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Broadcast in 1972, the same year it was agreed that the UK would join the European Common Market, Clochemerle caused a stir when it was first shown. That’s because this charming show was all about a urinal. This pissoir (the word is never used) is erected in a small French village by the progressive mayor … Read more
Shock, horror, probe. Sam Fuller’s Underworld USA is further proof that the former crime journalist and pulp novelist’s knack for attention-grabbing material survived the transition from the page to the screen. Fuller was a newspaper copyboy aged 12, a crime reporter aged 17, a novelist aged 23 and a screenwriter aged 26. A man in … Read more
App is a film about an app and it originally came with an app. Wha? It’s the first movie to use “second screen technology’ to deliver extra content via smartphone while the main feature plays out on the big screen. “Start the app now” a message (in Dutch) flashes up on the screen as the … Read more
How’s this for grim! The atmospheric and technically superb Panique, released in 1946, one year after the war ended, gave the French people an image of themselves at their worst. What the domestic market wanted at the time was sugar-coated triumphalism, stories about the nobility of the Resistance to the German occupation and the endurance … Read more
Towards the end of 2021 Flee found itself in the curious position of being eligible for Oscar nomination in three different categories. Which way to jump? It eventually submitted itself as a contender in the Best International Feature category. Best Animated Feature was also an option. As was Best Documentary – though spotting that Summer … Read more
There’s a “strike while the iron is hot” aspect to 1945’s Scarlet Street, a quick follow-up to 1944’s The Woman in the Window which reunited the three key cast members – Joan Bennett, Edward G Robinson and Dan Duryea – with director Fritz Lang and the ace cinematographer Milton Krasner. That was noir and so is … Read more
Pastiche nudged into madness, Let the Corpses Tan is a Sergio Leone film on psychoactive substances and the third feature-length outing for Hélène Cattet and Bruno Forzani, who specialise in this sort of weird pastiche/homage. Their 2009 feature debut, Amer, baked Lynch, Kubrick, Svankmajer and Argento into a kaleidoscopic revisit to the Euro soft porn/arthouse … Read more
Parenting tips with Sean Penn? Flag Day continues the actor/director’s interest in movies circling around the idea of family. In 2001’s The Pledge, childless, edge-of-retirement cop Jack Nicholson sought redemption by bringing in a child murderer, out of a personal sense of duty to the parents. In 2007’s Into the Wild, graduating student Emile Hirsch … Read more
“Quai des Orfèvres” means “the cops” in France in the same way that “Scotland Yard” does in the UK. So it’s no surprise that this classic from 1947 is a crime thriller. It’s a peculiarly knotty one, directed by the masterly Henri-Georges Clouzot, who also did the adaptation, from Stanislas-André Steeman’s original novel Légitime Défense. … Read more
“Who the fuck are you?” two cops ask the bloody guy they’ve got sitting over the table from them, in some sort of interview situation. “I’m, er…” he says. And boom, up on the screen comes the single word in giant letters, NOBODY, and this head-clearing mix of extreme violence and dry comedy gets underway. … Read more
Dull rather than dim,The Matrix Resurrections reanimates the corpse of the original and best of the previous three Matrix movies and sets off in the right direction before bogging down in the sort of world-building, lore-laden plotting that hobbled numbers two and three. Some years have passed and Thomas Anderson (aka Neo aka The One … Read more
Arthur Penn’s 1975 movie Night Moves sits snugly alongside two other films made about the same time – Polanski’s Chinatown (which went into production in the same month in 1973) and Altman’s The Long Goodbye, which had opened earlier that year. All three are neo-noirs recalling the era of Raymond Chandler, Sam Spade and Humphrey … Read more
