Popular Reviews
Mandibles
Mandibles (Mandibules in the original French) is a film by Quentin Dupieux, the guy who in 1999 gave the world Flat Eric, a nodding glove puppet with deadly comic timing originally designed to sell Levi’s Sta-Prest clothing. Aspects of the manic, affectless, idiot-savant spirit of Eric (if you don’t know him, here’s an example) can often be seen in Dupieux’s characters. Dupieux’s people are usually Flat in some way. There’s often something not-quite-there about the storyline too, and Dupieux has an unusual way of framing his shots – deliberately slightly too high, or too low, always just a bit off somehow. All fully evident here. Manu (Grégoire Ludig), a bum who sleeps on … Read more
Obsession
Bunny-boiler females are nothing new. But if there is a pantheon, Inde Navarrette must surely be in it on the strength of her performance in Obsession, sitting alongside Glenn Close (for Fatal Attraction), Kathy Bates (Misery) and, perhaps closest of all in spirit, Isabelle Adjani, for her unhinged performance in Possession. Navarrette plays Nikki, a hot girl Nikki certain she has decidedly and forever consigned old chum Bear (Michael Johnston) to the friend zone, that’s if she really thinks about him at all. What she doesn’t know is that Bear has somehow come across a hocus-pocus piece of gimcrackery that will grant him one wish – a One Wish Willow. “I wish Nikki would … Read more
Sequin in a Blue Room
“A Homosexual Film by Samuel Van Grinsven” is how the Sydney-based writer/director describes his feature debut, Sequin in a Blue Room, in the space where the usual “A film by” card comes up. Not “Gay”, not “Queer”. And “Homosexual” as if the film itself were homosexual, which is impossible. Perhaps Van Grinsven is staring down any would-be criticism with a “yeh, what of it?”. Or maybe he’s making it clear to the ninnies who don’t like this sort of thing that this sort of thing is exactly what they’re getting. It’s a love story, in essence, though one overlaid with all the modern-day paraphernalia of dating culture – the apps allowing hook-ups on … Read more
The Magnificent Ambersons
The film that never was, a magnificent mess, Orson Welles’s masterpiece, better even than Citizen Kane, The Magnificent Ambersons is all these things and more, or perhaps less, since no one apart from a handful of people in 1942 has ever seen the finished version. Instead there’s just the version we have, which is minus 50 minutes of material Welles had included in the rough cut he’d made with editor Robert Wise (later of The Sound of Music fame). After negative screenings, a general antipathy towards Welles at RKO and a change of public mood on account of Pearl Harbor having just propelled the USA into the Second World War, the studio ordered … Read more
The Gatekeepers
A movie for every day of the year – a good one 13 September Rabin shakes hands with Arafat at the White House, 1993 On this day in 1993, Itzhak Rabin, Prime Minister of Israel, and Yasser Arafat, chairman of the Palestine Liberation Organisation, shook hands at the White House after signing the Oslo Accords. It was a historic moment. These modest proposals put in writing agreements about mutual recognition, the formation of a provisional Palestinian government, and Israel’s agreement to withdraw from some parts of the West Bank and the Gaza Strip. They wisely left thornier issues (the Jewish settlements, the future of Jerusalem, the fate of Palestinian refugees) off the agenda. … Read more
Joanna
“The baroque signifies rebellion against the constraints of classicism,” is the key line in Michael Sarne’s Swinging London movie from 1968, Joanna. A more-is-more display of the excessive, it attempts to get several quarts into a pint pot, to import some Godard smarts and Fellini flash into staid British film-making and generally to baroque’n’roll things up as much as it can. In what verges on the incoherent but just about sticks to a story, the thin plot follows new-in-town 18-year-old Joanna (Geneviève Waïte) as she meets people on the London scene, sleeps with men, attends art school when she can be bothered (which is where the line about the baroque comes in) and … Read more
Criss Cross
If film noir is about men in the thrall of women being tossed about by cruel fate, Criss Cross is prime noir. Made in 1949, in black and white, and starring Burt Lancaster in his first, noirish iteration, it’s directed by Robert Siodmak, a dab hand at punchy, pitiless drama. The story is told in a strange semi-flashback style. Half of it in the present, where Steve (Lancaster) is a driver of an armoured car working as an inside man for a weaselly criminal about to pull a big heist. The other half back in the past, where we discover why the suburban, mother-loving Steve ended up on the wrong side of the … Read more
Nuclear
After His House and A Dim Valley, Nuclear is the third film with an uneasy supernatural element that I’ve seen in the last three days. All three use the otherworldly element to put a spin on a familiar genre – two/three genres in the case of Nuclear. The first is a family drama. Mother (as the imdb calls her, and played by Sienna Guillory) gets a formidable kicking as the film opens, from her son (Brother, as per the imdb, played by Oliver Coopersmith), is rescued by her daughter Emma (Emilia Jones) and driven off into the middle of nowhere, mum to recuperate, Emma to marshal her forces before moving on to who … Read more
Alcarràs
Like Carla Simón’s previous film, 2017’s Summer 1993, Alcarràs is an intimate family drama shot in an unobtrusive semi-documentary style with performances so good you wonder how come actors like these get overlooked at awards time. There’s a feature idea – too good for an award (quietly files away idea only to forget it). Not the film itself, which has won a rake of gongs for direction and screenplay. But if I were handing out the trophies, almost any one of the actors (non-professionals all!) in Alcarràs involved would be a prime candidate for an honour, with Josep Abad at the top of the list. He plays Rogelio, the aged grandfather and patriarch … Read more
Séraphine
A movie for every day of the year – a good one 13 May Julian of Norwich’s visions, 1373 On this day in 1373, a woman who lived in Norwich recovered from an unspecified illness during which she had started seeing visions of Jesus Christ. The illness had been serious and she had not been expected to survive. As a result of making the unexpected recovery the woman became an anchoress (ie a hermit who lived in a cell attached – anchored – to a church). No one knows what her name was, but because the church she was anchored to was called St Julian’s, she became known as Julian of Norwich. She … Read more
Nosferatu
Murnau’s 1922 silent expressionist classic is one of defining moments in movie-making. It borrowed its story wholesale from Bram Stoker’s Dracula, gave it the lightest of resprays and hoped no one would notice the theft. Bram Stoker’s widow noticed and sued for breach of copyright, won the case and had all the prints of Nosferatu destroyed. But the film refused to die, and rose from the undead. Its star, who plays Count Orlok (aka Nosferatu), is one Max Schreck, “Schreck” being the German word for terror. Maximum Terror – and you thought modern Hollywood had a lock on this sort of thing. Adding to that in terms of myth-making, it was always rumoured that … Read more
Chungking Express
Written on the hoof while shooting on his previous film, Ashes of Time, was paused, Wong Kar-Wai’s Chungking Express is one of the defining films of the 1990s and, thanks to Wong’s remarkable approach to storytelling, one of the great films of all time. It’s two stories in one, or one story told two ways, if you like, as if Wong had assembled all his elements, used them to tell his first story and then given the kaleidoscope a tiny twist. Hey presto, here are the same bits and pieces arranged in an entirely different way. Both are romantic fever dreams and take place in a world that’s not really our own, where … Read more
