Monthly Archives: May 2021

Cinema, Cult Cinema, horror

CULT FILM REVIEW: HOUSE/ハウス – (1977)

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CULT FILM REVIEW: HOUSE (1977)

Directed by: Nobuhiko Obayashi

Produced by: Nobuhiko Obayashi, Yorihiko Yamada

Screenplay by: Chiho Katsura

Story by: Chigumi Obayashi

Cast: Kimiko Ikegami, Miki Jinbo, Ai Matubara, Kumiko Oba, Mieko Sato, Eriko Tanaka, Masayo Miyako, Yōko Minamida

Music by: Asei Kobayashi, Mickie Yoshino

***MAY CONTAIN SPOILERS***

This Japanese film from the late 1970s is absolutely nuts, but a riotous genre mash-up of rites-of-passage, horror, musical, martial arts, romance, fantasy, comedy and anti-war genre movie styles. If you are a fan of the work of Takashi Miike’s both energetic and often insane genre films, you can definitely see how, House (1977), may have had a major influence on his and many other Asian filmmaker’s cinematic works.

Initially receiving negative reviews, but big box office in Japan on release, House (1977), opens by introducing a set of seven teenage girls called, Gorgeous, King Fu, Prof, Melody, Fantasy, Mac and Sweet. The names give them their major characteristics too. Kung Fu for example loves martial arts, Fantasy is a daydreamer and Melody loves music etc. You get the idea. As each character is introduced in a basic fashion, the energetic performances of the actors and the quirky screenplay develops their characters beyond the initial stereotypes. Gorgeous is especially well developed as she is suffering the loss of her mother and has rejected her father’s choice of stepmother. Eschewing her kindly father’s protestations, she decides to visit her aged Aunt in the countryside.

When Gorgeous’ friend’s school trip is cancelled due to several bizarre plot turns, and a couple of crazy musical numbers later, the girls join her on the visit to the creepy house. When they finally arrive Gorgeous’ aunt behaves extremely oddly. She rarely gets visitors and only has a white cat for company. When the girls begin to disappear one-by-one and Fantasy’s daydreams begin to turn to nightmares, the true horror of the situation takes shape. The house itself is a malevolent force and has trapped the girls. What appeared to be a lovely summer vacation is now the total opposite.

Now, what I have described actually seems quite normal in terms of the narrative content. It’s a standard horror plot of characters imprisoned by supernatural forces and trying desperately to stay alive. However, director, Nobuhiko Obayashi, who devised the story with his daughter, presents a series of images and sounds David Lynch would have been proud to have devised. These include: a mirror attacking the viewer, a watermelon being pulled out of a well appearing like a human head, a pile of futons falling on and attacking a character, a carnivorous piano with biting keys and all manner of surreal fights and deaths. Allied to this the eccentric and jolly music works against the horror and suspense, so one is both laughing and disturbed simultaneously.

Ultimately, House (1977) is one wacky viewing experience, but it also taps into themes of friendship, romance, grief, as well as drawing on the horror of destruction Japan suffered when the atomic bombs hit Nagasaki and Hiroshima. It is fast paced with an abundance of imaginative ideas, film styles and practical effects throughout. Thus, if you love the work of aforementioned Miike, Lynch and Sam Raimi, you are bound to want to stay in House (1977) for the rapid eighty-eight minutes duration.

Cinema, Great Ensemble Film Casts

GREAT ENSEMBLE FILM CASTS #5 – COPLAND (1997)

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GREAT ENSEMBLE FILM CASTS #5 – COPLAND (1997)

Directed by: James Mangold

Produced by: Cathy Konrad, Ezra Swerdlow, Cary Woods

Written by: James Mangold

Cast: Sylvester Stallone, Harvey Keitel, Ray Liotta, Robert De Niro, Peter Berg, Janeane Garofalo, Robert Patrick, Michael Rapaport, Annabella Sciorra, Noah Emmerich, Edie Falco, Deborah Harry etc.

