Home' Trinidad and Tobago Guardian : September 7th 2014 Contents One of the best Sundays (and weeks) for choice features almost a dozen
films that could have been named Best of the Week including a trinity that
BC on TV found impossible to separate at the top (two of today s picks and
the Kubrick masterwork, *2001: A Space Odyssey BEST FILM OF THE WEEK,
4.25 pm tomorrow TCM) as well as, today, a modern reworking of Henry
Fielding (What Maisie Knew, 1.10 pm, Max), last week s top Western (Butch
Cassidy and the Sundance Kid, 8 pm Enc3) and a decent Clint Western (Pale
Rider, 5.30 pm TCM). The week includes seven films that could all have been
named Best of the Week in almost any
other week of the year (Lord of the Rings
3, 4.30 pm tomorrow HBOC, Steve
McQueen s excellent Shame, 9 pm Tues-
day HBOC, Marvel s The Avengers, 9.35
pm Tuesday and again 5.50 pm Thursday
HBOF, Batman Begins, 3.15 pm Friday,
Al Pacino s overlooked tour de force Dog
Day Afternoon, 5.45 pm Friday, HBOC,
a contender for the Best Caper Flick Ever Shot, The Sting, 2.30 pm TCM
and many people s Best Western of All Time, The Wild Bunch, 4.50 pm
Friday and again 6 am Saturday TCM).
TODAY'S BEST FILM: Training Day (Antoine Fuqua/2001/ Australia-
USA/Crime-Drama-Thriller/122 mins/R for brutal violence, pervasive lan-
guage, drug content and brief nudity), 7.45 pm Turner Classic Movies.
Watch this if you liked American Gangster, Reservoir Dogs or The Departed.
One of Denzel Washington s most overlooked movies, and one of his top five
performances, Training Day makes up with slick pacing and flawless direc-
tion for anything it might be accused of lacking in originality. With a strong
co-lead performance from Ethan Hawke, this is a crime thriller that also de-
serves to be classed as drama. Just don t try to pronounce the director s name
out loud; hard to believe he s the same Fuqua who made the dreadful
REST OF THE WEEK: Reservoir Dogs (Quentin Tarantino/1992/
USA/Crime-Drama-Thriller/99 mins/R for strong violence and language)
10 pm Tuesday Turner Classic Movies BEST FILM OF THE WEEK. Watch
this if you liked Django Unchained, The Departed or Lock, Stock & Two
Smoking Barrels. A strenuous contender for QT s best film---though it is
likely to lose to Pulp Fiction, it probably tops Django---and certainly the best
pop singles chart soundtrack he s chosen to date, Reservoir Dogs is in the
running for Best Debut Film Ever Made. From the opening restaurant scene
featuring dialogue that could have filled someone else s entire film to the
climactic three-way shootout (tipping the Quentin hat to The Good, the Bad
and the Ugly) via the first torture scene BC on TV ever saw in a quality Amer-
ican film, this is top notch filmmaking. When a movie is as good as this, it
doesn t matter that either a lot or all of it is stolen (or, in polite-speak,
"homage"). Quarrel over who has the best performance---Harvey Keitel?
Steve Buscemi? Michael Masden? Tim Roth? Lawrence Tierney?---but
there s no doubt Harvey Keitel gets the best soliloquy, the one ending with,
"Let s get a taco".
The Exorcist (William Friedkin/1973/USA/Horror/122 mins/R for strong
language and disturbing images), 10 pm Thursday Turner Classic Movies
BEST FILM OF THE WEEK. Watch this if you liked The Omen, The Shining
or the original Wes Craven A Nightmare on Elm Street. Though gore and
special effects have been greatly improved in modern movies, The Exorcist,
over 40 years old, is far, far scarier than most of today s rubbish. Before
excess replaced finesse, this movie had people running screaming out of
cinemas all over the world. Watch the scene with the crucifix---far, far more
upsetting than the book version---and you ll see why. The music alone is ter-
rifying. This, the "version you ve never seen", includes three seconds of
footage---the stairs descent---that adds years to the viewers life through sheer
creepiness. A masterpiece of unease.
