The Best Films of 2015

Caren Pistorius in Slow West

There’s a tendency among people who watch a lot of films to boost ones that stand out rather than ones that are good. This can lead to some perverse choices in the “best of” lists that proliferate at this time of year. So that probably explains the rogue nature of the list below – ha ha. If you’re expecting to find Spectre (not at all bad) or the latest Marvel movie or Jurassic World, look elsewhere. These are just the films, of the maybe 350 films or so that I’ve watched in the past 12 months, that jumped out and grabbed me. Some of them are 2014 releases.

Ten Best

Paddington (dir: Paul King)

Operating in Mary Poppins territory, this adaptation of Michael Bond’s books is charming, funny and clever, has jokes for kids and some more thoughtful though never intrusive observations for adults, integrates the animated bear from darkest Peru with the live action brilliantly and there’s even an action-star gag by support-playing baddie Nicole Kidman that’s aimed at ex-husband Tom Cruise.

Wild (dir: Jean-Marc Vallée)

The redemptive drama is a hard sell, but this one about a broken woman’s long trek to self-realisation works in every way. Reese Witherspoon is believably frail as the wee girl dwarfed by her huge rucksack (metaphor), director Jean-Marc Vallée uses music perfectly and does something many directors have forgotten all about – he structures his film visually, using the editing suite to full advantage. His compositional work is remarkable.

Ex Machina (dir: Alex Garland)

Just as we are realising that technology’s grip is icy, and Google might not be our friend, along comes Alex Garland’s directorial debut, a dystopian slab of hard sci-fi in which geeky Domhnall Gleeson falls for robot Alicia Vikander while hipster tech uberlord Oscar Isaac looks on. A three-hander – give or take – getting perfect performances from all concerned, and it glistens like a tiny, beautifully cut gem.

Kajaki (dir: Paul Katis)

A gaggle of British squaddies with names like Tug, Spud and Smudge wander into a minefield and suddenly their casually homophobic banter is replaced by focused professionalism and a sharp interest in staying alive. Gruesomely tense, horrific in its depiction of the damage inflicted by IEDs, is this the best British war film since Ice Cold in Alex? It’s a great war film by any standards.

It Follows (dir: David Robert Mitchell)

Sexual intercourse as an engine of death isn’t new in horror films, but It Follows finds a simple and brilliant new way of telling the story all over again – zombies who are “slow but not dumb” and might appear any time, any place, anywhere, dressed in nightwear or perhaps not very much at all. A lurchingly subjective camera, expressionistic framing and Disasterpeace’s Wendy Carlos-alike score help rack up the intensity even further.

A Girl Walks Home Alone at Night (dir: Ana Lily Amirpour)

The Muslim jilbab as a kind of vampire’s cape – what a brilliantly observed idea that is in one of the strangest horror films of recent times, which combines something of the mass-observation aesthetic of photographer Sebastião Salgado with the disjointed cool of early Jim Jarmusch. Shot entirely in California, yet clearly a film about and for Iran, it’s a fascinating, Middle Eastern take on the Let the Right One In “innocent vampire” genre.

Slow West (dir: John Maclean)

Michael Fassbender’s astonishing run continues with this out-of-nowhere debut by John Maclean, an exquisitely wrought western making clear its debt to old pulp novels and their love of hard-tack glamour and salty danger. Tense as hell, in fact the whole film is one long, slow build towards a great finale. And it looks the business too.

Aferim! (dir: Radu Jude)

There hasn’t been a great Romanian film for about ten minutes, but here’s a slightly different sort than what we’re used to – a historical picaresque following an 1830s cop and his son as they seek to capture a Gypsy and return him to his owner, a rich boyar whose wife has been too free with her favours. Kubrick’s Barry Lyndon inspires some of the look and pace of it, and Don Quixote is clearly also a reference, though Cervantes didn’t finish on as gruesomely gripping a high as this does.