*** CONTAINS SPOILERS ***

James Mangold is rarely mentioned as one of the best filmmakers around. Probably because he is not a flashy director or a household name. Yet, he has consistently delivered a series of extremely entertaining and inventive genre films over the past few decades. These include: Identity (2003), Girl, Interrupted (1999), Walk the Line (2005), 3:10 to Yuma (2007) and more recently, Logan (2017). His films always feature solid characterisation, compelling conflict and well-structured plots. Above all else, Mangold always attracts A-list actors to his film projects. None more so than in the urban neo-Western, Copland (1997).

Copland (1997) is a thriller which still resonates today with themes that focus on corrupt cops conspiring to control crime from the town of Garrison, New Jersey. Drug deals, racial profiling, murder, larceny and perverting the course of justice are all in a day’s work for the crew led by Harvey Keitel’s alpha cop, Ray Donlan. The Sherriff of Garrison is half-deaf and lumpy, Freddie Heflin (Sylvester Stallone). He is so in awe of Ray and his crew that he is prepared to turn a blind eye to their crimes. However, after a series of brutal incidents which bring heat and Internal Affairs onto Freddie’s patch, he must decide whether to take a stand against the bullies.

Copland (1997) is both a fine character study of a downtrodden man finally standing up against those keeping him down, and a searing damnation of the dishonest nature of American police enforcement. Moreover, Mangold has assembled a hell of a cast. Stallone has never been better in his role of Freddie Heflin. He is a sympathetic character, but frustrating as one wills him to fight back. Robert DeNiro attempts to help him as the Internal Affairs officer, Moe Tilden. While slightly over-the-top here, DeNiro’s scenes with Stallone really sizzle. DeNiro spikes with energy as Stallone offers silent awkwardness.

Ray Liotta almost steals the show as the coked-up-copper-on-the-edge, Figgis. While Robert Patrick, unrecognisable from his performance as the T-1000, shines too as nasty piece of work, Jack Rucker. Add Keitel, Michael Rapaport, Peter Berg, Janeane Garofalo and Cathy Moriarty into the mix and you have one cracking ensemble. Interestingly, Stallone said the film hurt his career. However, he received much critical praise and I wish he’d pursued more character-heavy roles like this rather than films like the forgettable Expendables trilogy.

Cinema, Reviews, Under-Rated Classics

UNDER-RATED CLASSICS #9 – WILD BILL (2011)

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UNDER-RATED CLASSICS #9 – WILD BILL (2011)

Directed by: Dexter Fletcher

Produced by: Tim Cole & Sam Tromans

Written by: Dexter Fletcher, Danny King

Cast: Charlie Creed-Miles, Will Poulter, Liz White, Sammy Williams, Charlotte Spencer, Leo Gregory, Neil Maskell, Iwan Rheon, Olivia Williams, Andy Serkis etc.

Music by: Christian Henson

Cinematography: George Richmond

***MAY CONTAIN SPOILERS ***

With so much British filmmaking talent behind and in front of the camera being absorbed by the big film and television studios in America, and the lack of cash within the British film industry too, it’s rare that a British film gets made and then distributed properly. Even if a film such as the earthy London-set crime drama, Wild Bill (2011), does find its way to British cinemas it can be cruelly enveloped by the Hollywood film behemoth, swallowed up at the multiplexes and seen by very few popcorn guzzlers. Which is a damn shame as Wild Bill (2011) is a tidy, low-budget, and extremely under-rated classic in my book. Made for just £700,000 and directed by the now in-demand actor-turned-filmmaker, Dexter Fletcher, the film marries family conflict, humour, violence, South London gangsters all in a moving tale of redemption.

For the record, for me, an under-rated classic can be a film I love, plus satisfy the following criteria:

  1. Must not have won an Oscar.
  2. Must not have won a BAFTA.
  3. Must not appear in the AFI Top 100 list.
  4. Must not appear in the IMDB Top 250 list.
  5. Must not appear in the BFI 100 Great British films.
  6. Must not appear in the all-time highest grossing movies of list.

