Popular Reviews
Mafia Mamma
Two thirds good, one third bad, as George Orwell almost said, Mafia Mamma is a comedy about a timid, emotionally giving American mother who becomes a mafia don, a donna in fact, after her grandfather in the old country dies in gang-related circumstances and she takes over the firm. Not that Kristin (Toni Collette) understands any of that. As far as she’s concerned the old guy was a winemaker and at the point where she is heading off to Italy to attend his funeral, it’s as much to get some “Eat. Pray. Fuck.” as to pay her respects. The fact that she’s just caught her husband banging her son’s counsellor in the kitchen … Read more
13 October 2014-10-13
Home Entertainment Out in the UK This Week Kidnapped (cert 18, DVD/digital) From Spaniard Miguel Angel Vivas a home invasion horror which understands that for the film to work we have to be entirely on the side of the invaded. And also, that we have to feel their shock, disorientation and fear. He achieves both brilliantly in this brutal, relatively short film that takes place over one evening and does a lot with long takes, then switches pace with some excellent split-screen, up-close points of view. It’s the standard family – mum, dad, whingey teenage girl and, eventually, her boyfriend. But it’s far from a standard film. Where Vivas came from, I don’t know … Read more
Crime 101
Slick operators meet slick movie in Crime 101, a drama about capable people being pushed out of their comfort zones for our entertainment. It’s 21st-century film noir, to a large extent, Michael Mann in its glossiness and sexing-up of the city, utterly familiar in its set-up, less so in its payoff. Bart Layton has made two feature films before, both with a strong documentary flavour. The Imposter was a full-on doc about one guy passing himself off as another, and everyone, including the replaced guy’s mother, somehow being taken in. The other, American Animals, used documentary elements to tell the story of an elaborate real-life heist. Both were remarkable. Layton edges more obviously … Read more
The Valley of the Bees
František Vláčil’s The Valley of the Bees (Údolí včel) got a fairly cool reception when it came out in 1968, even though his previous film, Marketa Lazarová, had been a success. Maybe they followed too hard on each other – Bees came only four months after Lazarová. Maybe the same 13th-century setting failed to hit the spot second time around – that itch had already been scratched. Maybe it was just too subtle, and its allegory whooshed over audience’s heads. Zeal is what it’s about, religious zeal in this telling, though the political allegory is clear, in its story about a young man who tries to escape a severe religious order and return … Read more
Family Plot
If you were idly flicking through the TV channels on a wet afternoon and hit upon Family Plot, chances are you wouldn’t immediately think it was a Hitchcock movie – it looks more like an episode of Columbo. That bright TV lighting, those mid-range actors who look like they’re trying not to be fingered as this week’s criminal, one who’s once again not as smart as the man in the mac. I’ve looked up Bruce Dern, Karen Black, Barbara Harris and William Devane and not one of them ever did make an appearance on Columbo but they don’t quite fit the standard Hitchcock bill either, or not the bill containing Cary Grant, Grace Kelly, … Read more
Dead Man’s Cards
There’s a grimy directness to the Liverpool gangster drama which substitutes Scouse sarcasm for the lairiness of the mockney geezer equivalent. Made by debut director James Marquand and starring its co-writer, James McMartin, it’s the story of a washed-up boxer with a low sperm count who takes a job as a bouncer, falls out with his wife (Samantha Janus), has a fling with a barmaid and gets on the wrong side of the local heavies, making friends with a fellow bouncer (Paul Barber) as he goes. The “dead man’s cards” of the title are aces and eights, and they were the cards held by Wild Bill Hickok when he was shot in the back, … Read more
Eiffel
“Librement inspiré de faits réels,” it says at the beginning of Eiffel. Not a mere “inspired by real events”, often used as an apology for serving up historical fact laced with made-up stuff, but “freely inspired”. Turn to Wikipedia if what you want is the actual factual, in other words. That’s what I did, and can tell you that the background to this story is pretty much all true, depending on what you call the background, which Eiffel isn’t entirely sure about either. In opening scenes Gustave Eiffel, engineer extraordinaire, stares out at Paris from the tower he gave his name to – handy if you’ve no idea who he was – before Eiffel cycles … Read more
Mumsy, Nanny, Sonny & Girly
Having shot everything from 1960’s Saturday Night and Sunday Morning to David Lynch’s A Straight Story, it’s no surprise that Freddie Francis is best known as a cinematographer, one of the greats. But he also has more than 30 director credits to his name. Much of it was gun for hire work but in 1970, after eight years of doing others’ directorial bidding, he was finally given his head. Mumsy, Nanny, Sonny & Girly (aka Girly) is his picture, done his way, co-conceived with writer Brian Comport, and shot at Oakley Court, a location he’d worked at many times on various Hammer horror productions when it was mostly used for its imposing exterior. … Read more
Thriller: A Cruel Picture
Thriller: A Cruel Picture goes by the name Thriller: En grym film in its original Swedish. And “grym” it is, an archetypal grindhouse thriller whose main character provided the inspiration for Daryl Hannah’s one-eyed Elle Driver in Tarantino’s Kill Bill, a light comedy by comparison. Director Bo Arne Vibenius has stated that he set out to make “the most commercial film ever made”. Clearly the statement of a man high on his own supply, Vibenius’s film is one of very few that managed to get itself banned in Sweden. In the USA, cut to bits, it went by the name They Call Her One Eye or Hooker’s Revenge or The Swedish Vice-Girl and … Read more
The Whistlers
A stonefaced middle-aged Romanian cop arrives on the brutally beautiful island of La Gomera (the original title of The Whistlers) in the Canaries. A stunning woman is there to meet him. Forget what happened in Bucharest, she whispers into his ear as they embrace, it was just for the security cameras. We can guess what “Bucharest” was all about but writer/director Corneliu Poromboiu gives it to us anyway, in a vivid, cool, drily funny and sexy flashback to Cristi’s (Vlad Ivanov) first encounter with Gilda (Catrinel Marlon) – her film noir name absolutely no mistake. Hang on to those moments because that’s it as far as sex and jokes are concerned. Style, yes, plenty … Read more
Shadow Force
Lacking the crackle and wit of the usually fairly mad Joe Carnahan movie, Shadow Force is full of charismatic performers angling for a moment in the sun. Which, for most of them never comes. Gunplay and banter are there, but they’re swamped by slack verbiage and scenes full of characters never properly introduced. So when the trademark Carnahan Big Finale arrives – guns blaze, wisecracks spark – ignition does not happen. It should be good, with its mix of Kill Bill, John Wick and Mr and Mrs Smith plotting. Omar Sy and Kerry Washington play Issac Sarr (codename Sombra) and Kyrah Owens (codename Ombra), two members of a crack black-ops squad who, years before … Read more
9 June 2014-06-09
Out in the UK This Week The Past (Artificial Eye, cert 12, Blu-ray/DVD) After Fireworks Wednesday and A Separation, something more muted from Asghar Farhadi, a drama set in France rather than Iran as the previous two were, about Marie (Bérénice Bejo) a beautiful but flighty woman finally giving the kiss-off to ex-husband Ahmad (Ali Mosaffa) while lining up a new man, Samir (Tahar Rahim, the lead in A Prophet). It sounds like a soap and it’s undeniable that Farhadi’s genius knack for naturalism seems to have slightly abandoned him this time. What makes The Past still unmissable is the devious plotting – the ex seems like such a nice guy, the new man … Read more
