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Fudoh: The New Generation
The title Fudoh: The New Generation begs the question: was there a Fudoh: The Old Generation? There wasn’t, strictly speaking, though there was a manga series called Fudô, which Takashi Miike based this film on. And there were some subsequent regenerations, with Fudoh 2 and 3, neither of which were directed by Miike. Miike was largely an unknown quantity outside Japan when this film debuted in 1996. It made his name, which isn’t bad for something originally slated for home-release only. It also started Miike’s golden run – see Audition (still brilliantly yuk after all these years), Ichi the Killer or The Happiness of the Katakuris for examples of that. What impressed audiences … Read more
The Ice Tower
Lucile Hadžihalilović has been making films like The Ice Tower ever since her feature debut, 2004’s Innocence, an allegorical semi-fairytale in which a young Marion Cotillard played a pivotal role in a story that wasn’t about her character at all. Same here – Cotillard pivotal, playing Cristina, an actress in a very non-specific 1970s whose latest role, as Hans Christian Andersen’s Ice Queen, gets her caught up with a young runaway hiding out in the studio where the film is being shot. Mistaken for an extra, Jeanne (Clara Pacini) is gradually wound into the movie itself, into the life of Cristina and into the world of the Ice Queen. Hadžihalilović slides about between … Read more
A Bittersweet Life
Tragic, ironic, thoughtful, romantic and bloodthirsty, A Bittersweet Life is a dramatic change of direction by writer director Kim Jee-woon, and a demonstration that he’s as good at action and martial arts as he was at horror and comedy in films like A Tale of Two Sisters and The Quiet Family. Kim’s cool, Alain Delon-esque “hero” is an enforcer called Seon-woo (Lee Byung-hun). And in a cool opening sequence we learn all we need to know about him as he goes at three badass gangsters with a spectacular display of martial arts bravado – here is a man who’s ruthless, efficient, unemotional and loyal to his boss. Seon-woo is more carapace than character, a … Read more
Julie Keeps Quiet
Silence is a power, and in Julie Keeps Quiet (Julie zwijgt) a story about abuse – never entirely defined – also gains force because of a determination not to sensationalise. Leonardo Van Dijl’s impressive film builds on his 2015 short, Umpire, to tell the story of a young female tennis player – Julie – who refuses to play along when her trainer, Jeremy, is suddenly suspended after the death of fellow player Aline. What Jeremy did to Aline, if anything, is teased away at but really the film is more interested in Julie and her silence, which she wields in much the same way as a young anorexic woman refuses food – it … Read more
Hell
Strangely enough there are two films called Hell starring Emmanuelle Béart. This one is from 1994 and is directed by Claude Chabrol. The other (which also goes by L’enfer in the original French) is directed by Danis Tanovic. None too shabby, either of them. More strangely, both films are other directors’ movies. Tanovic took on the second of Krzysztof Kieslowski’s Heaven, Hell and Purgatory trilogy after the director died. As for Chabrol, he was completing the film that Henri-Georges Clouzot started in 1964 with Serge Reggiani and Romy Schneider in the leads, which Clouzot abandoned when he got ill (he got better but never went back to it. You can see his footage … Read more
Bird
What would happen if you crashed the most grounded, miserablist movie genre into the most flyaway and fantastical? Grim into Grimm. Bird is the answer, Andrea Arnold’s sixth film in 18 years. Again the great performances, again the ability to secure a name who you’d expect would be doing bigger things. Again Arnold makes us work for a redemptive moment, a shred of hope and humanity. Look at those closing credits though, Arnold’s cast dancing to Fontaines DC’s Too Real. Pure joy. Arnold is like a cat playing with a mouse. The big name is Barry Keoghan, Oscar-nominated for Saltburn, who dropped out of Gladiator II to do this. Playing skanky drug-dealing Bug, … Read more
When Strangers Marry
A peculiar, interesting and not entirely coherent crime thriller about a woman who marries a man she barely knows and then starts wondering if he’s a killer. When Strangers Marry makes more sense as a title than Betrayed, which is the flag it flew under when it was re-released in 1949, five years after its debut. The re-release also allowed a bit of rejigging of the pecking order. Third-billed Robert Mitchum – who’d become a star in the interim – is top-billed second time round. To be fair to everyone, Mitchum is in it more than Dean Jagger, who plays the mysterious salesman Kim Hunter’s wide-eyed Millie Baxter has married more or less … Read more
Lurker
A knuckle-chewing debut by Alex Russell, Lurker updates All About Eve for the Instagram era, looking on with a raised eyebrow as a nobody gets whisked up into the entourage of a big music star, finds he likes it and then hangs on for grim life when the beast tries to spit him out. It’s a brilliant portrait both of needy, paranoid fan worship and of needy, paranoid stardom – both parties require constant reinforcement, though only one of them can be open about it. Théodore Pellerin plays the nobody, a guy working in a clothes shop in LA when big star Oliver (Archie Madekwe) and crew bowl in one day to browse. … Read more
Westward the Women
No “bundling” – that’s the law as laid down by Buck Wyatt (Robert Taylor). Female-centric western Westward the Women is not only a clear influence on Kelly Reichardt’s Meek’s Cutoff but a great demonstration of the talents of director William Wellman, who’d been doing westerns for 30 years by the time he got round to shooting this 1951 movie, so knew exactly what it was all about. The story is about a convoy of women making the arduous journey out West, where there’s a chronic shortage of men. Sign up and choose your husband is the big idea – it’s the women who do the choosing, picking out the man they fancy from … Read more
Motel Destino
Sexy, sweaty, panting film noir goes splashily, vividly neon-hued in Motel Destino, a vague updating of The Postman Always Rings Twice done with all the Insta-filters selected. Very nice. As in Postman, it’s a threeway affair. Heraldo the minor criminal hiding out in the Motel Destino, a sex motel run by the slightly older Dayana and her older-again husband Elias, who have no illusions about what their hotel is for – orgasmic moans echo down the corridor, it sells cock rings and dildos as a sideline. To earn his keep while laying low, Heraldo starts doing odd jobs for Elias and Dayana. Dark-skinned, sexy young buck Heraldo often has his shirt off as … Read more
The Mask of Dimitrios
Writer Eric Ambler was the British spy guy in the mid 20th century and The Mask of Dimitrios is a good example of what he was about – sinister people in exotic locations doing dastardly things. Ambler followed John Buchan’s lead in that respect – don’t trust a foreigner. It took until John LeCarré – who’d actually been a spy – for portrayals of fictional foreign spies to come in human shape, though Graham Greene was a useful warm-up act. The oddballs and gooks are out in their droves in this not entirely gripping but highly flavoured meta-fiction about crime writer Cornelius Leyden, played by Peter Lorre, chasing across Europe in search of … Read more
Relay
Relay is the sort of slick, well crafted thriller George Clooney used to turn up in. A grungier, slightly less glossy Steven Soderbergh-style thing, ish ish ish, with Riz Ahmed taking the Clooney gig as a rather old-school detective of sorts – the conflicted, damaged dude doing what he does because it helps keep him on the rails. His character, Ash, is a recovering alcoholic. We get scenes set at Alcoholics Anonymous, usually a hoary old bit of character shorthand, though in this case writer Justin Piasecki has found a way of integrating Ash’s AA sessions and his demons into the plot. Ish ish ish. The audience’s familiarity with material like this means … Read more