BEST OF THE REST: Mon: The Shawshank Redemption, 7 pm TCM;
Tues: Cinderella Man, 5 pm MaxW; Wed: Monsters University, 9 pm
HBOC; Thurs: The Campaign, 5.25 pm HBO; Fri: Basic Instinct, 10 pm
TCM; Sat: Face/Off, 7.30 am HBOC.
*Starred films have been chosen in the last three months. Scheduled
Internet times often vary on the day, particularly around month-end.
Sunday Guardian www.guardian.co.tt September 7, 2014
A Trifecta of the Week's Best Films on the Box
The Exorcist, one BC's favourite horror picks.
A masterpiece of unease
All Inclusive by Jackie Hinkson. PHOTO: MARSHA PEARCE
CONTINUES FROM PAGE B3
"I always loved the idea that a calypsonian could
communicate with a broad public. I also want to
communicate broadly. This explains why my imagery
has remained recognisable," he said.
Behind the layer of figuration, however, the viewer
can find a visual foundation that is pure abstraction.
"When I approach a watercolour painting outdoors,
I am faced with foliage, road, roof, sea. My focus is
not on what the objects are. I don t say: This is gal-
vanise, this is fish, this is water. My focus is on:
What do I leave out, shift, exaggerate? What do I
juxtapose next to what? So my thinking is totally
abstract," he said.
Hinkson combines a concern with shapes, lines,
space and balance with a Caribbean heat and light.
In his discussion about a painting of a hot day at
the beach, depicting people sheltering from the sun
under the triangular thatched roof of a hut, Hinkson
pinpointed the possibility of seeing in the work some-
thing familiarly Caribbean.
"The burning heat of midday, where shadows
stamped on the ground turn a black-purple, to me
is a Caribbean experience. But while painting it I
was also fully conscious of where I placed that tri-
angular roof, how big, what I was doing with the
coconut tree trunks in the image and the shape
Pushing the pigment
What is now discernible too, for those who have
followed his watercolour works over the years, is his
effort to increase the density of tones, for example
in his description of dark rocks near a shoreline,
without the colours becoming too murky and losing
"I am trying to push the pigment as far as I can.
I am pushing the tonal weight of things but still
trying to keep the light---but not just any light, our
light," he explained.
If the meanings in his watercolours require closer,
careful looking, Hinkson s oil paintings in the exhi-
bition are more overt in their social commentary.
"A darkening cloud in a watercolour might hint
at something happening in the society---something
foreboding---but I can be a little more direct in my
oils," he said.
Hinkson s oil paintings include his attention to the
growing presence of billboards in T&T s visual land-
scape. His pieces incorporate those billboards, often
showing how they stand ironically with other struc-
tures in cities and neighbourhoods. For example, a
huge advertisement for an expensive product might
loom over an impoverished area of the island.
In the painting All Inclusive, Hinkson puts a bill-
board, the Napa building and the National Museum
side by side, perhaps in a visual account of an indis-
criminate embrace of everything in the country.
"I am not criticising it though. I am saying this
is our reality," Hinkson said.
Along with a look at billboards, Hinkson also puts
a spotlight on another reality: the exploitation and
objectification of women. He presents paintings that
are more patently abstract as he describes the female
figure in segments: a leg, a curve of the hip, a portion
of a torso. These works are a return to a minimalist
approach he explored while he studied abroad in the
Ultimately his exhibition is about awareness of the
world, a state of being that he finds particularly
important for artists: "Artists have to be aware. They
must remain responsive to what is happening here
A spotlight on another reality
In the painting All Inclusive, Hinkson puts a
billboard, the Napa building and the National
Museum side by side, perhaps in a visual
account of an indiscriminate embrace of
everything in the country.
"I am not criticising it though. I am saying this
is our reality," Hinkson said.
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