Popular Reviews
The Films of Paolo Sorrentino
Paolo Sorrentino’s latest film, La Grande Bellezza (The Great Beauty) is a portrait of Rome through the eyes of a world weary writer. It’s being hailed as Sorrentino’s La Dolce Vita and stars Sorrentino’s Marcello Mastroianni, Toni Servillo. It’s close to a masterpiece in other words, making this a good time to take a look at the career of Italy’s best film-maker right now. Firmly in the tradition of the 1960s generation of Fellini and Visconti, yet clearly his own man too, Sorrentino’s films are intelligent, engaged, stylish, beautifully made and intriguing – they’ve got the lot, in short. One Man Up (2001) Sorrentino’s debut feature also saw him team up with Toni … Read more
Comrade Drakulich
Can the might of the communist system in 1960s Hungary defeat an Undead vampire? Comrade Drakulich (aka Drakulics Elvtárs) has a bit of fun finding out. Mária Magyar (Lili Walters) is a pretty, junior-level Hungarian spy detailed to escort Béla Fábián (Zsolt Nagy), hero of the worldwide communist revolution, on a tour of his mother country. The idea is to help raise the profile of a nationwide blood drive in aid of the wounded in Vietnam (the North) using the internationally famous veteran as the face of the campaign. Fábián is not a young man. His comrades from the Second World War are now on the verge of being doddering old men but … Read more
The Iron Claw
The family is a cult and the cult a family in the films of Sean Durkin. After Martha Marcy May Marlene and The Nest, The Iron Claw continues Durkin’s excavations with a biopic of the Von Erichs, a famous wrestling clan whittled away by a tragic curse. After a quick black-and-white preamble sketching paterfamilias Fritz’s own career as a fighter who failed to win the big prizes, Durkin goes curtain-up on the era of the retired fighter’s sons, the sun-kissed 1970s and beyond. Fritz, now a ballsy uncompromising martinet of the old school, is in charge of training his boys and of the wrestling franchise they fight in. By this point the family … Read more
The Avengers: Series 6, Episode 13 – They Keep Killing Steed
Improbable and fluffy, They Keep Killing Steed is a prime screenplay by showrunner and writer Brian Clemens, and a clear sign that the series is entirely back on track with a plot pivoting on the ideas of doubles – a classic Clemens trope. The fluidly cinematic Robert Fuest does directorial duty in a plot that leans heavily on Patrick Macnee – he plays at least four, possibly five Steeds, created to undo a peace conference by substituting the real thing with one of the obviously dodgy fakes. Tara King, meanwhile, gets a “double” plot of her own, when she’s co-opted by himbo babe-magnet billionaire Baron Von Curt (Ian Ogilvy) to act as his … Read more
25 July 2016-07-25
Out This Week Disorder (Soda, cert 15) Like Ang Lee’s Crouching Tiger, Hidden Dragon, Disorder is a love story masquerading as something else – a home-invasion thriller, in this case – and so is the perfect date movie for traditionally minded peeps. The casting is bang on. Matthias Schoenaerts, an expert in beefy angst, is ideal as a security guard with PTSD falling for trophy wife Diane Kruger – Kruger’s “because I’m worth it” ex-model coolness actually being a real advantage here. The bit of posh going for a bit of rough is hardly a new idea, but director/writer Alice Winocour stokes the tension early on, setting many scenes in tight little corners, and even … Read more
Havoc
What’s this – lovely, sweet, wide-eyed Anne Hathaway saying “fuck”? Getting into a fight? Showing us her breasts? Giving a blowjob? And within the first ten minutes of the film starting too. Someone, it seems, is after an image makeover, and thanks to director Barbara Kopple, she gets one. That might be what Havoc is most remembered for, in fact, because in most other respects this is a rather disappointing “moral panic” movie like the ones from the 1950s where teenagers would race bikes too fast or hang with the wrong crowd, or both. Here the wrong crowd is people of colour and it’s the white people who get into trouble hanging with … Read more
The Cat and the Canary
The director Paul Leni died just as the talkies were coming in, but even so his name still has clout 100+ years on. 1927’s The Cat and the Canary reminds us why. It’s not only a cracking whodunit, and a demonstration of technical wizardry but is also a masterpiece of gothic expressionism… done only semi-seriously. Leni later directed The Man Who Laughs and he’s also having a lot of fun here. The plot is so familiar Agatha Christie might have written it – a group of people gather in a spooky old house to hear the reading of the will of a relative who died 20 years before. This will make one of the … Read more
Phffft
The comedy of remarriage is really a creature of the 1930s but here it is alive and reasonably well in 1954 in Phffft, a screwbally kind of thing starring Jack Lemmon and Judy Holliday as a married couple of eight years who decide wedlock isn’t for them, then try the alternatives only to eventually have a rethink about why they got divorced in the first place. Eight years, not seven. Columbia had actually wanted to make a version of George Axelrod’s hit play The Seven Year Itch but the rights were tied up (it would become a Twentieth Century Fox film directed by Billy Wilder the following year) and so Axelrod sold them … Read more
Riptide aka Une Si Jolie Petite Plage
Seedy atmosphere is Riptide‘s USP. So seedy is it, in fact, that when Une Si Jolie Petite Plage (its original title) debuted in 1949 it was felt necessary to add a little disclaimer up front for French audiences in an attempt to head off complaints. The makers of the film meant no offence to war orphans, it says (in so many words), they are the victims here and do not deserve their bad reputation. Tiny data dump. War orphans lived in state-run orphanages and were often loaned out to local businesses, where they’d work for little or no money. Often horribly exploited, they did the dirty work, in every sense of the word. … Read more
If Not Us, Who?
A movie for every day of the year – a good one 5 September Kidnapping of Hanns-Martin Schleyer, 1977 On this day in 1977, the West German businessman Hanns-Martin Schleyer – a former SS officer who had risen to post-war prominence in the country’s employers organisation – was kidnapped in Cologne by the militant urban guerrilla group Red Army Faction, also known as the Baader-Meinhof gang, as part of what became know as the German Autumn. His kidnappers were hoping to use him, at least partly, as collateral to force the government to release jailed members of their gang, including prominent faces Andreas Baader and Gudrun Ensslin. While the gang moved Schleyer around, from … Read more
To Leslie
There’s a real market for films showing the lower orders wallowing in a misery of their own making. To Leslie looks like the familiar offer – feckless blue-collar gal wins big on the lottery, then pisses it all away in a hedonistic splurge. The message of films like this, usually covert, is: leave money to those who already have it. Michael Morris’s film avoids a lot of the pitfalls of the genre by concentrating not on the fall but on the bounce along the bottom. He introduces Leslie (Andrea Riseborough) in archive local TV news footage, ecstatically receiving a gigantic lottery cheque and squealing in redneck excitement before he cuts to the present … Read more
My First Film
My First Film is not Zia Anger’s first film, and it isn’t a documentary either, which is what it sounds and looks like it’s going to be. Nor is it formidable, which its meta-sounding title suggests it might be. In fact it’s a surprisingly easy and enjoyable watch. Though it does start off in an esoteric direction – “assoteric”, Anger calls it – with a rough collage of staged recollection, old home movie footage and words typewritten on the screen designed to recall meetings Anger had with a production company to direct a film about, more or less, how tough it is being a woman. Something, she eventually realised, she just didn’t want to … Read more
