Latest Posts
F1
F1 is as entertaining as it is ridiculous. A Formula 1 driver getting away with the sort of track chicanery that Brad Pitt’s character pulls off here? Nonsense. Insane. He’d be yanked off the track so fast he wouldn’t have time to remove his fireproof balaclava. While we’re about it, Isn’t Pitt way too old for the role? Aged about 60 when this was made, Pitt is playing about 50? Maybe. He’s in good shape and takes his shirt off a couple of times to reveal what he got paid a reported $30 million to deliver – Brad Pitt gorgeousness, with a shrug and a slightly diffident, “Can I help it if I’m … Read more
Salvo
What do solitary hitmen want? To get out. Or a normal family life. Or for the senseless killing to stop. Salvo gives us versions of all these possibilities, with masses of style and a cool, thrilling central performance by Saleh Bakri as the titular Salvo – it means “safe” in Italian, a name that can be read ironically, depending on which end of the gun you are at. Cannes liked it, and awarded it the grand prize in Critics Week in 2013, which is the one they hand out to new talent. Which situates Fabio Grassadonia and Antonio Piazza alongside Bernardo Bertolucci, Leos Carax, Wong Kar-wai, Julia Ducournau and Andrea Arnold. For its money … Read more
Superman
An all-you-can-eat buffet of Superman, or James Gunn’s Superman, as it’s invariably called, presumably to set it apart from the crowd. Not that Gunn seems interested in standing out from the crowd too much. His Superman’s tights are baggy, like the cheapo ones from the black and white era, though most of Gunn’s inspiration comes from the 1970s Christopher Reeve Superman, in the look of Superman/Clark Kent himself, the production design and most obviously in the use of the John Williams theme, which new composers David Fleming and John Murphy take off the peg now and then, usually when the big guns are needed. On the subject of guns, after playing him a … Read more
Il Futuro
Rutger Hauer was 69 when he turned up in Il Futuro in 2013. He’d die six years later, in 2019, having clocked up another 35 or so screen credits in the interim. Always working, not always in quality product, Hauer was good even in the most disappointing films. But Il Futuro isn’t one of those. It’s a little nugget of quality, a noirish, almost giallo-ish May to December romance co-starring Manuela Martelli, who gives as good as she gets from Hauer. Chilean director Alicia Scherson starts us off with thriller titles in screaming fonts and a blaring score before dialling things back to the deadbeat. After introducing us to Bianca (Martelli) and Tomas … Read more
The Monkey
A man killed by vape, a woman blown to bits on diving into a swimming pool. Fish hooks, a coffee steamer, on they go, the vectors of weird death, in Osgood Perkins’s The Monkey, a Stephen King story tricked out with Final Destination-style ingenuity and given a comedy-macabre polish. Groans followed by chortles is the idea, with the reactions stopping this side of disgust, as Perkins tells the story of twins who grow up to be adult versions of the milquetoast/asshole combo they are as kids and the malevolent mechanical monkey that follows them on their journey, wreaking bloody havoc all the way. A pre-credits sequence shows the monkey doing its thing – … Read more
Hollow Triumph
Paul Henreid got sick of playing bland heroes like Casablanca‘s Victor Laszlo and in Hollow Triumph set out to prove he could be just as convincingly bad. Having optioned the novel this crime drama was based on, he produced the film himself and, according to legend, directed most of it too, once original director Steve Sekely had been fired by the studio. The result is either a triumph or a hollow triumph, depending on your approach to the movie and your attitude towards implausibility. If you’re taking things very seriously, then problems over likelihood and credibility entirely undermine everything. If not, they’re all part of the fun. But on to the plot, which … Read more
28 Years Later
Danny Boyle has at least gone for it in 28 Years Later, a not always exciting but relentlessly interesting capstone on the 28 trilogy. After 28 Days and Weeks Later, logically it should have been Months, but 18 years have passed since 2007 and 18 Years Later would have broken the poetics. So Years it is. So many years, in fact, that none of the cast from the first or second film have made it this far, though Danny Boyle returns to the franchise (Juan Carlos Fresnadillo directed number two) bringing a lot of behind-the-camera talent from the 2002 original with him. That includes writer Alex Garland, who reportedly borrowed the shape of … Read more
Repulsion
1965’s Repulsion is one of the greatest hits of the “apartment horror” genre. Expressionistic, claustrophobic and intense, it’s part try-out for Rosemary’s Baby, part grab for commercial success, so Roman Polanski could make enough money to finance Cul-de-Sac, his next film. He succeeded. Repulsion was a box office and critical hit, and is now considered one of Polanski’s finest. Polanski himself doesn’t seem quite so enamoured. On the commentary track he describes some of his more florid moments as “artsy fartsy”. A touch too overwrought, maybe. But then it was the mid 1960s. Psycho and Mario Bava’s Black Sabbath had teed audiences up for a certain kind of theatricality, which Polanski gives them … Read more
Gazer
Straight out of the box – other viewing options are available – Gazer is a remarkable movie. How remarkable becomes clear once you know a bit of its backstory. But for starters let’s say what it’s about and who’s in it etc. It’s a neo-noir, more old-school noir than most, and stars Ariella Mastroianni as a young woman with a neurological condition called dyschronometria, which is an inability to measure time or relate to it. Frankie (Mastroianni) is adrift in the world without reference points. She struggles to keep her show on the road. As we meet her she’s being fired from (another) McJob, for being distracted by something going on in an upstairs … Read more
Rotation
German film-makers of the post-Second World War era weren’t exactly falling over each other examining the country’s recent history. Which makes Rotation special. In episodic scenes it attempts a cool and not-too-political examination of what had possessed Germans to sign up to the Nazi project, and what Hitler had cost them in return. Significantly, it was made in Communist-controlled East Germany rather than the West. In the DEFA studio, the famous UFA of Lang, Murnau and Wiene rebadged, and is directed by Wolfgang Staudte, who had been responsible for Murderers Among Us (Die Mörder sind unter uns), the first Trümmerfilm (“rubble film”) of the post War era. If you’ve seen David Lean’s This … Read more
The Prosecutor
Genres collide! Actually, in The Prosecutor, they don’t. Two distinct species of movie live separate lives in this odd courtroom drama with martial arts action bolted on. Strangely, it works, because Donnie Yen, who stars and directs, has decided to keep them as separate entities – he gives us a bit of this and then a bit of that and doesn’t try too hard to make the two genres cohabit. Even so, those gear changes are awesomely noisy. The story is based on the real case of Ma Ka-kin, a Hong Kong kid who took delivery of a parcel of cocaine at his house, not knowing what it was, and wound up – … Read more
Angels Hard as They Come
Hippies! Bikers! Bikers! Hippies! They’re not really the same thing but 1971’s Angels Hard as They Come (aka Angel Warriors) doesn’t care. Get the women to take their clothes off now and again, add in some yowling rock boogie. Long hair! Marijuana! Yay – we got ourselves an exploitationer. Of course it’s a Roger Corman movie, since he specialised in vibe-adjacent movies designed to squeeze a dollar from the latest fad. Here he’s working off the back of Easy Rider and, as was Corman’s trick, he’s got some good people in to assist. This was the first movie Jonathan Demme wrote, along with his mate from advertising Joe Viola, who took on directing … Read more
