…”, “…never offers a straightforward…definition of what makes…a monster or a victim”, 89% overall rating on the well regarded aggregator website, “Rotten Tomatoes” – it would seem that Una, the debut feature film from Benedict Andrews (adapted from David Harrower’s 2005 play, Blackbird, by the playwright himself), has been an overwhelmingly universal success in the eyes of most film critics.

However, as I walked away after a screening of the film, rather than being full of contradictory feelings and thoughts that many critics would believe I should be, I was full of concern about the nature of intention in the creative endeavour.

(BEWARE: SPOILERS AHEAD)

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