Popular Reviews
Baby Face
A key “pre-Code” movie, Baby Face is one of a handful of 1930s movies said to have accelerated Hollywood’s movie studios into the era of self-censorship – the government was threatening to step in if they didn’t act. It was a key movie for Barbara Stanwyck too, and helped her cement a reputation for playing tough, driven women. Here she’s a young unfortunate fighting her way up in the world by putting it about – that’s the sort of stuff the Code set out to stop – using and abusing men as she goes. Starting at the front door of a bank building in New York, she works her way literally and figuratively … Read more
18 March 2013-03-18
Out in the UK this week Amour (Artificial Eye, cert 12, Blu-ray/DVD) Whatever you say about the director of Hidden or Funny Games, no one does “pitiless gaze” quite as well as Michael Haneke. In Amour he takes one of his standing obsessions, the life bourgeois, and yokes to it a subject rarely covered in film – the loss of dignity and disappearance of the self that happens to most of us as death comes close. Jean-Louis Trintignant and Emmanuelle Riva are the film’s focus, playing a pair of sprightly retired piano teachers whose quietly tasteful, cultured lifestyle is interrupted when one of them has a stroke. What follows is harrowing but almost inevitable, the … Read more
One Minute of Darkness
At first glance One Minute of Darkness, last of the Dreileben trilogy, seems to be the most straightforward of the lot. A honest-to-goodness cat-and-mouser. On the one hand the escaped murderer Molesch, who has been little more than a bad smell in the first two films. On the other a cop on a mission to bring Molesch in, in spite of the fact that he’s ill and on leave. It’s deceptive, though, and the deception starts with the opening shots, of Molesch in custody being driven to a police station. This, it seems obvious, is a continuation of the previous instalment of the series, Don’t Follow Me Around (Komm Mir Nicht Nach), the … Read more
L’Année des Méduses aka Year of the Jellyfish
Sex as war. Breasts as breastplates. 1984’s L’Année des Méduses translates literally as Year of the Medusas but is usually rendered more tamely and less aptly in English as Year of the Jellyfish. Director Christopher Frank (who also wrote the book) sets out his stall straight away. A shot of two cocktails in tall glasses is quickly superceded by the bare breasts of the young woman who ordered them. We’re in the South of France, where a mother and daughter are holidaying on one of those beaches that give the more puritanical mind the heebie-jeebies. All the women are topless and everyone is carrying on as if it means nothing at all. But … Read more
Fanny and Alexander
Fanny and Alexander won four Academy Awards at the Oscars in 1984 and was the first foreign movie to have done so. No foreign movie has ever won more and Ingmar Bergman’s film has only been matched twice in the years since – by Crouching Tiger, Hidden Dragon (2000) and Parasite (2019). At the time it was the most expensive film ever to come out of Sweden and was designed by Bergman to be his last, a grand autobiographical flourish to explain the man behind a remarkable run of astonishing movies as the director started to look back at his accomplishments. With that autobiographical aspect in mind, and armed with the knowledge that … Read more
Why Don’t You Just Die!
The trailer does not lie. Why Don’t You Just Die! (Papa, sdokhni in the original Russian) is a camp melodrama awash with blood, gruesomeness, novel ways of hurting people and comic-book cruelty. It’s as if all the horrible things that ever happened to Wile E Coyote were bundled together and then brought to the screen by a Quentin Tarantino or Robert Rodriguez in one of their Grindhouse jaunts. The opening shot: a young man with a fantastically broken nose (Aleksandr Kuznetsov, and that’s his real nose) is waiting outside an apartment with a hammer behind his back. The door after much knocking opens. It is a bullet-headed man (Vitaliy Khaev). Andrey, the young … 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
Hell of a Summer
Billy Bryk and Finn Wolfhard met as actors on the Ghostbusters: Afterlife shoot, realised they had similar tastes and decided to write a movie together. Hell of a Summer is the result. It’s an “everyone dies” slasher set at a summer camp where counsellors have assembled before the kids arrive to have some bongs’n’beers before settling down to their more serious duties. Gruesome comic death is the idea, which Bryk and Wolfhard establish in a pre-credits sequence in which a guitar played around a camp fire ends up where campfire guitars should probably end up more often, and both the senior counsellors at this remote place take a one-way journey to eternity. After … Read more
Gaia
Gaia is a South African horror film. Unusual enough. An eco-horror, a survivalist horror, a myco-horror and a Freudian horror too. And somehow, in among all that, it even manages a bit of old-fashioned girl-in-a-T-shirt horror titillation, a demonstration of its limber ability to play to and against horror expectations. The supreme example of this comes early on, right after we’ve met Gabi (Monique Rothman) and Winston (Anthony Oseyemi), a pair of forestry workers far from base, punting up river in a canoe, on a mission to collect data. Having lost the drone they’re using as a tech wayfinder, they separate. Expectation one – this is a bad idea. This turns out to be … 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
Funeral in Berlin
The Ipcress File is one of the great 1960s Cold War spy thrillers and its follow-up, Funeral in Berlin, attempts to do the whole thing again. Popular opinion puts the sequel as second best to Ipcress – something its star Michael Caine seems to agree with in various interviews (like this one) – with the third in the series, Billion Dollar Brain, trailing along at the back. The fun in The Ipcress File was in watching a man who was not a spy – and possibly wasn’t suited to becoming a secret agent – being turned into one in spite of himself, all part of a bigger plot to flush out a double agent … Read more
The Stranger
The Stranger is an entertaining enough noirish thriller but the real fun comes from watching it as a contest between a maverick director and a studio that wanted their hireling to turn out Hollywood product rather than a grand auteurish statement. The director is Orson Welles and the year is 1946. Welles was at a low ebb. He hadn’t been let near a feature film on his own for four years. 1941’s Citizen Kane had flopped and the follow-up, The Magnificent Ambersons, had gone so far over schedule and over budget that the studio had taken it off Welles, cut an hour and reshot whole chunks of it. It also bombed. Future generations … Read more
