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The legendary actor Robert Redford has died. He was 89 years old. He is most famous for his roles in films such as "Butch Cassidy and the Sundance Kid," "All the President's Men," and "The Sting." One of the most iconic movie stars of the 1970s, Redford bridged the gap between the Hollywood new wave and the mainstream film industry with ease. Over the ensuing decades, he also became an Oscar-winning director and producer. He also spearheaded the development of American independent cinema by co-founding the Sundance Film Festival, whose platform showcased films such as "Reservoir Dogs," "The Blair Witch Project," "Donnie Darko," "Fruitvale Station," and "Coda."
Born in 1936 as Charles Robert Redford, he grew up in Los Angeles, California. After being expelled from the University of Colorado, he enrolled on an acting course at the American Academy of Dramatic Arts. Following a series of minor roles in television, theatre, and film, he began to gain recognition in the early 1960s. In 1962, he earned an Emmy nomination for Best Supporting Actor for his role in "The Voice of Charlie Pont," after which he secured a lead role in the original 1963 Broadway production of Neil Simon's renowned play "Barefoot in the Park." Redford's big break came in 1965, when he played a bisexual film star opposite Natalie Wood in "Inside Daisy Clover." For this performance, he received a Golden Globe nomination.
Fame came to Redford after a period of successes in Hollywood, including "The Chase" and the screen adaptation of "Barefoot in the Park." His career reached new heights with "Butch Cassidy and the Sundance Kid," the hugely popular 1969 outlaw westernin which he starred alongside Paul Newman and Katherine Ross. It received seven Oscar nominations, though not for the actors. In the 1970s, he appeared in such films as "The Way We Were" with Barbara Streisand, "The Sting" again with Paul Newman, "Three Days of the Condor," "All the President's Men,"and "The Electric Horseman."
Following an extended hiatus from acting in the late 1970s, Redford launched his directing career with the ensemble drama "Ordinary People," based on Judith Guest's novel. It performed well at the box office, winning four Oscars in 1981, including Best Picture and Best Director for Redford. It remained the only recognition he never received for his acting. In the 1980s and 1990s, he continued to enjoy success as an actor, though perhaps with less groundbreaking impact than he had in the 1970s. He appeared in "The Natural" and "Out of Africa" before resuming his directorial career with "The Milagro Beanfield War" and "A River Runs Through It," both of which tackle rural America in different ways.
A year later, he reached a turning point of sorts with the erotic thriller "Indecent Proposal," a pure Hollywood venture in which his character, a businessman, offers a million dollars to sleep with Demi Moore's character. It reinstated Redford's status as a commercial presence. In the 1990s, he directed two films: "Quiz Show" and "The Horse Whisperer," for which he also starred.
During this period, the Sundance Film Festival, co-founded by Redford's production company in 1978 as the Utah/US Film Festival and renamed after Redford's Sundance Institute in 1984, emerged as a prominent showcase for American independent cinema. The festival promoted the work of renowned filmmakers such as Steven Soderbergh, Quentin Tarantino, Robert Rodriguez, and Kevin Smith. Its impact increased further in subsequent decades, establishing itself as a platform for promoting movies and helping them to achieve commercial success and awards recognition. Notable films showcased include "500 Days of Summer," "Napoleon Dynamite," "Whiplash," "Fruitvale Station," and "Coda."
While "Lions for Lambs," his 2007 film about the Afghan War, was a failure, "All Is Lost," his 2013 survival-at-sea drama, was a notable improvement. In this film, he delivered an exceptional solo performance. In 2014, Redford joined the Marvel Cinematic Universe, playing Alexander Pierce in "Captain America: The Winter Soldier." He played the same role in a cameo appearance in "Avengers: Endgame" in 2009. Redford cut back on his directorial work in the mid-2010s, relinquishing his role as steward of the Sundance Film Festival and confirming his retirement from acting. His last significant role was in the David Lowery-directed 2018 crime drama "The Old Man & The Gun."
Throughout his lifetime, Redford received numerous accolades, including an Honorary Oscar in 2002.