Unfortunately, Wild Bill (2011), does not meet any of these criteria. In fact, not many people have even heard of the film, let alone seen it. But it’s on Netflix so do try and catch it. Read on for some reasons why.

The main character nicknamed, portrayed by the excellent character actor, Charlie Creed-Miles, is the titular “Wild Bill”. He has just been released from prison having been a dealer and fighter and general menace to society. There is immediately tension because you wonder if the man will return to his bad old ways. Surprised to find his wife has buggered off to Spain, Bill is hardly given a warm welcome by his older son, Dean, as Will Poulter give another very mature performance. Indeed, Dean hates Bill, and while he is only fifteen, he has been the breadwinner looking after his young brother, Jimmy (Sammy Williams). Forced to stay together by Social Services, much of the film finds the father and son resisting, then attempting to find some common ground. The attempts at family harmony are not aided by the career thugs, including Leo Gregory and Neil Maskell’s characters, attempting to get Bill back on their crack dealing crew. It’s during such struggles that Bill strives to be positive and not return to his violent ways. However, there is only so far a man can be pushed.

Wild Bill (2011) is beautifully filmed with some fantastic London vistas as well as some gritty, urban locations to savour. Sure, the film also has a familiar set of character archetypes and narrative tropes. These include the ex-con trying to go straight, the tart with a heart, the local drug dealers terrorizing the estate, a teenage mum, estate kids getting pulled into crime, the white dealer who thinks he’s black; and the “Mr Big” crime boss played with threatening glee by Andy Serkis. Yet, the characters never become stereotypes as the writing and narrative avoid most of the cliches usually present in plain bad cockney gangster films. Ultimately, the writers, director and actors really make us care about Bill and his boys. I mean, after many false starts he really tries to make a go of it as a father. Bill may not have always made the best decisions in life, but he has guts and heart; very much like Wild Bill (2011) as a whole.

Amazon Prime, Cinema, New Releases, Reviews

“CINEMA” REVIEWS: NOMADLAND (2020) & SOUND OF METAL (2019)

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“CINEMA” REVIEWS: NOMADLAND (2020) & SOUND OF METAL (2019)

Due to the being very busy at my day job I have fallen slightly behind with my film reviews. Thus, I am consolidating two quality dramas I have watched in a double bill review presentation. In fact, it is quite apt that these two films are critiqued together as they are both Oscar winners, both focus on an individual’s struggle against difficult personal trauma, both films represent an alternative vision of America and are told in a meditative and absorbing style.

NOMADLAND (2020)

Directed and written by: Chloé Zhao

Produced by: Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey, Chloé Zhao

Based on: Nomadland: Surviving America in the Twenty-First Century by Jessica Bruder

Cast: Frances McDormand, David Strathairn, Linda May, Swankie etc.

Winning the Oscar for Best Picture, Best Director and Best Actress in a leading role, perhaps upsold my expectations for Nomadland (2020). It is an example of amazing filmmaking without being a particular brilliant film. I get why it won Best Picture, but that was more to do with there not being one specifically superb standout film among the nominees. Frances McDormand isn’t even very memorable as the lead protagonist, Fern. Don’t get me wrong she is highly empathetic and admirable in her resilience to stick to the road, living in her van and scrapping by independently. However, the film is one-paced. It is all set-up and little pay-off, with the odd flat tyre, van breakdown and Fern having to shit in a bucket providing occasional spikes in the drama.

Much praise though goes to the incredible cinematography and Chloe Zhao’s intelligent and naturalistic direction. She really gets into the weeds of the flailing American dream, as well as providing insight into the lives of working-class people disenfranchised by American capitalism. Moreover, Zhao’s use of non-professional actors is quite astounding, as at times you feel like you are watching a pseudo-documentary. Ultimately, Nomadland (2020) though, is arguably too meditative and glacially paced. It remains a brave and quietly powerful film, but it’s just too quiet for my dramatic needs.