Theeb (dir: Naji Abu Nowar)

It takes a while for it to sink in, but what we have in Theeb – as we follow the exploits of the youngest son of a Bedouin tribe in the Laurence of Arabia-era desert – is a story straight out of Rider Haggard territory. It’s the sort of ripping adventure that once upon a time emboldened Spielberg and Lucas to make Indiana Jones but is done without a cocked eyebrow here, with genuine danger, tough decisions, cruel fate and a bit of socio-economic background (the collapse of the Ottoman Empire) all adding spice.

Mommy (dir: Xavier Dolan)

With Tom at the Farm it became clear that Xavier Dolan was something of a genius. Mommy is further proof, a tough drama about the stumbling relationship of a flaky mother (Anne Dorval), her aggressive, firecracker ADHD teenage son (Antoine-Olivier Pilon) and their nervous neighbour (Suzanne Clément). It wears its emotions out there on a selfie stick – “fuck off” in this film often means “I love you” – and there are at least two scenes so powerful you might have to remind yourself to breathe.

Honourable Mentions

Victoria Almeida in What's Left of Us
Victoria Almeida drives the boys crazy in What’s Left of Us


Appropriate Behaviour (dir: Desiree Akhavan)

The life and times of a second generation Iranian, or of a confused bisexual, or of a girl in the big city, or of a struggling 20something – Desiree Akhavan gets it all just right in this through-the-fingers New York comedy.

Maps to the Stars (dir: David Cronenberg)

Still Alice won her the acting accolades, but Julianne Moore is actually better in this return to nightmarishness for David Cronenberg, as a fading star and member of a family for whom the term fucked really doesn’t cover it. The Player meets Sunset Boulevard.

Life After Beth (dir: Jeff Baena)

Aubrey Plaza gives it her absolute all as a newly dead zombie trying to have a relationship with old boyfriend Dane DeHaan – who finds her a whole lot more into him than she used to be – in a genuinely inventive comedy made all the better by the presence of John C Reilly and Molly Shannon as Plaza’s concerned parents. Dead funny.

The Tribe (dir: Myroslav Slaboshpytskiy)

Shot entirely in Lithuanian sign language, acted by first-timers and set in a school for the deaf where a new boy finds that the descriptor “sex and violence” barely covers what’s going on, this film sounds like a stunt – and it obviously is to some extent – but it’s a stunt that works. And the lack of dialogue is no bar to understanding when emotion this direct and action this unambiguous is concerned.

 The Babadook (dir: Jennifer Kent)

There’s a touch of The Innocents in this highly atmospheric Aussie horror about a mother driven to desperation by her needy child. Or is it the child we need to feel worried for? Sure, it goes slack in the middle, and becomes over-focused on telling us that writer/director Jennifer Kent has seen a whole load of old horror movies, but wait for the finale – barking, scary and brilliant.

The Book of Life (dir: Jorge R Gutierrez)

A Mexican flavoured animation with a Day of the Dead theme and a plot with a distinct Orpheus and Eurydice flavour – she’s dead and he goes after her into the underworld (ish). The visuals are spaghetti western meets Ren and Stimpy, the songs are jaunty and mariachi-flavoured and the voicework (Ice Cube in particular) is exemplary.

Pictures of the Old World (dir: Dusan Hanák)

“The best Slovak film ever made”, the reputation of Dusan Hanák’s disarmingly simple documentary from the early 1970s – about the dirt poor lives of ancient peasants up in the back of beyond – is entirely deserved. “I’m going to die this year, I can feel it,” says one old timer. And that’s what it’s about – quite starkly. Death.

Two Night Stand (dir: Max Nichols)

Breakfast at Tiffany’s, The Pink Panther, It Happened One Night and The Dick Van Dyke Show are all in the mix in this subversive comedy about a girl (Analeigh Tipton) who has hook-up sex with a stranger (Miles Teller) and then gets stuck in his apartment. Old-school screwball romance follows, charmingly, smartly and at speed.