Australian Broadcasting Corporation (produced with the assistance of)
Energee Entertainment
Icon Entertainment International
New South Wales Film & Television Office (developed with the assistance of)
Premium Movie Partnership (produced with the assistance of)
RTV Family Entertainment AG (produced with the assistance of)
Genre: Animation/Family/
Adventure/Comedy
Rating: G
Runtime: 80 minutes
Budget: A$12,000,000 (estimated)
Box Office Gross: A$1,001,000 (Australia)
Plot Summary
Bunyip Bluegum is a
splendid young koala on a
quest to find his missing
parents when he comes
across a magic pudding named Albert and meets a loud sailor, Bill Barnacle, and his penguin mate, Sam Sawnoff. Together, they form the Noble Society of Pudding Owners, as they constantly thwart the attempts of the Pudding Thieves.
Voice Cast
Sam Neill - Sam Sawnoff
Hugo Weaving - Bill Barnacle
Geoffrey Rush - Bunyip Bluegum
John Cleese - Albert the Magic Pudding
Dave Gibson - Uncle Wattleberry/Possum/Additional Voices
John Laws - Rumpus Bumpus
Greg Carroll - Watkin Wombat
Peter Gwynne - Benjamin Brandysnap
Michael Veitch - Bandicoot
Robyn Moore - Henrietta Hedgehog/Additional Voices
Jack Thompson - Buncle
Mary Coustas - Ginger
Sandy Gore - Frog on the Log
Toni Collette - Meg Bluegum
Roy Billing - Tom Bluegum
Martin Vaughan - Parrot
Gerry Connolly - Dobson Dorking
Lee Perry - Additional Voices
Marg Downey - Additional Voices
Crew
Story Development/Director - Karl Zwicky
Based on the Story "The Magic Pudding" - Norman Lindsay
Story Development - Morris Gleitzman
Screenplay - Harry Cripps,
Greg Haddrick and Simon Hopkinson
Executive Producers - Paddy Conroy
and Carmel & John Travers
Executive Producers: Icon - Bruce Davey,
Ralph Kemp and Mel Gibson (Uncredited)
Producer - Gerry Travers
Production Designer/Background
Style Development/Drawn Background
Artist/Digital Background Supervisor/Artist -
Helen Steele
Production Designer/Background Style
Development/Key Color Stylist/Digital
Background Artist - Kelly Wallwork
Character Designer/Storyboard/
Timing Artist/Animation Director -
Robbert Smit
Character Designer/Storyboard Artist/
Key Layout Design - Daniel Foley
Character Designer/Storyboard/Layout Artist -
David Wilkinson
Character Designer/Layout Artist - Jo-Anne Boag
Storyboard/Layout Artists - Stephen Doric
and Joe Wylie
Storyboard/Layout Artist/Mouth Breakdown -
Astrid Nordheim
Layout Director/Animation Supervisor -
Margaret Parkes
Editor - Richard Hindley
Sound/Re-Recording Mixer - Phil Judd
Re-Recording Mixer - Peter Purcell
Music/Original Songs/Keyboards/
Programming - Chris Harriott
Original Songs - Dennis Watkins
Conductor/Orchestrator - Christopher Gordon
Concert Master - Phillip Hartl
Review
As a young kid, I was unfamiliar with the children's classic The Magic Pudding, having never read it but having seen the animated movie only once, a long time ago. I have good memories of it and can't wait to see the film again. While it had decent production values, a tremendous voice cast, and terrific animation, the character designs remained true to the book illustrations. Unfortunately, the plot is unfaithful to the original story Norman Lindsay wrote. It lacks the wit and the surrealistic charm that make it so great. Perhaps the filmmakers got the recipe wrong and substituted their interpretation for the original storyline.
The songs don't advance the plot much and are instantly forgettable. Perhaps they were trying to follow in Disney's footsteps, but by the time the film premiered, they were unaware that the Disney formula had ended with the advent of computer animation, thanks to Toy Story. On the bright side, the racist overtones in Norman Lindsay's story are gone to make it more politically correct.
There are some good things about this film, especially the voices with actors like John Cleese, who is fitting as Albert, the irascible magic pudding, and Geoffrey Rush, who is appropriately sincere as the plucky young koala Bunyip. The rest of the cast, including Hugo Weaving, Sam Neill, and Jack Thompson, is also good, to be honest. I never knew Toni Collette could sing, and she is heard briefly as Bunyip's missing mum.
THE MAGIC PUDDING is an average but watchable film. Young children unfamiliar with the book will likely enjoy this movie. Those who have read the classic Australian book will be disappointed by this film, as its story differs significantly from the original.