Mark: 8 out of 11

SOUND OF METAL (2019)

Directed by: Darius Marder

Produced by: Bill Benz, Kathy Benz, Bert Hamelinck, Sacha Ben Harroche

Screenplay by: Darius Marder, Abraham Marder

Cast: Riz Ahmed, Olivia Cooke, Paul Raci, Mathieu Amalric etc.

Sound of Metal (2019) is another quiet drama, however, it really begins with a load of noise. It derives from Riz Ahmed’s drummer, Ruben, thrashing on stage with his girlfriend, Lou, as she fronts their heavy metal band giving an energetic performance to a lustful crowd. Ruben and Lou live out of their R.V. travelling and gigging around America, but he soon discovers his hearing has been severely damaged. Doctors offer hope in the form of an operation, but it’s extremely expensive. As Ruben is an addict, he also seeks spiritual help at a shelter for deaf people in recovery. There he meets, Joe (Paul Raci), the facilitator at the shelter and Ruben’s slow road to recuperation begins.

Riz Ahmed is outstanding as Ruben, a talented, bright and strong-willed individual who finds himself tested by a loss of hearing. His journey is a slow-moving but compelling one. I especially enjoyed the process where Ruben learns to cope, sign and believe that deafness should not be considered a disability. Indeed, the scenes Ruben shares with the wiser Joe are incredibly moving and thought provoking. Further, Darius Marder directs with a sure hand and really uses the sound effects powerfully, getting us into Ruben’s head both literally and figuratively. Overall, Sound of Metal (2019) beats along steadily but with incredible purpose and rhythm. It teaches us that losing a major sense need not be the end of one’s life, but rather the beginning of an altogether different one.

Mark: 9 out of 11

Cinema, Cult Cinema, horror, Reviews

CULT FILM REVIEW: SLEEPAWAY CAMP (1983) – (*DON’T GOOGLE THIS FILM*)

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CULT FILM REVIEW: SLEEPAWAY CAMP (1983)

Directed by: Robert Hiltzik

Produced by: Jerry Silva, Michele Tatosian

Written by: Robert Hiltzik

Cast: Felissa Rose, Katherine Kamhi, Paul DeAngelo, Mike Kellin, Karen Fields, Desiree Gould, etc.

Music by: Edward Bilous

Cinematography: Benjamin Davis, David M. Walsh

***MAY CONTAIN SPOILERS***

Whatever you do please do not read anything about this cult classic horror film from 1983. It has one of the most shocking twists at the end and even on second watch my jaw dropped when I witnessed the final scene. You’ll be tempted to find out but just watch the whole film. It is on YouTube here!

So, if you’re NOT a fan of B-movies horror exploitation films then Sleepaway Camp (1983) will not be for you! A lot of the acting is by first-timers and the director, Robert Hiltzik, is also making his debut here. In fact, he didn’t make another film after this until many years later because he became a lawyer. But the film gained a cult following among horror fans and certainly deserves cult status. It may be badly acted in many scenes and verging on the hysterical, yet it is well filmed and edited on a meagre budget of $300,000. There’s also some fantastically imaginative murder set-pieces, with excellent make-up and prosthetics work employed.

The story centres on the vulnerable teenager, Angela (Felissa Rose), who, having lost her father in an accident when younger, now lives with her Aunt Martha (Desiree Gould) and cousin, Ricky (Jonathan Tiersten). Her Aunt sends Angela and Ricky to Camp Arawak for the summer and due to her quiet demeanour she soon becomes a target for bullies. Ricky attempts to protect her, however, other than a budding romance with another teenager, Paul, Angela finds it very difficult to fit in. When dead bodies begin to turn up due to a number of grisly “accidents”, the kids and counsellors soon find themselves all in danger.