Predestination (dir: Michael and Peter Spierig)

Robert Heinlein’s sci-fi story All You Zombies provides the backbone for the Spierig brothers’ follow-up to the similarly idea-crammed Daybreakers, a “guy walks into a bar” tale of a hermaphrodite (Sarah Snook) who walks into Ethan Hawke’s bar and tells him a story about time travel and the paradoxes that erupt from it. Refreshingly hard sci-fi.

Frequencies aka OXV: The Manual (dir: Darren Paul Fisher)

Strip away the romance and what is human courtship about? Status, clearly, according to this lo-fi, highly fascinating film about “what happens when a high frequency meets a low frequency” – hot, smart girl meets average guy, in other words. It’s patchily acted and a bit speechy towards the end, but there are enough ideas in this bizarre film for about 12 Hollywood blockbusters.

 Turned towards the Sun (dir: Greg Olliver)

A simple and revelatory documentary about 90-something poet and Second World War hero Micky Burn, a long-form visual version of a Daily Telegraph obituary whose power lies in the richness of Burn’s Zelig-like life. He was – just one for-instance – the guy in the secret radio room at Colditz.

What’s Left of Us aka El Desierto (dir: Christoph Behl)

A simple but powerful Argentinian zombie movie about a girl, a boy and another boy all locked up together in a house while the world goes to hell in a handcart outside. And inside, it turns out, once sexual dynamics and the fallout of a fetid love triangle start to exert themselves. Victoria Almeida is a powerful and provocative lead, the sexy counterweight to the hothouse atmosphere of death.

Tusk (dir: Kevin Smith)

Kevin Smith reminds us how good he can be with a film about a guy (Justin Long) being turned into a walrus by a demented surgeon (Michael Parks) while his much-cheated-on girlfriend (Genesis Rodriguez) searches for him. A simple film, it somehow manages to be funny and appallingly gruesome at the same time.

Face of an Angel (dir: Michael Winterbottom)

Michael Winterbottom’s drama takes the bones of the Meredith Kercher/Amanda Knox case and constructs a brilliant meditation on the modus operandi of the media, as well as a modern-day Dante and Beatrice tale in which film-maker Daniel Brühl is smitten by virginal Cara Delevingne, as anyone watching probably will be too.

While We’re Young (dir: Noah Baumbach)

Not-as-young-as-they-once-were couple Ben Stiller and Naomi Watts try to keep up with hipsters Adam Horovitz and Amanda Seyfried in a very Jewish New York comedy – smart, dry, a touch bitter – about the importance of being not just true to yourself, but of doing this absolutely and totally properly.

 White God aka Fehér Isten (dir: Kornél Mudruczó)

Kicking off with a quote by Rilke, this unique Hungarian film is like a Disney animal flick about the adventures of a mongrel, except done as existential sci-fi – what exactly would happen if dogs had the same degree of consciousness that humans have?

The Salvation (dir: Kristian Levring)

Director Kristian Levring used to be a Dogme man, but shouts “I’m so over all that now” with this remarkable western that’s like a fusion of Sergio Leone, John Ford, Sam Peckinpah and Robert Aldrich, with a perfectly cast Mads Mikkelsen as a Clint Eastwood-alike quester after vengeance. If looks could kill…

Run All Night (dir: Jaume Collet-Serra)

Another of Liam Neeson’s geri-actioners, though this time he’s back with director Jaume Collet-Serra for a deliberately retro dash for the finish in which strong, silent Neeson takes on the good guys, the bad guys and eventually the whole of New York. Hugely overwrought, entirely satisfying, it’s genre done properly.

Still the Water aka Tutatsume no mado (dir: Naomi Kawase)

If Douglas Sirk had been Japanese he might have come up with this overheated love story about teenage lovers hedging towards full penetrative sex as the waves crash, storms rage and their families conspire against them. Leisurely, beautiful, lusty and lovely, an unusual mix of the entirely natural and the gigantically metaphorical.