Associate Producer/Production Designer/Second Unit Director - Joe Alves
Producers - Richard D. Zanuck and David Brown
Technical Advisor - Fred Zendar
Art Directors - W. Stewart Campbell and Gene Johnson
Set Decorator - Phil Abramson
Costume Designer - Bill Jobe
Director of Photography -
Michael C. Butler
Live Shark Photography - Ron & Valerie Taylor
Unit Production Manager - Bill Badalato
Production Manager - Tom Joyner
First Assistant Directors - Scott Maitland and Don Zepfel
Second Assistant Directors - Katy Emde and Beau Marks
Stunt Coordinator - Ted Grossman
Special Mechanical Effects - Roy Arbogast and Robert A. Mattey
Film Editors - Steve Potter,
Arthur Schmidt and Neil Travis
Sound - James R. Alexander
Sound Re-Recording - Robert L. Hoyt
Sound Effects Editor - James Troutman
Music - John Williams
Review
When Jaws came out in 1975, beachgoers were so terrified by the film that they were afraid to go into the water. It was a career boost for young Steven Spielberg, who would later direct such major successes as Close Encounters, Raiders of the Lost Ark, E.T. the Extra-Terrestrial, Schindler's List, Jurassic Park, and others. Meanwhile, JAWS 2 premiered in 1978 without Spielberg's involvement. Following the success of the first instalment, Universal was keen to capitalise on its popularity, and audiences asked for more bite-sized thrills. Looking back at the sequel, it's just your typical shark movie, with nothing new or more thrilling than the original. What also disappointed me about the film was that Richard Dreyfuss didn't return (which is why he refused to do so without Spielberg).
While a decent director, Jeannot Szwarc, falls far short of Steven Spielberg's standards. He doesn't have as much enthusiasm as Spielberg did when he filmed the first Jaws. All things considered, he did a decent job with the material at his disposal. The plot is too similar to the original film. Yet, the suspense of the first instalment remains, especially in the second half. The shark appears as good as it did in the first one. However, its behaviour is more akin to that of a serial killer than to that of an enraged beast. Even the teenage characters are rather one-dimensional. You don't get to know many of them well enough to care whether they survive or become shark food.
The ensemble cast is solid, with Roy Scheider's performance as Chief Brody standing out the most. The only reason Roy agreed to appear in this sequel was that he remained under contract with Universal for multiple films. According to outside sources, JAWS 2 was his way out of that situation, even if it meant clashing with the new director.
The series should have ended when Roy Scheider refused to continue playing the role. While this sequel may appear to be a cash-in on the original film, the poor quality of the subsequent two films confirms as much. JAWS 2 was so popular with audiences that it didn't need any more follow-ups.
Although it's not as good as its predecessor, JAWS 2 is undoubtedly the least disappointing of the series and the only watchable sequel. I'd advise this to lovers of the original.
The renowned British actor Terence Stamp has passed away at the age of 87. He was best known for his roles as General Zod in the first two "Superman" films and Bernadette in "The Adventures of Priscilla, Queen of the Desert."
Born on 22 July 1938 in Stepney, East London, to a working-class family, Stamp initially attended a grammar school before embarking on a career in advertising. After winning a scholarship to study at the Webber Douglas Academy of Dramatic Art, he secured his first film role in "Billy Budd" in 1962. He later received an Oscar nomination for Best Supporting Actor and a Golden Globe for Most Promising Male Newcomer for the movie. Stamp subsequently starred in "The Collector," "Modesty Blaise," and "Far From the Madding Crowd," emerging as one of the most prominent icons of 1960s London. He had romantic relationships with supermodel Jean Shrimpton and actresses Brigitte Bardot and Julie Christie, the latter of whom was his co-star in "Far From the Madding Crowd."
In 1978, after being out of work for eight years, Terence Stamp jumped at the opportunity to play the malevolent Kryptonian General Zod in Richard Donner's "Superman" and its sequel, "Superman II." Stamp's portrayal of Zod was not his only appearance in a DC Comics production. Decades later, he lent his voice to Jor-El in the 2000s TV series "Smallville."
Stamp appeared in several mainstream films during the 1980s, including "Wall Street," "Young Guns," "Legal Eagles," and "Alien Nation." He shared the screen with John Hurt and Tim Roth (in his debut) in director Stephen Frears' 1984 crime film, "The Hit."
