Andy Canny scooped Best Editing in a Feature Drama for The Invisible Man at the 2020 Ellie Awards yesterday, backing up his recent Aacta win.
Geoff Lamb took home Best Editing in Drama for The Commons, and Deborah Peart Best Editing in Comedy for Upright.
The annual awards, presented by Australian Screen Editors (Ase), were held online this year due to Covid, hosted by comedian Steph Tisdell.
In addition to the celebrations, the event also saw Ase president Fiona Strain announce after five years at the helm that she will be handing the reins to vice-president Danielle Boesenberg from February.
“She has been a calm, intelligent presence in the executive committee and will bring thoughtfulness and a commitment to diversity as we serve a very wide a range of members from students through assistants and others who have been in the industry over 40 years,” Strain told If.
In her speech at the event,...
Geoff Lamb took home Best Editing in Drama for The Commons, and Deborah Peart Best Editing in Comedy for Upright.
The annual awards, presented by Australian Screen Editors (Ase), were held online this year due to Covid, hosted by comedian Steph Tisdell.
In addition to the celebrations, the event also saw Ase president Fiona Strain announce after five years at the helm that she will be handing the reins to vice-president Danielle Boesenberg from February.
“She has been a calm, intelligent presence in the executive committee and will bring thoughtfulness and a commitment to diversity as we serve a very wide a range of members from students through assistants and others who have been in the industry over 40 years,” Strain told If.
In her speech at the event,...
- 12/7/2020
- by Jackie Keast
- IF.com.au
The mean streets of Thames, New Zealand — though “moderately impolite” appears to be about as bad as it gets — become an improbable setting for supernaturally-sparked action in “Mega Time Squad.” Tim van Dammen’s clever crime comedy pegs good guys and bad guys alike as gormless clods, a dynamic only heightened after the discovery of a time-travel device that generates clones of our none-too-bright hero. The unique mix of simultaneously droll and broad humor is very nicely delivered by a well-cast ensemble, resulting in a polished oddity that should make a splash at home, while attracting decent overseas interest.
The film represents a considerable leap from prolific music-video helmer van Dammen’s prior feature, 2013’s amusing if rough trailer-park rock musical “Romeo and Juliet: A Love Song,” and the tongue-in-cheek splashiness of its style is immediately engaging. John (Anton Tennet) is a prime punter in his town of 7,000, where long-deceased...
The film represents a considerable leap from prolific music-video helmer van Dammen’s prior feature, 2013’s amusing if rough trailer-park rock musical “Romeo and Juliet: A Love Song,” and the tongue-in-cheek splashiness of its style is immediately engaging. John (Anton Tennet) is a prime punter in his town of 7,000, where long-deceased...
- 8/1/2018
- by Dennis Harvey
- Variety Film + TV
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