Phoenix (dir: Christian Petzold)

The latest of a string of dark, intelligent films that director Christian Petzold and actor Nina Hoss have made together is a revenge drama set in the aftermath of the Second World War where Hoss, just released from a death camp, is recruited by her own husband to play his dead wife – he doesn’t recognise her, obviously – and she plays along. Oh deary deary me.

 Marshland aka La Isla Mínima (dir: Alberto Rodriguez)

Stunningly good-looking policier about an ageing Franco-supporting cop and his younger more democratic sidekick investigating a murder out in the photogenic Guadalquivir marshes in 1980. Brilliantly acted and shot, with locations and music to match, it even does a car chase in an entirely new way. Did I mention how good it looks?

Little Accidents (dir: Sara Colangelo)

Old school 1970s-style humane ensemble drama with a standout Boyd Holbrook as a survivor of a terrible mining disaster whose testimony about the event at an upcoming hearing is going to decide the futures of a whole lot of people in town. An ambling drawl of a movie, with Elizabeth Banks and Jacob Lofland almost as good as Holbrook, surely a star of 2016.

 Turbo Kid (dir: François Simard, Anouk Whissell, Yoan-Karl Whissell)

Utterly on-the-nail pastiche of 1980s straight-to-VHS movie-making, a post-apocalyptic Total Recall meets Mad Max story of a BMX-riding kid, called Kid, gaining special powers, falling for a special girl (a special Laurence Leboeuf) and saving the world. Funny and gory, with in-jokes for nerds, and a fabulous John Carpenter-like soundtrack by Le Matos.

Mad Max: Fury Road (dir: George Miller)

Pedal-to-the-metal furious punk-funk madness, with a barely speaking Tom Hardy as Max, the road warrior on the road with badass Charlize Theron (the film’s real star) while director George Miller obsessively choreographs the relentless chase/action mayhem around them.

Tomorrowland (dir: Brad Bird)

Whatever happened to the futurism of jet packs and flying cars? Brad Bird answers the question with jaw-dropping visuals in a modern-day Wizard of Oz quest-adventure coolly received by critics with ass/elbow disassociation disorder.

Cop Car (dir: Jon Watts)

Another of those great Kevin Bacon movies he comes up with every few years, with our guy as a really bad cop on the trail of a couple of kids who have nicked his car, unaware there’s something in the boot they really don’t want to be discovering. A high-concept B movie of real distinction, lean, simple and with smart, believable dialogue, especially for the kids.

Palio (dir: Cosima Spender)

A remarkable documentary about the Palio, a horse race run in Siena, Italy, twice a year, which takes such pains to introduce us to its characters – chiefly, the young buck hoping to steal the grizzled champion’s crown – that when the race kicks off, you’re really in the medieval square with the riders.

 Minions (dir: Kyle Balda, Pierre Coffin)

After the boring Despicable Me 2, who’d have thought that a spin-off – the backstory of Gru’s little yellow helpers – would have worked this well. Brilliantly animated and written, it’s a breathless, idea-packed, funny, inventive animated comedy.

I Believe in Miracles (dir: Jonny Owen)

Even if you have no interest in the 1970s, or British football, or managerial legend Brian Clough, this documentary about his astonishing success and idiosyncratic style will have you hooked. “The most charismatic man I ever met,” says one former player, part of the team of underdogs he willed to European Cup success, twice.

And if you want to watch or buy any of the films, this Amazon link will allow you to do just that – enjoy!