Amidst all the over-the-top acting, Felissa Rose gives a brilliant wide-eyed and subtle performance as Angela. For a film that could be classed as a Friday the 13th (1980) rip-off, her character arc throughout is both fascinating and quite unsettling. Indeed the film veers between being a strange hybrid of summer camp slice-of-life, rites-of-passage and slasher genre films. Yet despite all the uneven tone there is a decent story here with much emotional impact. Amidst all the death the film finds time to address bullying, sexual abuse and adult neglect to minors. Ultimately though, Sleepaway Camp (1983), has some fantastic gore and THAT quite astounding ending!

Cinema, Reviews, Sky TV

SKY CINEMA REVIEW: PROMISING YOUNG WOMAN (2020)

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SKY CINEMA REVIEW: PROMISING YOUNG WOMAN (2020)

Directed by: Emerald Fennell

Produced by: Margot Robbie, Josey McNamara, Tom Ackerley, Ben Browning, Ashley Fox, Emerald Fennell, etc.

Written by: Emerald Fennell

Cast: Carey Mulligan, Bo Burnham, Alison Brie, Clancy Brown, Jennifer Coolidge, Laverne Cox, Connie Britton, etc.

Music by: Anthony Willis

Cinematography: Benjamin Kračun

*** CONTAINS MILD SPOILERS ***

As the recent awards garnered upon Emerald Fennell’s brilliant screenplay for Promising Young Woman (2020) testify, Fennell is a major talent. She has acted in TV shows such as Call the Midwife and The Crown, as well as writing and producing the second series of Killing Eve. Not only is she an excellent actress, writer, director and producer, but she is also now an Oscar and BAFTA winner at the age of thirty-five. I am Jack’s raging envy!

But, is Promising Young Woman (2020) any good, and does it deserve these awards for best original screenplay? Well, for starters the film is not particularly original in terms of genre. It is what I would class as a B-movie revenge thriller at heart with A-list credentials. Like cinema classics such as Silence of the Lambs (1991) and Seven (1995), plus Tarantino’s Kill Bill (2003) films and the recent arthouse assassin thriller, You Were Never Really Here (2018), Promising Young Woman (2020) takes a well-worn subject matter within the crime genre and intelligently delivers a narrative experience which transcends such familiarity. Indeed, in the era of #MeToo, Fennell’s directorial debut updates and surpasses both intellectually and emotionally, similar themed films such as Death Wish (1974) and I Spit on Your Grave (1978).

Promising Young Woman (2020) starts with one of the best opening scenes you’re likely to see in a long time. Here we meet Cassie Thomas, drunk and unable to stand, in a nightclub. Thankfully, there are “kind” gentlemen waiting to assist her, one of them being Adam Brody’s, Jerry. But instead of taking her home he takes her to his place and tries to take advantage of her inebriated state. I won’t spoil what happens next but safe to say that Cassie has other plans for Jerry. As the expertly plotted film progresses the story reveals Cassie has a long standing desire to wreak revenge on those individuals who brought tragedy to the life of her former medical school classmate and friend, Nina. A college dropout and working in a coffee shop, Cassie finds her life at a pitstop as she cannot move past what occurred to her friend. A budding romance with Bo Burnham’s charming Doctor threatens to pacify Cassie, but Fennell’s twisting plot soon puts Cassie on a deadly path right to the door of those who ruined her and, most significantly, Nina’s life.

The first three-quarters of Promising Young Woman (2020) are a witty, frightening and absolutely spellbinding exploration of negative masculine behaviour, gender politics and institutional corruption when it comes to cases of gang rape. No one is safe from Emerald Fennell’s sharpened pen and Cassie’s clever plan. As Cassie, Carey Mulligan gives a wonderfully subtle performance of a deeply pained and grieving individual. One thinks that Margot Robbie, who co-produced the film, would have made Cassie more zinging and wise-cracking. Mulligan gets it just right in terms of magnetic allure, strong personality and hidden vulnerability. It’s a shame that Fennell kind of throws Cassie under the narrative bus at the end. Don’t get me wrong the denouement ties all the previous scenes together, but I don’t think Cassie deserved such a messy fate. Unlike Fennell herself though. She deserves all the current success and that which is coming to her in the future.

Mark: 8.5 out of 11