Popular Reviews
Femme Fatale
Brian De Palma’s films are a treat for people who watch a lot of movies, and Femme Fatale is no exception. Starting with an excerpt from Double Indemnity – the bit where Barbara Stanwyck is telling Fred MacMurray that she’s “rotten to the heart” – it then replays a similar scenario, with a tweak, in the modern (2002) era, with Rebecca Romijn-Stamos (as she was at the time) in the “femme fatale” role and Antonio Banderas as the guy trying to hang on to his testicles. Romijn-Stamos plays a very bad woman indeed, and in typically playful, relentlessly referential De Palma style the action starts at the Cannes film festival where her badass Laure is … Read more
Playdurizm
Playdurizm starts with what looks like a moment from a feverish dream. A man and a woman having sex. She’s in a sling and he’s standing up. Ecstasy on both sides. Meanwhile, in a separate reality, another man appears to be hurtling through space and/or time in a lo-fi mock-up of 2001: A Space Odyssey’s “stargate sequence”, while in voiceover a quotation from Francis Bacon (the painter not the philosopher) informs us that humans are all “meat”. Dream over, that man, Demir (Gem Deger, who also directs and co-wrote with Morris Stuttard), wakes up in a strange place, not sure who or where he is. In the kitchen of the kitschy, Pop Art-y … Read more
The Avengers: Series 2, Episode 1 – Mr Teddy Bear
Ian Hendry has left, Patrick Macnee has been bumped up to star and Honor Blackman has been drafted in as a sidekick who’s not just a pretty face. But there’s more than just those cosmetic differences – if they are just that – going on. In the opener for series two, it’s clear things have gone just a tiny bit self-referential too and that The Avengers is beginning to push against not just the envelope of its own founding principles, but also against those of television. The self-referentiality comes in the opening scene, set in a TV studio where a notable traveller and writer is about to be interviewed in some highbrow arts show … Read more
Pretty Persuasion
Kimberly (Evan Rachel Wood) is a spiteful young wannabe actress and fulltime minx who accuses her teacher (Ron Livingston) of sexual harassment… partly for fun, partly to get some acting practice in, mostly for spite. And before you know it there’s a TV news crew camped out on the door, with an overeager reporter (Jane Krakowski) visibly almost aroused as she recounts the allegations. Pretty Persuasion would be a better film if it were a straighter film, or if it had gone all out for dark funnies. But there’s some real gold in this otherwise overstrained satire scraping the crud from the underside of the Bel Air idyll. Wood is remarkable as Kimberly, … Read more
And Then There Were None
There have been many, many adaptations of Agatha Christie’s novel And Then There Were None, but for pure, straightforward storytelling at pace, it hard to beat this one, from 1945. It writes the book on the “elimination whodunit”, when one character after another is killed, with Christie keeping the speculation going as to who actually did it right up to the point when there are only two possible choices left. As so often with Christie, she withholds some vital piece of information from the audience, and then delivers it at the end with a ta-daa flourish. This is exactly the sort of plotting that drives some people into Christie’s arms and others out … Read more
The Hidden Fortress
The Hidden Fortress is a film by Akira Kurosawa and just that fact alone – “a film by Akira Kurosawa” – is enough to get it bracketed as an arthouse movie. Which is entirely ridiculous if you watch it, because there’s nothing difficult or abstruse going on here, no philosophical musing, no challenging style experiments to overcome or difficulties over character, plot or chronology. It’s an out and out Saturday evening adventure movie with action, comedy, a pretty girl and a strapping hero. It’s that aspect of it, its entertainment value, that first attracted George Lucas to it when he was first scoping out his first Star Wars film. Great though Star Wars is, … Read more
Cobra Woman
She couldn’t act, couldn’t sing and danced like a wardrobe but for a while Maria Montez was quite the thing. Cobra Woman is probably the best example of a string of successful movies she made in the 1940s, often with the likeable, four-square Jon Hall as her romantic co-lead, all of them exotic, bright, colourful affairs, pantomime without the comedy. Montez, real name Maria Africa Antonia Gracia Vidal de Santo Silas, was born in the Dominican Republic to Spanish parents and while her star was high played the dusky princess, queen or slave girl in films like Gypsy Wildcat, Sudan, Ali Baba and the Forty Thieves, White Captive and Arabian Nights. Here she’s … Read more
The Messengers
Something weird is going on in the scary house out in the fields of North Dakota, where mom and dad have moved to make one last go of it, growing sunflowers. The kids can see it but the adults can’t. And so on. The Messengers is a bog standard American haunted-house movie with a twist. The twist is not the casting of a long-legged, tight breasted young Kristen Stewart as a heroine, nor the use of a genuine plank (Dylan McDermott) to play her dad. It’s the decision by producer Sam Raimi to get Hong Kong marvels the Pang brothers to direct. Oxide and Danny Pang struck sparks off the horror genre with … Read more
I Am Gen Z
At the Raindance film festival, London, UK, 27 October–6 November 2021 I Am Gen Z is a documentary about, er, Generation Z, and while it kicks off with a quick intro as to who Gen Z are NOT – they’re not millennials (born early 80s to mid 90s), instead they’re the next cohort (mid/late 90s to about 2012) – it settles down into an examination of the defining fact of their lives. They’re the digital natives whose lives have been shaped by, and who often live through, social media. It’s spooky to be reminded of how fast this has happened. There’s that old footage of Steve Jobs announcing three new devices – an … Read more
Yes, God, Yes
Yes, God, Yes – a funny title pithily catching the twin obsessions of this slight but sharp movie. Sex and god. It stars Natalia Dyer, who somehow has managed to fit this in alongside the nine other movies and 30-odd episodes of the Netflix show Stranger Things she’s appeared in over the last six years or so. She was about 24 when she made this, but the big eyes and slender frame mean she can just about get away with playing Alice, a teenager from a sheltered background grappling with the first stirrings of sexuality at the Catholic school that seems almost unnaturally fixated on the carnal. Coming of agers with storylines that … Read more
The Avengers: Series 2, Episode 16 – Immortal Clay
By a gigantic stroke of luck, it seems, while Mrs Gale is being given a guided tour of a ceramics atelier, she stumbles across a dead body in the room where the raw clay is kept. Doubly handily, it seems that the company is engaged on cutting edge research to produce an indestructible tile to be used in the nose cone of a British rocket – what days, what days – and the dead man in question is one of the researchers engaged in its development and production. Of course, Gale – in deliberately ass-backwards Avengers plotting – isn’t at the factory/studio/lab/atelier (Teddington Studios, in fact) by accident, and, by way of explanation, we are … Read more
A Perfect Murder
Andrew Davis has made something of a specialty of directing thrillers. He made Steven Seagal’s best film, Under Siege, and Chuck Norris’s best film too, Code of Silence. He’s also responsible for the breathless chase of The Fugitive and for this remake of Frederick Knott’s play Dial M for Murder, on which Hitchcock based his 1954 movie. The “perfect murder”, beloved of films of a certain vintage, now seems almost as dated a concept as that of the criminal mind. However Davis and adapter Patrick Smith Kelly squeeze a little more mileage out of it by playing up what you might call the Gordon Gecko aspects – cash and deceit. Which brings us … Read more