I am an Amazon affiliate

© Steve Morrissey 2015

31 August 2015-08-31

Ronald Zehrfeld and Nina Hoss in Phoenix


Out This Week


Phoenix (Soda, cert 12)

Nina Hoss and Christian Petzold have made six films together, of which I’ve seen only one – the outstanding left-field supernatural thriller Yella. Phoenix builds its drama in a similar way to that 2007 movie – withholding a piece of information and asking us to guess what exactly is going on. Here, we’re in a quasi-Vertigo story, with Hoss as Nelly, a Jewish woman who’s having facial reconstruction surgery in the immediate rubble-strewn aftermath of the Second World War in Germany. Why? We’re not sure. Though the fact she’s been in “the camps” is surely significant. And chilling. And what sort of a clinic is offering reconstructive surgery anyway? And to whom? Nazis on the run? All questions writer/director Petzold leaves hanging, as does Hoss, in her borderline inert yet intense performance. Petzold then takes this physically and psychologically damaged woman and, in a brilliant bit of story contrivance, re-introduces her to her husband, who doesn’t get that she’s his wife, but sees in her someone facially close enough to his wife to pass as her. With a devious plan up his sleeve he sets about moulding her into the image of the “dead” woman. And Petzold and Hoss start unwinding a huge metaphor for the German nation’s restoration of the status quo ante, and how silence about awful war crimes was both necessary and convenient. The Jews, meanwhile, had a different cultural landscape to negotiate, their identity having been forged, to an extent, by Adolf Hitler. All this going on quietly while the Frankenstein story of Nelly and her creator grippingly unfolds at its own unhurried pace, and builds towards an exquisite climax where everything suddenly comes together. After which, his job done, Petzold immediately fades with a dramatic flourish to black. It’s a remarkable and utterly satisfying way to end a complex and thrilling film constructed, as was Yella, like a magician’s trick.

Phoenix – Watch it/buy it at Amazon




Body (Matchbox, cert 15)

Built something like a trolley problem, Body takes three girls of varying character, gets them drunk at Christmas, “the most wonderful time of the year”, puts them in a stranger’s house, which they’ve broken into, then has them get involved in a terrible accident, in which an innocent person dies. What to do with the body? Well, why not call the cops, is what we’re all asking. And, writer/directors Dan Berk and Robert Olsen just about come up with an answer – because the girls are in a stranger’s house and they’ll be automatically accused of having killed the housesitter (or whoever it is). And they’re drunk and have been smoking weed which muddies the water, not to mention their thought processes. Basic situation established, Berk and Olsen then throw the three young women into a variety of exculpatory shapes – they come up with a “he was trying to rape us” story, and so it becomes necessary for the hottest of the three (Helen Rogers, since you ask) to get a bit mussed up, which entails the ripping of her T shirt – a rack used to mean something else in horror, I’m sure – while the most vampish (Alexandra Turshen) makes increasingly lurid suggestions, and the most moralistic one (Lauren Molina) squeaks “let’s go to the cops” at various volumes. The fact that the dead guy is played by Larry Fessenden, a cult figure in horror circles, will tell those in the know that Berk and Olsen have a few more twists up their sleeve, none of which I can reveal. But this a nice (ie short) pungent film which maybe doesn’t say anything too significant about the plasticity of morality, or whether to trust girls with great tits, but it does it with speed and a wink.

Body – Watch it/buy it at Amazon




Girlhood (StudioCanal, cert 15)

Minus the lesbian sex, Girlhood takes the same arc as Blue Is the Warmest Colour – ie the sentimental education of a young French girl. Except the girl in this case is black and from the hood (title explained) and her choices are in a different register. So we meet the wannabe academic Marieme (fabulously natural Karidja Touré) as she’s being denied a place in high school and instead is offered a range of skivvy vocational courses. Thwarted, knocked about at home, she transforms, little by little, from timid, passive and bookish into a tough ball of gristle, like the other fly girls on her estate. Girlhood‘s actors are all remarkably fresh, and bring real depth to their roles. This band of sisters live in a mean world and need to be tough, and so they are. They rip the bras of other girls in fights, they intimidate shop assistants in the mall; they are formidable and frightening. But among themselves, they’re just young girls and are sweet with each other, get up to all the midnight feasting and sleepover-y behaviour you’d expect. There’s a beautiful scene in which – admittedly drunk and high – they all lip-sync to Rihanna singing “shine bright like a diamond” and the camera catches them bathed in blue light, dark skin glowing. But they won’t shine, this lot, will they? Tomboy director Céline Sciamma is otherwise sparing with the beauty shots, and uses music in tight stabs too, to express the boundless landscape of these girls’ fantasies. What other girls might call realistic life chances. A welcome layering in a film that can, at first glance, seem a bit familiar.