In 1994, he impressed critics and audiences alike with his groundbreaking portrayal of trans woman and drag queen Bernadette Bassenger opposite Hugo Weaving and Guy Pearce in the Australian road comedy "The Adventures of Priscilla, Queen of the Desert," which earned him Golden Globe and BAFTA nominations. In 1999, he played Supreme Chancellor Valorum in "Star Wars: Episode I - The Phantom Menace," which he later described as a "dull experience." That same year, he also appeared in the comedy "Bowfinger" alongside Steve Martin and Eddie Murphy. He also starred in Steven Soderbergh's crime thriller "The Limey," playing an English criminal who comes to the US to uncover the truth behind his daughter's death. For this role, he earned more recognition.
After appearing in "The Phantom Menace" and "The Limey," Stamp made further film appearances in "Red Planet," "The Haunted Mansion," and "Elektra," in which he played the blind sensei Sticks alongside Jennifer Garner as the eponymous Marvel Comics assassin.
In recent years, he appeared in films such as "Wanted," "Get Smart," "Yes Man," "Valkyrie," "Big Eyes," "The Adjustment Bureau," and "Miss Peregrine's Home for Peculiar Children." His last film role was in the 2021 psychological thriller "Last Night in Soho," directed by Edgar Wright. In addition to appearing on television and the stage, Stamp also lent his voice to video games, including "Halo 3" and "The Elder Scrolls IV: Oblivion."
Dear moviegoers and fellow critics, it is with a heavy heart that I must convey the unfortunate news that has led us to this point. David Stratton, 85, a veteran film critic, writer, and lecturer known for his decades-long collaboration with Margaret Pomeranz on Australian television, has passed away. I never had the chance to meet him in person, but I wish I had because I would have loved to chat with him about his film-critique style.
David Stratton was born in England in 1939. He immigrated to Australia in 1963 as part of an initiative known as the 'Ten Pound Poms' migration scheme. His passion for film began in his youth and blossomed into a career that garnered acclaim from the industry's most renowned figures.
Between 1984 and 2004, he appeared alongside Margaret Pomeranz on SBS's "The Movie Show," using a format popularised by US film critics Gene Siskel and Roger Ebert. Together, the duo became a fixture of Australian culture, regularly appearing on screen to offer their opinions even though many viewers had no intention of watching the films in question. In particular, the disagreements between Strattom and Pomeranz proved memorable – to the extent that viewers identified as either a "David person" or a "Margaret person."
In 2004, Stratton and Pomeranz began hosting "At the Movies" on ABC, a role they held for a decade before stepping down in 2014.
In 2015, Stratton earned the title Member of the Order of Australia. However, among his many achievements, arguably the one he was most proud of was his lifelong battle against movie censorship, which he fought long after he ceased appearing on the Australian screen.
After 30 years of hosting TV programmes, 35 years teaching world cinema at the University of Sydney, and 33 years writing reviews for The Weekend Australian, Stratton announced his retirement in 2023 due to poor health.
Here is a clip of his infamous review of "The Castle."
Hollywood risks losing its audience due to its recent reliance on remakes, reboots, cash-grab sequels, and unsuccessful attempts to build franchises, all of which threaten to undermine its standing. Thankfully, it's all about to change with the blockbuster release of F1, which embraces the classic storytelling conventions that Hollywood has forgotten. As you know, Formula One is the world's most popular motorsport. It has experienced a resurgence during the pandemic, thanks to the Netflix docuseries Drive to Survive. However, I was never a fan of this huge racing event, as I only watched the Bathurst 12 Hour and Supercar races at Mount Panorama.
Riding the wave of success from Top Gun: Maverick, Joseph Kosinski returns to deliver another thrilling spectacle in F1. Kosinski expressed interest in directing a racing film after the one about the 1966 Le Mans event, which was to feature Tom Cruise and Brad Pitt, fell through due to budget constraints. That movie later became Ford v Ferrari, directed by James Mangold and starring Matt Damon and Christian Bale. His regular collaborators from the previous film, including writer Ehren Kruger and producer Jerry Bruckheimer, return to assist him with this latest outing, thus reassembling the dream team. But one question remains. Will this movie offer a cinematic experience similar to Kosinski's 2022 offering? The answer is yes.
While the film is similar to the director's previous movie, it reminds me of Days of Thunder, as both films live up to the description of "Top Gun on wheels." Interestingly, Bruckheimer and legendary composer Hans Zimmer worked on that film before F1. Unfortunately, the biggest issue within F1 is its plot, which relies on familiar narrative beats from other inspirational sports movies, making it formulaic and predictable. However, its complex character moments, depth, and themes of resilience, redemption, the pursuit of greatness, and the power of teamwork make up for it. Lewis Hamilton's involvement as a producer is evident, with his guidance pivotal to ensuring the authenticity of the racing scenes. This commitment to accuracy extended even to subtle details, such as the gear changes made during cornering.
