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Made in the 1990s but smelling like something from the 1970s, Auntie Lee’s Meat Pies is the product of a porn director and a few Playboy ladies getting together and making something in their downtime. The results are as impressive as the stars’ superstructures, though there’s scant pickings if you’re only here for a leer. … Read more
In 2013 a young mother named Fabienne Kabou left her baby on a French beach to be swept away by the tide. Saint Omer is the wistful, powerful, thoughtful and, ultimately, rather sad fictionalisation of the trial that ensued when Kabou ended up in the court on the charge. Open and shut, you’d have thought, … Read more
There’s something a bit mad and a bit magical about Man’s Castle, one of the lesser known of director Frank Borzage’s movies. Expert at delivering dramas with complicated romantic relationships at their core, Borzage’s 1933 movie fits snugly alongside the likes of 1928’s Street Angel, 1932’s A Farewell to Arms and 1936’s Desire. A 1933 … Read more
You’ll probably enjoy Pacifiction if you go for Graham Greene stories about shady white guys in white suits hitting the moral buffers in some sweaty colonial sump. It’s a familiar screen sub-genre. Most obviously there’s The Quiet American (either version) or 1967’s The Comedians, starring Richard Burton and Elizabeth Taylor. But Greene’s complex-hero-abroad scenario turns … Read more
Douglas Fairbanks was the Tom Cruise of a century ago and in 1924’s The Thief of Bagdad, Fairbanks’s favourite of his own films, you get to see him at his very best, in the peak of physical condition, in a film that’s one remarkable action set piece after another. As you’ve probably guessed, it’s silent, … Read more
Just when it looked like Quentin Dupieux had hit a creative wall, out comes Yannick, a swerve from his more surreal outings towards something a touch more political. If it’s not entirely plausible, it mostly is, and for Dupieux – the man who gave us a sentient truck tyre in Rubber and a chase comedy … Read more
The director Paul Leni died just as the talkies were coming in, but even so his name still has clout 100+ years on. 1927’s The Cat and the Canary reminds us why. It’s not only a cracking whodunit, and a demonstration of technical wizardry but is also a masterpiece of gothic expressionism… done only semi-seriously. … Read more
Farce played as a thriller, The Origin of Evil (L’Origine du Mal) stars the brilliant Laure Calamy. If you enjoyed her style of paranoid ditziness in the worldwide TV hit Call My Agent (Dix Pour Cent), there’s plenty more of the same on offer here. She plays Nathalie, an ex-jailbird who decides that while her … Read more
After a career banging out one makeweight movie after another, on the 27th go director Kon Ichikawa hit paydirt with The Burmese Harp. A box-office smash and critical hit at home in Japan and abroad, it propelled Ichikawa into the ranks of internationally celebrated Japanese directors, alongside Kurosawa, Ozu, Mizoguchi et al. It’s worth remembering … Read more
I.S.S. is a thriller set on the International Space Station where Russians and Americans are co-operating happily until a nuclear war breaks out down below. First up, why haven’t more films been set on the ISS? What a golden opportunity. Second up, did you realise (as I didn’t) that missions continue to be flown to … Read more
Sam and Diane? Dr Crane and Lilith? Why is everyone in Hanky Panky named after characters in Cheers? The answer would appear to be that writer Nick Roth and his co-director/wife Lindsey Haun thought it was funny. Nothing deep, nothing meta, just good old-fashioned funny. The film’s title logo is styled like the Cheers one … Read more
Second-rate Hirokazu Kore-eda is still first-rate moviemaking. Here’s Monster, the first film he hasn’t written himself for nearly 30 years, a mix of familiar Kore-eda themes and explorations of new fields. Yûji Sakamoto is the TV writer Kore-eda contacted to write his first Japanese-language film in several years, having gone to France for The Truth … Read more