Girlhood – Watch it/buy it at Amazon




Contracted: Phase 1 (Primal Screen, cert 18)

I can tell you the bare bones of Contracted, but little more than that. Because writer/director Eric England’s film is as much about what sort of beast it isn’t as what sort of beast it is. It’s a simple but effective plot though, of a timid, recently out lesbian who’s pissed off with her girlfriend, and so gets drunk at a party. Drunkenness leads to chatting with some guy by the fridge and before long she’s banging him in the back of a car. By the next morning it’s already clear that she’s picked up something. Over the next few days, things get a lot worse very quickly – vaginal bleeding leads to hair falling out, bloody lesions of the eyes, and so on. Kids, just say no, appears to be the message, if this is all about picking up STIs, or of being true to your sexuality, or even of not “experimenting” with sexuality at all. These are all possibles in a cheaply put together, occasionally improbably written, sometimes fairly badly acted film that moves at speed, with some beautifully horrible make-up effects (I doubt there’s much CG) and a few great “ew” moments – such as when the falling-apart Sam (Najarra Townsend), working as a waitress, manages to deposit a fingernail in a customer’s salad. Even though things start to end in a mad hysterical rush, during which the guignol is particularly grand, it’s worth hanging on for the last scenes, which deliver a horror coup de theatre that Eric England is never going to be able to use again. Contracted: Phase 2? Surely not.

Contracted: Phase 1 – Watch it/buy it at Amazon




Medium Cool (Eureka, cert 18)

Haskell Wexler is one of a small clique of cinematographers you could call legendary. And Medium Cool is one of his rare forays into directing. It didn’t do well on its initial 1969 release, but has become something of a cult item since, a film about the hot, in every sense, summer of 1968 and how the high politics of Bobby Kennedy and Martin Luther King played into the low action on the streets, a summer of protests, riots and political chaos at every level. Look at today’s “culture wars” and snort. And there’s Robert Forster, an old guy now but in his prime here as a thrusting, democratically inclined TV news reporter trying to take the culture’s temperature – from the mostly white women on the gun ranges learning to shoot to defend themselves (ie their property), and from the angry black guys spouting black power slogans, some hot air and much sense out in the bad parts of town. Wexler ties all the strands together with a story about Forster’re reporter getting close to Eileen (Verna Bloom), a recent arrival in Chicago, an attractive hick woman with a pigeon-racing son whose dad is in Vietnam and possibly isn’t ever coming back. And at first the large chunks of documentary footage shot outdoors seem daunting (oh no, not another 1968 MLK/RFK film, I thought). But give Wexler time to weave his tale, because what starts to emerge is an “Altman before Altman” film of overlapping dialogue, irony, symbolism, sudden fascination with a seemingly non-important detail. And onto that a clear examination, a “Michael Moore before Michael Moore” fascination, with the causes of violence in America. Wexler also does a little bit of chronological tinkering, introducing the sort of foreshadowing that’s often seen as the invention of Nicolas Roeg in Don’t Look Now. And yet here it is some years earlier. You could ignore all those stylistic/thematic/technical/philosophical innovations and still enjoy this film as an almost-documentary, shot as crisply as these days are ever going to look (especially in the brilliant Eureka Blu-ray I watched the film on), of a key moment in modern American society, when things got so bad in Chicago that the tanks were sent in and martial law was effectively declared. As Eileen wanders the streets looking for her lost son, among actual protesters and in front of actual soldiers, here it all is. And the music, by a then fairly unknown Frank Zappa – whose contention that being a peace-loving hippie was a stupid response to the political situation – couldn’t be more apposite. A classic – way ahead of its time and yet entirely of it.

