![]() The biggest difference between the S95C and S90C is the former’s external One Connect box that this year is stylishly built into the stand mount at the back of the TV. It’s also beefed up the refresh rate from last year’s S95B, going from 120Hz to 144Hz. It has Samsung’s new QD-OLED panel (more on that below) that is, according to Samsung, 30% brighter than its S90C sibling, and pumps out up to 2,000 nits of brightness. It’s available in the big 77-inch model, yes, and also in more manageable 55- and 65-inch sizes, too. LG’s $100 webcam lets its newest TVs do video calls and moreīased on Samsung’s QD-OLED technology - the QD stands for “quantum dot” - the S95C combines the deep, inky blacks of OLED with the superior brightness of QLED, making it the top dog QD-OLED TV from Samsung - we liked it so much we added it our Top Tech of CES 2023 Awards list. TCL QM8 QLED: The best LCD TV and the one you should buy Size isn’t everything.Hisense teases 110-inch, 10,000-nit TV ahead of CES 2024 The series it has spawned is as vast and empty as the country it explores. The film already felt like a misjudged exercise in maximalism. Sadly, in this case, his instinct towards grandeur for grandeur’s sake leads him to neglect the tiny nuances that make stories sing. Luhrmann is clearly in thrall to the idea of the epic cinematic experience the spectacle. There is little sense of real representation beyond a set of very familiar narrative tropes. In the context of Australia’s “no” vote in the recent Indigenous Voice referendum, this is more unfortunate than ever. Nullah still appears both exoticised and passive, and there remains a distinct whiff of white saviour syndrome about the leading pair’s relationship with Indigenous people. The standard acknowledgement from Reconciliation Australia which appears at the beginning of each episode (“We acknowledge Aboriginal and Torres Strait Islander peoples as the original custodians of the land on which we work and live”) is clearly well-intended but here feels a little tokenistic in the context of what follows. In fact, given the growing emphasis on representation in the years since Australia was released, the lack of depth of these characters feels even less forgivable now. Sadly, though, Luhrmann’s treatment of his minority ethnic characters is no more convincing than in the original film. Through Nullah, we are encouraged to consider the provenance of the land and the fate of its original occupants. Lady Sarah has fallen hard for (admittedly charming) Indigenous Australian child Nullah (Brandon Walters). This might still make for mindless but relatively harmless fun. But even given more room to breathe, it feels like a generic fictional romance a relationship that never manifests in more than one dimension. But, equally inevitably, they both unleash something in the other: the drover accesses something approaching tenderness while Lady Sarah locates previously untapped reserves of stoicism and a little wildness. Their relationship is, of course, stormy. The drover is a study in sweat, ingrained outback dirt and gruff common sense, while Lady Sarah fusses around daintily. Truly, these are two of the least subtly drawn archetypes in screen history. Her only guide through this confusion is Hugh Jackman’s initially nameless cattle drover who, just to make sure we’re absolutely clear about his character, we first meet engaging in a cataclysmic bar brawl. An epic horseback journey awaits – and at least this time, we’re given some explanation regarding Lady Sarah’s advanced equestrian skills. And Australia turns out to be a grubby and chaotic place – she’s at the mercy of the unruly locals (one of whom suspects she might be a soft touch and is therefore attempting to steal her land) as she attempts to settle her business. ![]() ![]() Upon arrival, however, it is immediately clear that she has bitten off more than she can easily chew. To that end, she travels to the edge of the world in search of a divorce and a fortune. But Lady Sarah has decided to dispose of him. Her husband is in Australia disposing of their huge cattle ranch. As the second world war looms, Nicole Kidman’s seemingly prim Englishwoman Lady Sarah Ashley has decided to take control of her destiny. One of the main issues with Faraway Downs is simply the story. It’s The African Queen meets Crocodile Dundee. But, sadly, the same problems remain: Faraway Downs still feels baggy, bloated, lacking in emotional or historical nuance and tonally confused. ![]() Even if the total running time is now even more expansive, dividing this epic narrative into bite-sized 45-minute episodes could have rendered it slightly more digestible. There was an outside possibility that this could have worked.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |