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Mad God
The work of a genius though not quite a genius work, Mad God is a crazy phantasmagorical ride into a hellish underworld, a stop-motion encylopaedia of styles, some newly minted, others borrowed, which took 30 years to finally finish by its creator, Phil Tippett. If you don’t know Tippett, he’s an animator who’s won Oscars for both old-school stop-motion work and for computer-generated stuff he did after stop-motion fell out of favour. He was head of animation at Industrial Light and Magic in 1978, aged 27, worked on the original Star Wars movies, Honey I Shrunk the Kids, Robocop and Starship Troopers. It was while working on the original Jurassic Park that he … Read more
City Lights
Charlie Chaplin started making his film City Lights in one era and released it in another. In the three years the picture was in production, an epochal shift occurred as Hollywood abandoned the silent movie and went wholesale over to talkies. When Chaplin started shooting what was intended to be his biggest picture to date in 1928 he was the king of the hill – and of the world, its biggest ever star before or since – in a world of silent movies. By the time he finished, Keaton and Laurel and Hardy and Harold Lloyd were all talking and the world was going crazy for the likes of Fredric March snarling his way … Read more
The Innocents
Askel Vogt’s The Innocents takes a romantic notion about children – that they know something adults don’t – and gives it a damn good spanking. The result is one of the moodiest, creepiest and most unsettling films about childhood ever made. There’s a touch of the brilliant 1961 film also called The Innocents, a bit of Let the Right One In and a smidgeon of The Exorcist in its intensely domestic setting. And it continues the trend towards supernatural stories told in a highly naturalistic way (see Petite Maman) which looks like it’s got a fair way to run. Vogt keeps his camera at child height as he gradually unfolds his story of … Read more
Roxie Hart
An A team of acting and technical talent bring their A game to Roxie Hart, the tale of an innocent woman who pleads guilty to a murder in the hope that it’ll further her stage career. The law as an extension of showbusiness, the corrupting effect of the media, never mind the 21st century, this was made in 1942, and retells the true story of murderous Beulah Annan and Belva Gaertner, who were renamed Roxie and Velma by journalist Maurine Dallas Watkins when she decided to turn some wildly successful newspaper reporting into a 1926 stage play called Chicago. And that’s the way Roxie and Velma remained, as the play became first a … Read more
Everything Everywhere All at Once
Starting with its title and ending at infinity, Everything Everywhere All at Once is a “more is more” kind of movie that looks as if it was designed to be the last word in multiverse sci-fi. The plot is Matrix-shaped – nobody becomes somebody – but instead of a young dumb male as its protagonist, it’s a middle aged smart female, in the shape of Evelyn Wang (Michelle Yeoh), a drudge of a wife, mother, carer for her elderly father who’s just been served with divorce papers by her fairly useless husband Waymond (Ke Huy Quan). And instead of being hunted by a sleek, black-clad, sunglasses-wearing Agent Smith, Evelyn and family are being … Read more
The Bank Dick
The Bank Dick is one hour 12 minute of WC Fields doing what WC Fields does – comedy in an erratic, chaotic, incoherent and brilliant way. It’s barely a film at all, more a series of sketches linked together by the familiar Fields character, a dyspeptic layabout and drunk who spends so much time and effort trying to avoid work that it’s a full-time job in itself. Loosely, and this is very loose, the “plot” follows the irascible shirker into and out of his favourite bar and then into and out of two different jobs. In one, he somehow becomes the director of a movie, merely by claiming to some wits-end producer type … Read more
Foxhole
Seven key players are spun through three different related scenarios in Foxhole, writer/director Jack Fessenden’s experimental-theatre approach to film-making. There’s more than a blank stage and a couple of chairs, but not much. As if to prove that statement nuts, Fessenden opens with an overhead shot of a mass of dead bodies on a battlefield in what, it becomes apparent, is the American Civil War. The fog of war here is literal, the air is thick, visibility is low. The camera comes to rest on a foxhole where a bunch of Union soldiers are digging themselves in and trading the sort of dialogue that soldiers trade in – testing the boundaries of insubordination, … Read more
Hell’s Angels
Howard Hughes had almost finished his action-packed, stunt-driven epic Hell’s Angels, at vast expense, in 1928 when silent movies were suddenly made obsolete by the vast success of The Jazz Singer. So he did what any mega-rich tycoon who just happened to own a film studio would do – he remade it. Out went his female star in the process. Greta Nissen was Norwegian and had a heavy accent, and so she became one of the first casualties of the talkies, which destroyed many an established career (which is what the plot of Singin’ in the Rain is all about, after all). In came unknown 18-year-old Jean Harlow to fill the gap, while … Read more
The Unbearable Weight of Massive Talent
Hell yeh – The Unbearable Weight of Massive Talent is that sort of movie, a brash, fun one-joke affair with a concept strong enough to keep itself motoring until about half an hour from the end. Your mileage may vary. The joke comes in two versions. One is the Larry David one about a person playing a near-facsimile of themselves. Nicolas Cage here plays Nick (note extra “k”) Cage, a mega-acting legend who decides to pack it all in and then ends up in a real-life version of a Nicolas Cage movie – Con Air variety. The second iteration is borrowed from Adaptation (which Cage also starred in) and features a younger Cage double … Read more
Days of Wine and Roses
You might know the title Days of Wine and Roses from Ernest Dowson’s 1896 poem Vitae Summa Brevis – “They are not long, the days of wine and roses/Out of a misty dream/Our path emerges for a while, then closes/Within a dream”. Or you might know it from Johnny Mercer and Henry Mancini’s Oscar-winning theme song to this film, made famous by Andy Williams, whose lines replay Dowson’s sentiments. “The days of wine and roses laugh and run away like a child at play/Through a meadowland towards a closing door… etc”. If you’ve never actually seen the 1962 film repurposing the phrase, it comes as a shock to discover that the “wine” Dowson and … Read more
Broadcast Signal Intrusion
Broadcast Signal Intrusion is a horror film set in ye olden tymes when VHS was still standard-issue home-entertainment tech and people stood outside to smoke cigarettes. Before then they smoked inside; after then, they’d mostly given up. So it’s the 1990s. But the film reaches further back, into the mists of the 1980s where, it seems, there were several instances of TV stations being hijacked by a “broadcast signal intrusion”, when pirates would break into shows, terrorist style. An old story that’s reheated by James (Harry Shum Jr), an archivist in a dimly lit TV library who becomes obsessed with these old events and is soon riffling through the shelves looking for more … Read more
Wild Strawberries
Ingmar Bergman released both Wild Strawberries and The Seventh Seal in 1957. So not one but two classics for the ages in one year from the same guy, who wasn’t very well at the time and in fact wrote the screenplay for this film in his hospital bed. Not bad going. Perhaps it’s not surprising that decay and death are the big idea, the story of a lonely old doctor on the way to pick up an honour whose ardently held and rather severe ideas about the way to live his life are challenged, even as he sits in the waiting room to Death. As he travels by car, and prompted by a … Read more