Acting legend Brad Pitt headlines the cast, lending his magnetic charm and effortless charisma as the veteran race driver Sonny Hayes. The two-time Oscar winner's passion for racing is evident in his character, whose enthusiasm for the sport is infectious. Like Tom Cruise before him, he is one of the last movie stars of his generation. Although he was 61, he still kept his rugged good looks for the part. Damson Idris excels as the overconfident young driver, Joshua Pearce, adding depth to the role with his precise facial expressions and an air of confidence that matches Sonny's. The chemistry between him and Pitt is explosive, with a "veteran versus rookie" dynamic that evokes the intensity of a high-speed race.
Javier Bardem shines as struggling team owner and former Formula 1 driver Ruben Cervantes, a role that could have amounted to mere bravado. Kerry Condon steals the show as technical director Kate McKenna, the team's voice of reason. Additionally, the Irish actress shares on-screen romantic chemistry with Pitt. Formula One fans will recognise Hamilton and his peers, such as Max Verstappen, Charles Leclerc, and Lando Norris, in short cameo appearances during the off-track scenes.
The movie stands out for its consistently exhilarating racing scenes, which provide an adrenaline rush for racing fans and propel the narrative forward at top speed. Claudio Miranda's cinematography establishes the film's realistic visual style. Whereas the cockpit camerawork in Top Gun: Maverick is impressive, F1 takes it to the next level, delivering an immersive, highly impactful viewing experience. The editing and sound design are top-notch, enhancing the racing sequences, and the film's striking visuals do as well. Hans Zimmer, who incidentally composed the score for Rush, another Formula One movie, delivers a killer, heart-pounding, electric score featuring songs by Queen, Led Zeppelin, Ed Sheeran, and others.
Arguably, F1 is a full-throttle sensation for audiences, capturing the visceral thrills of the motorsport, and is close to dethroning Ford v Ferrari as the best racing movie. It's an absolute reminder of why I love popcorn movies. Whether you're into cars or not, this is a must-see film.
Australian actor Julian McMahon has died. He was 56. The actor rose to fame in the television series "Charmed," "Nip/Tuck," and "FBI: Most Wanted," but perhaps he is best known for his portrayal of the supervillain Doctor Doom in the original "Fantastic Four" duology.
McMahon was born in Sydney in 1968. He was the son of former Australian Prime Minister Sir William "Billy" McMahon. Despite coming from a political background, the actor always enjoyed being in the spotlight and has never followed his father's footsteps by entering politics or becoming a Liberal Party powerbroker. McMahon attended the University of Sydney to study law, but didn't graduate. But his natural good looks secured him modelling gigs. He worked as a model in fashion hotspots such as London, Paris, and Milan until his father passed away in 1988. Following this, he left Europe to return to Australia. In the late 1980s, McMahon first appeared on the short-lived Seven Network soap opera "The Power and the Passion," playing Kane Edmonds. It marked his foray into acting. His next role was Ben Lucini in "Home and Away," which he played from 1990 to 1991.
He embarked on his feature film career with a role in the 1992 comedy "Exchange Lifeguards" (renamed in the US as "Wet and Wild Summer!") opposite Elliot Gould. He progressed to US television, appearing in shows such as "Another World," "Profiler," and "Will & Grace." Wider recognition came when he played the half-human, half-demon assassin Cole Turner in the hit supernatural series "Charmed," appearing from 2000 to 2003, with a brief return in 2005. Later, he appeared in the racy medical drama "Nip/Tuck" as the arrogant plastic surgeon Dr. Christian Troy. From 2003 to 2010, the show lasted for six seasons and earned McMahon a Golden Globe nomination. In 2005 and 2007, he portrayed the Marvel supervillain Doctor Doom in the two films of the "Fantastic Four" franchise by 20th Century Fox.
The actor also appeared as special agent and team leader Jess LaCroix in the CBS crime drama "FBI: Most Wanted" for three seasons before exiting the show in 2022. His other film roles include "Chasing Sleep," "RED," "Faces in the Crowd," and "The Surfer."
McMahon was married three times. His first marriage was to Australian singer Dannii Minogue in 1994, and his second to actress Brooke Burns, with whom he has a daughter.
