Popular Reviews
The Crimson Kimono
The posters are much more direct about what’s going on in The Crimson Kimono than the film itself is. Over a picture of a couple in a clinch they klaxon – “YES, this is a beautiful American girl in the arms of a Japanese boy!”. YES, this is a movie about a transracial relationship! Columbia boss Harry Cohn wasn’t convinced that American audiences would be interested, or happy about, a story about such shenanigans but greenlit the film anyway, undoubtedly influenced by writer/director Sam Fuller’s ability to turn out profitable films quickly and cheaply – this was his second of three in 1959. Perhaps Cohn’s doubts also influenced Fuller’s decision to open his film … Read more
Degree of Murder
“Starring Anita Pallenberg” and “Music by Brian Jones” are the big sells of Degree of Murder (Mord und Totschlag in the original German), a weird trifle from 1967 seemingly designed to showcase the almost unbearable cuteness of Pallenberg and little more. If you’re steeped in the culture of the times, no further details about these people is necessary, but if not, then Pallenberg was at the time rock chic numero uno – though Marianne Faithfull might have challenged her to the title – being the girlfriend of the founder of the Rolling Stones, Jones. Jones is harder to explain in a nutshell, though Nick Broomfield’s excellent documentary, The Stones and Brian Jones, does … Read more
The Christophers
The story goes that Steven Soderbergh and Ed Solomon wrote The Christophers for Ian McKellen and Michaela Coel without having any idea if they’d do it or not. According to the IMDb trivia on this film, Soderbergh and Solomon didn’t even know McKellen and Coel, which is plausible in Coel’s case – she’s only been around a relatively short time – but surely not in McKellen’s. It’s the sort of film that Soderbergh knocks out between big projects. For every Ocean’s 13 a Kimi, for every Magic Mike a Presence – that is to say: tiny cast and crew, controlled location, films that could almost be stage plays. Here, McKellen is a fruity … Read more
Deluge
For anyone convinced post-apocalyptic movies are a recent phenomenon, here’s Deluge, a remarkable film from 1933. It’s got all the stuff you might expect from a big disaster movie and some thoughtful stuff you might not. Some of it you might even recognise – the makers of The Day After Tomorrow paid direct homage to this movie when they destroyed New York with a massive tsunami. Like The Day After Tomorrow we’re dropped down right in the middle of things. The film opens with a breakneck montage. The barometer is dropping and scientists are expressing concern. Ships are being called back to port, planes and airships (gratifyingly 1930s) are being grounded. As the … Read more
Julie Keeps Quiet
Silence is a power, and in Julie Keeps Quiet (Julie zwijgt) a story about abuse – never entirely defined – also gains force because of a determination not to sensationalise. Leonardo Van Dijl’s impressive film builds on his 2015 short, Umpire, to tell the story of a young female tennis player – Julie – who refuses to play along when her trainer, Jeremy, is suddenly suspended after the death of fellow player Aline. What Jeremy did to Aline, if anything, is teased away at but really the film is more interested in Julie and her silence, which she wields in much the same way as a young anorexic woman refuses food – it … Read more
Mad God
The work of a genius though not quite a genius work, Mad God is a crazy phantasmagorical ride into a hellish underworld, a stop-motion encylopaedia of styles, some newly minted, others borrowed, which took 30 years to finally finish by its creator, Phil Tippett. If you don’t know Tippett, he’s an animator who’s won Oscars for both old-school stop-motion work and for computer-generated stuff he did after stop-motion fell out of favour. He was head of animation at Industrial Light and Magic in 1978, aged 27, worked on the original Star Wars movies, Honey I Shrunk the Kids, Robocop and Starship Troopers. It was while working on the original Jurassic Park that he … Read more
Haunters of the Silence
I got sent a link to Haunters of the Silence by its director, Tatu Heikkinen, with a nice note attached. Would I like to review it? Yes, of course, though my heart sank slightly. Not because I have anything against indie Finnish directors who have made a film for nothing ($2,000!) with friends and family taking on most of the duties (his wife, Veleda, is co-director, co-writer, co-star and cinematographer). The worry was that I wouldn’t like it and would feel obliged, out of a misplaced sense of personal integrity, to say so. Who wants to kick a struggling artist who’s just getting going? Well so much for that. I liked it! And … Read more
City Lights
Charlie Chaplin started making his film City Lights in one era and released it in another. In the three years the picture was in production, an epochal shift occurred as Hollywood abandoned the silent movie and went wholesale over to talkies. When Chaplin started shooting what was intended to be his biggest picture to date in 1928 he was the king of the hill – and of the world, its biggest ever star before or since – in a world of silent movies. By the time he finished, Keaton and Laurel and Hardy and Harold Lloyd were all talking and the world was going crazy for the likes of Fredric March snarling his way … Read more
Soul to Squeeze
Hell is someone else’s pubic hair in your bath. WM Weikart’s feature debut hits us with this and other observations – some grimly funny others just bizarre – in Soul to Squeeze, a psychological moshpit of a drama about a guy on a trip into his own unconscious mind. There’s a Red Hot Chili Peppers song of the same title, and Weikart borrows its sentiment – “Insanity it seems/Has got me by my soul to squeeze/Well all the love from me/With all the dying trees I scream…” – to tell the story of a disturbed man, Jacob (Michael Thomas Santos), who opts for a revolutionary treatment designed to rid him of his psychiatric woes. All … Read more
The 13th Warrior
A real proper old-fashioned Sunday afternoon film – epic in intention, ludicrous in execution. Considered to be unwatchable when it was test-screened, it was partially recast, rescored and reshot – by Michael Crichton, writer of the original book, who took over from John McTiernan, his Die Hard and Predator experience counting, apparently, for nothing. Crichton’s intervention doesn’t save it. Perhaps nothing could. Perhaps it was jinxed by the presence of Omar Sharif, an adornment of so many terrible films of a similar sort in days of yore. Or by his Nineties successor, Antonio Banderas. It’s an adaptation of the Old English epic poem Beowulf and Banderas plays Ahmed Ibn Fahdlan, a Muslim banished to the … Read more
This Must Be the Place
A movie for every day of the year – a good one 24 August The Mainz pogrom, 1349 In the 14th century, the bubonic plague – aka the Black Death – killed between 30 and 60 per cent of Europe’s population (20-30 million people) in the course of about six years. It arrived from Asia in 1346 and ran rampant. No one knew what the cause of it was, but one of the theories was that it was God’s way of showing his displeasure with humanity, either for waging war constantly (the 100 Years War was ten years in), failing to drive the Muslim out of the Holy Land, or, casting about for … Read more
Exit 8
A man on the Tokyo subway struggles to find the exit. That’s the entire plot of Exit 8, proof that it’s not what you do it’s the way that you do it. This is a tense and atmospheric chunk of quasi-scifi, owing something if not everything to Jean-Paul Sartre’s Huis Clos, with a bit of a stylistic assist from Vincenzo Natali’s cult classic Cube. Quite how Natali got sidetracked into gun-for-hire work on TV shows rather than making more superb high-concept movies like Cube is a question for another day. Here the incredibly capable director is Genki Kawamura, whose only previous feature, A Hundred Flowers, was a tremulous tale of encroaching dementia. Here, … Read more
