Popular Reviews
1 February 2016-02-01
Out This Week Sicario (Lionsgate, cert 15) With Incendies the disruption had its roots in the politics in the Middle East, with Prisoners in American paranoia and with Enemy it was something more internal still, a disrupted psyche. In Denis Villeneuve’s latest intelligent, genre-extending thriller his unsentimental gaze settles on the US government and how its agents actually go about their business (according to this film, at any rate). Working on the Mexico border, where drug cartels are mostly in charge, laconic badasses Josh Brolin and Benicio Del Toro are joined by seconded cop and audience avatar Emily Blunt, who looks on with jaw at various distances from the floor as the two … Read more
Marnie
1964’s Marnie is Alfred Hitchcock on the comeback trail. True, the previous year’s The Birds had been a big hit, with barely any critics openly saying what a lot of them must have thought – that it’s not top-flight (ouch) Hitchcock. It had made a stack of cash for the director and Paramount. But Hitchcock knew it wasn’t quite up there with the best. And so he set out to make a better film by deliberately borrowing from the best – himself. From Psycho another blonde called Marion (as Marnie is first introduced), the mother issues and lots of fraught sexuality. From the high 1950s era of North by Northwest/Vertigo/Rear Window the lush … Read more
I Wake Up Screaming
Twentieth Century-Fox didn’t do much in the way of noir. Betty Grable wasn’t much of a one for straight roles. So 1941’s I Wake Up Screaming is unusual for two reasons, not to mention a title making no sense at all. It’s a whodunit about people who are off their turf, so those deviations from the norm chime with what’s happening on screen, a murder mystery with a few wayward contenders for the killer of Vicky Lyn (Carole Landis), a girl from the wrong side of the tracks. The man who obviously didn’t do it is Frankie Christopher (Victor Mature), who we meet being sweated by the cops for the young woman’s murder. … Read more
The Great Silence
One of the great puzzles about Sergio Corbucci’s 1968 spaghetti western The Great Silence (Il Grande Silenzio) is how shakily it starts. In one gruesomely unsteady shot after another, using lenses that are way too long, cinematographer Silvano Ippoliti appears to be putting on a demonstration of the genre’s technical shortcomings. Distant figures swing wildly all over the frame, rendering action almost impossible to follow. Stick with it, it settles down. By the end, as events build towards a climax that’s satisfying because it’s so unexpected, Ippoliti and Corbucci have relaxed into a groove and are delivering cinematic storytelling at its finest. Scenes play out in as much time as feels necessary, minor … Read more
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
Dogs in the Movies
Dogs. Yes, that’s right, dogs. I’ve probably already doubled the amount of traffic to this site just by writing the word “dogs” three times. Four times if you count that mention. Because people just love dogs (five). They can’t help themselves. It’s down to their dependability. A human being might let you down, but a four legged friend probably won’t eat you until you’ve been dead at least four days. A cat would probably tuck in while you were still warm. Trenchant insight aside, a dog’s loyalty and trainability make it a natural for the movies. A dog can be encouraged to do stuff that’s cute. Or, with a sign from off-camera, it … 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
21 December 2015-12-21
Out This Week North V South (Metrodome, cert 18) For reasons beyond the scope of human wit, the British gangster thriller has become a Christmas fixture, perhaps because it’s endangered, like the brussel sprout. This year’s front-runner takes the gang battle format – there’s a northern mob led by Bernard Hill, and a southern lot led by Steven Berkoff – adds a Romeo and Juliet romance subplot in the shape of a fixer for Hill (Elliott Tittensor) and the daughter of Berkoff (Charlotte Hope), then loads up with wrong’uns (Keith Allen, Geoff Bell, Freema Agyeman) and an exotic (Dom Monot in an Udo Kier role as a raging transvestite psychopath hitman), shakes and … Read more
Avatar: The Way of Water
Discounting the documentaries about voyages to the bottom of the sea, James Cameron’s last two movies were 1997’s Titanic and 2009’s Avatar. Titanic was the biggest grossing movie of all time, until Avatar replaced it at the top. Success breeds sequels but with the best will in the world it’s hard to imagine what a Titanic follow-up would be about (Titanic II – “it’s still at the bottom of the Atlantic”). The same cannot be said about Avatar, and so it came as no surprise when Cameron announced in 2010 that a sequel was in the works. It took 12 years to get it onto the screens, in large part because Cameron decided … Read more
They Live
“One of the forgotten masterpieces of the Hollywood Left.” Slavoj Žižek’s verdict on They Live demonstrates that even philosophers have off days. Whether Žižek had been smoking genetically re-engineered skunk or not, one thing about John Carpenter’s 1988 film is indisputable: if you want an allegory for the notion of false consciousness, you’ve found your baby. It’s an allegorical tale of a decent, hard-working all-American dude struggling to find work in an economic downturn discovering that the country is actually run by a cabal of extra-terrestrials. Keeping the populace subdued through television, advertising and so on, enables the aliens to squeeze the juice out of the planet. And then one day our hero … Read more
Rudo y Cursi
A movie for every day of the year – a good one 16 March The Wanderers FC win first FA Cup, 1872 Today in 1872, the London football club Wanderers won the first football association cup, the oldest football competition in the world. It was the first of three wins of the cup for the club. The FA Cup is a knockout cup open to all football clubs who are established enough, and with facilities enough, to take part. In 1871-72, being the first season of the cup, there was a piecemeal and eccentric series of regulations – Wanderers managed to get to the final having won only one of their four games … Read more
Danger: Diabolik
Arsène Lupin, Fantomas and James Bond all come together in Danger: Diabolik, the first screen appearance of the Italian masked master criminal. A flop on its initial release in 1968, it’s now regarded as something of a cult classic. The reasons for that are hard to ignore. This is prime mid-1960s kitsch, a psychedelic, phantasmagoric, frequently silly, almost always entertaining dollop of schlock elevated by the superb eye of director Mario Bava and a soundtrack by Ennio Morricone at his most poptastic – twangy guitars, wordless choirs, drums thrashing, a harpsichord, the sonic equivalent of Bava’s colour-soaked, bright, stylish and slightly demented visuals. Italian audiences were familiar with Diabolik (also the film’s original … Read more
