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Early on in The Lady from Shanghai there’s a key piece of dialogue explaining the title. Orson Welles’s Michael O’Hara, an Irish sailor between jobs, meets a woman (Rita Hayworth, Welles’s wife at the time) in New York. Michael is on foot, Elsa is in a horse-drawn carriage taking a turn around Central Park. In … Read more
When Black Panther: Wakanda Forever was first proposed, no one imagined that the sequel to the huge hit of 2018 was going to be made without its star. Chadwick Boseman died in 2020, having kept his battles with colon cancer super-heroically to himself. What to do? Cast someone else in his place? It was an … Read more
The remarkable Warning Shadows (Schatten: Eine nächtliche Halluzination) is often lumped together with other German movies of the 1920s as expressionist but it’s only tangentially an expressionist movie. It’s too strange to fit in that box, too individualistic. As silent movies go it’s strange too. Once it’s done its introductions – the characters’ names materialise … Read more
“How did you write it? How did you write Wuthering Heights?” Charlotte Brontë asks her sister Emily as Emily lies on her deathbed. Emily is the answer, a feverish blend of fact and fancy, part biography, part romantic extravaganza. It’s tasteful but not twee, gothic but not ridiculously so. Pulling off the impressive feat of … Read more
1923 is the year when Buster Keaton’s run of classic feature-length comedies gets out of the blocks with Our Hospitality, which signals its intention to be different even in its opening credits, which linger on the screen far longer than those of most films of the era. Here, they say, is something to be savoured. … Read more
Smoking Causes Coughing. Of course it does. It might be the only bit of sense there is in Quentin Dupieux’s latest film, a drama-free but quirk-heavy work of surreal flippancy centring on a gang of superheroes who call themselves the Tobacco Force. In their tight suits and helmets, this gang look like the Mighty Morphin … Read more
Lean, spare and elegant, Elevator to the Gallows isn’t so lucky when it comes to titles. It also turns up as Elevator to the Scaffold, Lift to the Scaffold (particularly in the UK) and even Frantic (says the IMDb, though this must be vanishingly unusual). Or, in the original French Ascenseur pour l’échafaud. It’s Louis … Read more
The “who’s zooming who” thriller of the 1990s rides again in 2018’s Bad Times at the El Royale, one of those epics where, by the end, almost everyone is dead and a building is in flames yet barely a spark of emotion has been generated. That is probably the intention. Instead writer/director Drew Goddard wants … Read more
Never mind Battles without Honor and Humanity, how about battles that make some sense? There’s lots to love in Kinji Fukasaku’s 1973 gangster movie – the first of a five-part series of “Battles” movies he’d make in two years (amazingly) – but coherence isn’t high on the list. It’s often called the Japanese Godfather, and … Read more
Weirdo sci-fi The Room has plot to spare and every time it feels like it’s about to hit a dead end of genre familiarity the cul de sac reveals itself to be a road to somewhere else. The first “dead end” comes early on. After a boastful credit sequence during which much has been made … Read more
Bold and unusual and entirely itself it may be, but Illuminata isn’t entirely successful as a film. Strange as it may seem, maybe writer/director/producer/actor John Turturro wants it that way. This was only his second movie behind the camera and, being an actor of some renown, he was able to call in some of the … Read more
All you need to make a movie is a girl and a gun, Jean-Luc Godard said, stealing/borrowing an axiom first coined by DW Griffith. What, even to make a multiverse movie? When Dr Strange in the Multiverse of Madness started being eclipsed by Everything Everywhere All at Once last year, Jamie Lee Curtis was all … Read more