Medium Cool – Watch it/buy it at Amazon



Magician: The Astonishing Life and Work of Orson Welles (BFI, cert E)

Chuck Workman, so Wikipedia tells us, is the guy who puts together the In Memoriam section of the Oscars, honouring recently fallen Academy comrades. There’s something of that spirit in his documentary about Orson Welles, which is so keen not to speak ill of the dead that it loses sight of some of the story – since, if Welles wasn’t difficult, or mendacious, or immoral, or bad/wrong in some way, how come he struggled so hard to get his films made? You’d have to go at this assemblage of talking heads new and archive with an archaeologist’s brush to uncover an answer. And even then the only one on offer is a vague “he was a bit late on set now and again”. This is a great pity, because what the world wants is a rounded portrait of this complex character. And the good stuff in this film is good. There is a lot of unfamiliar footage, Workman doesn’t mess about with chronology and takes us through Welles’s career from the precocious schoolboy to the clapped-out bon vivant dead at 70, pausing at his radio years, his Mercury Theatre successes, before moving on to Hollywood where Welles became, yet again, an immediate sensation, there’s the European wilderness period, and the slight return as an indie maverick before the term had been coined. Workman uses lots of clips from Welles’s films, drops in scenes from a couple of Welles biopics (Christian McKay’s turn as Welles in Me and Orson Welles; Liev Schreiber’s in RKO 281), copious footage from the many TV interviews Welles gave (unreliable as sources of information, we’re told) and the odd backroom moment about the actual nuts and bolts of film-making – Robert Wise pulling “what? what?” faces as he’s explaining how he recut The Magnificent Ambersons at the studio’s behest; Charlton Heston recalling that it was his idea to give Welles the gig on Touch of Evil (Welles completely rewrote it); editor Walter Murch showing us why that film needs to be put back the way Welles intended – why Welles’s version works, and the studio’s doesn’t, in effect. I wanted more of this stuff. If the guy was great, show us how, don’t just blow cigar smoke up his ass, as too many of the talking heads (among them Bogdanovich, Spielberg, Lucas, Costa-Gavras, Richard Linklater, Paul Mazursky) are doing. It’s a fine Welles 101, but this “destitute king” as Jeanne Moreau beautifully puts it, deserves better.

Magician: The Astonishing Life and Work of Orson Welles – Watch it/buy it at Amazon



Monsters: Dark Continent (E One, cert 15)

The original Monsters film smuggled a lovely It Happened One Night love story past the defences of the sci-fi/horror crowd. Alien creatures hardly featured at all, turned up in the distance, and were a metaphor for, probably, immigration. Little of the wit, barely any of the original personnel and none of the inventive use of a tiny budget remain in this sequel, which has cash, an extensive and solid cast, decent SFX and no real idea what to do with itself. It’s a war film set in the Middle East where a troupe of standard-issue grunts are fighting some version of the Taliban/Al Qaeda/Ansar Dine/Isis/Who Knows while out in the sands, big extraterrestrial creatures make sport with any humans they come across. If this seems odd – who fights a human foe when there’s a huge, sophisticated, unstoppable and hostile extraplanetary one right over there – it’s no odder than the title (which Continent, exactly?). And if the action takes place in a weird double-headed world, the plot itself isn’t sure if it’s trying to be The Deer Hunter – here are the guys back home, here they are out fighting in the desert – while the action sequences are more a case of Black Heart Down, all carnage and mayhem. There are some pretty pictures of men out in the searing heat, all mirage shimmers and white sand, and we meet Sofia Boutella, a woman of an exotic beauty to get the dogs barking in the night. But I never said this was a bad looking or badly made film. It really isn’t. But its metaphor – I get it; this time we’re the monsters, the invaders – simply goes nowhere and the film has no reason to exist beyond the delivery of paychecks to people with good technical skills.

Monsters: Dark Continent – Watch it/buy it at Amazon





© Steve Morrissey 2015