Star: Jeremy Lindsay Taylor, Clayton Watson, Nathan Phillips, Jake Ryan, Martin Dingle Wall | Written and Directed by Blair Moore
Chess is ruthless: you’ve got to be prepared to kill people – Nigel Short
That quote opens the new Aussie thriller Kane, the camera focusing on Abe playing a game. In voiceover Abe’s driver, Benny tells us a few things. Abe is an old-school gangster, all about loyalty and honour. He also has dissociative identity disorder more commonly known as multiple personalities, and as he’ll mention shortly, he’s off his meds. He also tells us that Abe’s opponent is Frankie, a former member of his outfit who is now his rival for control of the city’s underworld. A rivalry that has turned bloody
From here writer/director Blair Moore (Canadian Psycho) lets Benny tell the story of the past twenty-four hours in flashback as he’s being interrogated by the police,...
Chess is ruthless: you’ve got to be prepared to kill people – Nigel Short
That quote opens the new Aussie thriller Kane, the camera focusing on Abe playing a game. In voiceover Abe’s driver, Benny tells us a few things. Abe is an old-school gangster, all about loyalty and honour. He also has dissociative identity disorder more commonly known as multiple personalities, and as he’ll mention shortly, he’s off his meds. He also tells us that Abe’s opponent is Frankie, a former member of his outfit who is now his rival for control of the city’s underworld. A rivalry that has turned bloody
From here writer/director Blair Moore (Canadian Psycho) lets Benny tell the story of the past twenty-four hours in flashback as he’s being interrogated by the police,...
- 11/10/2023
- by Jim Morazzini
- Nerdly
Earlier this week, I looked at recent releases of Easter-season choral works by J.S. Bach and one of his sons. Today I cover a bit more historical range in terms of composers and eras, again sticking to recent releases.
Maria Venuti, Keith Lewis, Michel Brodard/Gächingen Chorale of Stuttgart/Bach Collegium of Stuttgart/Helmuth Rilling Christus am Ölberge, Op. 85 (Hänssler Classic)
Written in 1802 in just 14 days (but not published for a decade, hence the high opus number), Christus am Ölberge (Christ on the Mount of Olives) is a dramatic oratorio depicting Christ's emotional acceptance of his fate during His conversation with an angel in the garden of Gethsemene, followed by His arrest and Peter's protest.
It's not one of my favorite pieces; there's just one memorable chorus (all the way at the end) and a lot of fairly rote Beethovenisms. Even the composer spoke disparagingly of it, disliking the libretto.
Maria Venuti, Keith Lewis, Michel Brodard/Gächingen Chorale of Stuttgart/Bach Collegium of Stuttgart/Helmuth Rilling Christus am Ölberge, Op. 85 (Hänssler Classic)
Written in 1802 in just 14 days (but not published for a decade, hence the high opus number), Christus am Ölberge (Christ on the Mount of Olives) is a dramatic oratorio depicting Christ's emotional acceptance of his fate during His conversation with an angel in the garden of Gethsemene, followed by His arrest and Peter's protest.
It's not one of my favorite pieces; there's just one memorable chorus (all the way at the end) and a lot of fairly rote Beethovenisms. Even the composer spoke disparagingly of it, disliking the libretto.
- 4/17/2014
- by SteveHoltje
- www.culturecatch.com
He played some of the most sublime chess ever seen. Then, as a new book and film illustrate, he disappeared from view. What made such a brilliant mind go into freefall?
In 1999, I spent three days sitting in a variety of thermal baths dotted around Budapest. As grand and attractive as the Hungarian capital's spas are, I wasn't stewing myself for therapeutic or leisure purposes. Instead, I was waiting for someone I'd been told frequented the baths, someone who was said to be a genius and a paranoid obsessive, the greatest chess player who ever lived and an obnoxious crackpot. I was looking for Bobby Fischer.
For the last four decades of his life, that's what people did with Fischer – they looked for him. Fans, journalists, biographers, friends, they all tried to find this mythical creature, either in person or in that fabulous abstract realm that he continued to haunt: chess.
In 1999, I spent three days sitting in a variety of thermal baths dotted around Budapest. As grand and attractive as the Hungarian capital's spas are, I wasn't stewing myself for therapeutic or leisure purposes. Instead, I was waiting for someone I'd been told frequented the baths, someone who was said to be a genius and a paranoid obsessive, the greatest chess player who ever lived and an obnoxious crackpot. I was looking for Bobby Fischer.
For the last four decades of his life, that's what people did with Fischer – they looked for him. Fans, journalists, biographers, friends, they all tried to find this mythical creature, either in person or in that fabulous abstract realm that he continued to haunt: chess.
- 5/14/2011
- by Andrew Anthony
- The Guardian - Film News
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