Latest Posts
The Ugly Stepsister
The Ugly Stepsister (Den stygge stesøsteren) started life as a film about a woman with a talking vulva. Then writer/director Emilie Blichfeldt decided to come at the same idea – the onerous demands put on young women – by taking a second run at the Cinderella fairy tale. The resulting debut feature introduces a really gifted director to a wider audience, though the film itself could learn a lesson from Cinderella herself – it’s the dainty foot that gets into the glass slipper, not the galumphing one. It’s the same story, just slanted so we see it from the point of view of the loser – in this case Elvira (Lea Myren), the … Read more
All the Colors of the Dark
The plot’s terrible but the mood is tasty in All the Colors of the Dark (Tutti I colori del buio), an Italian/Spanish giallo from 1972 that does its best – and breast – work early on. The opening sequence is formidably unsettling. A lurid montage of nudity, distortion, doubled imagery, a hideous pregnant woman in a fright wig on a gurney, a man dressed as Bo Peep, the camera pulsing in and out as if on psychedelics while children sing tunelessly on the unnerving soundtrack. After that, waking from the horrendous nightmare reliving the night her child died, Jane Harrison (Edwige Fenech) hops out of bed and into the shower in her skimpy nightdress, for … Read more
Wicked: For Good
We’re off to see the wizard – again – in Wicked: For Good, part two of the origin story of the bad and good witch, Elphaba and Glinda, from The Wizard of Oz. It remains fascinating politically – Glinda the Good is actually Glinda the Horribly Compromised. And the Wicked Witch turns out to be a creature of some backbone. Together Ariana Grande and Cynthia Erivo remain magnificent, the massiveness of Grande’s voice (out of such a wee body) matched by Erivo’s ability to project at the highest level. But, all in all, it’s just good, OK, fine, all the way through. If you’ve seen part one then you probably have to see … Read more
Oh, Hi!
When is a good time to tell your girlfriend that you’re just not that into her? Oh, Hi! suggests it probably isn’t when you’re in the middle of a light bondage session and you’re handcuffed to a bed. Yup. Stoopid. That’s the scenario that director Sophie Brooks and star Molly Gordon dreamt up while they were also in something of a handcuff situation – locked down during Covid – and they work it for all its worth in this larky, darkish dramedy at its best when it takes risks. Gordon you may know from being the on/off girlfriend of main man Carmy (Jeremy Allen White) in TV show The Bear. She’s playing a … Read more
The House on 92nd Street
The House on 92nd Street is the sort of earnest propaganda movie Hollywood liked to pump out once in a while in the 1940s. It was made during wartime, so the justification is there, and it deals with a real case – the fifth column of Nazi-sympathising Americans working to overthrow their own government and install Hitler. And it’s based on a real case, the Duquesne spy ring. Director Henry Hathaway and his writers give us about ten minutes of sonorous scene-setting in a “ripped from the headlines” newsreel-voiceover style before introducing the hero – William Eythe’s Bill Dietrich, a second-generation German American who is recruited as a double agent by the FBI … Read more
Cloud
What would online life be like if actions had consequences like they do in the real world? That seems to be the motivating energy behind Kiyoshi Kurosawa’s Cloud (Kuraudo), an overlong but fascinating thriller yanking a thread that’s visible from the start, though it takes a while to realise that it’s there. Ryôsuke Yoshii (Masaki Suda) has a traditional job in a factory making stuff. His boss likes him and wants to promote him, setting him off on a safe, decent and traditional career. But there is more to Yoshii’s life than the day job. He also has a side hustle buying distressed goods at knockdown prices and selling them online for a … Read more
100 Years of… 3 Bad Men
3 Bad Men was John Ford’s last silent western, though it was obviously never billed as such (who knew, when it opened, that the silent era would end within a couple of years?). The unannounced end of an era was released in 1926 and Ford wouldn’t return to the genre until Stagecoach in 1939. It’s a Ford classic, though you can see all the key elements in this earlier film – admirably straightforward storytelling through powerful characters against stunning backdrops. For those who consider silent movies to be a lesser art form, the unsophisticated predecessor to the real deal, this could be an eye opener. It’s ironic, for a start, and that starts with … Read more
Bugonia
A remake of Save the Green Planet!, a South Korean movie from 2003, Bugonia fiddles with details and genders but tells essentially the same story – conspiratorially minded eco-warriors kidnap a chemical industry boss convinced that there’s an alien invasion imminent and use torture to extract the vital details that will save planet Earth. Jang Joon-hwan made the original and was all lined up to direct this English-language remake but in the end Yorgos Lanthimos stepped in, bringing in his favourite actress, Emma Stone, to play one of the leads. Now the chemicals boss man is a biopharma boss lady, and the kidnappers are a boggle-eyed dude (Jesse Plemons) and his autistic cousin … Read more
The Chase
The Chase is an “And Peter Lorre” movie from 1946, and though he’s not in it that much, he provides a good bit of the flavour of this very odd movie about a genial nobody who winds up in the employ of a psychopath, falls for his woman and then runs off to Cuba with her. Robert Cummings is top-billed and is the everyday nobody, a down-on-his-luck war veteran who finds a wallet and, having treated himself to a decent breakfast, returns it to its owner. Impressed with the guy’s honesty – Chuck Scott fesses up to the breakfast – rich gangster Eddie Roman (Steve Cochran) offers him a job as a driver. … Read more
Reflection in a Dead Diamond
Arthouse discovers the rigours of genre in Reflection in a Dead Diamond (Reflet dans un diamant mort), a vogue-ing pastiche of Bond movies with a bit of Death in Venice. If you like the work of Hélène Cattet and Bruno Forzani, who have been doing this sort of thing for over 20 years, in films like Amer, The Strange Colour of Your Body’s Tears and Let the Corpses Tan, this will be catnip. Personally, I thought this latest feature – brilliantly assembled though it is – exposed a weak flank. They can make the richest, lushest and most referential movies possibly ever. But can they tell a good story? They would probably argue … Read more
The Life of Oharu
The Life of Oharu is one of the Criterion Collection, which means it’s reckoned to be up there with the very best – by one outfit at least. The great director Lucile Hadžihalilović also rates it highly – it’s her favourite film by Kenji Mizoguchi and, she says, “the most poignant film I have ever seen about the life of a woman.” If you know Hadžihalilović’s films (like Innocence or The Ice Tower) watching The Life of Oharu is a real ah-haa experience. So this is where Hadžihalilović got so much of what she’s about. Talent borrows, genius steals, as someone famous once said (Oscar Wilde, Pablo Picasso or TS Eliot are all … Read more
If I Had Legs I’d Kick You
Rose Byrne has been acting since she was 15, but it wasn’t until If I Had Legs I’d Kick You that some people started noticing how good she is – no matter how much money movies like Bridesmaids or Insidious make, it takes a “serious” movie to unlock some people’s critical reward system. But she is good in this. And she has to be, because this entire exercise in performative neurosis revolves around her. In fact the camera is on her so much that almost no one else features, and we only get to see her daughter – a bone of some contention throughout – right at the end. Which is how (once … Read more
