Category Archives: Cinema

SHUDDER HORROR FILM REVIEWS – EXTREME!

SHUDDER HORROR FILM REVIEWS – EXTREME!

I’m continuing the Shudder film review residency here on my site with this post. However, as I watched so many horror films on the channel recently, I have decided to break them down into categories. This one is called Extreme!

Essentially the films reviewed here are — because of their content, style or both — prime examples of nasty, violent, sickening and in some cases extremely depraved horror movies. So, be warned do not watch these films, unless you have a strong emotional constitution and actually enjoy witnessing graphic scenes of gore, sex and bloody mayhem.

For your information, the films are reviewed in order of my rating, which as usual is out of eleven.



REVENGE (2017) – DIRECTED BY CORALIE FARGEAT

Featuring a B-movie rape and revenge plot, this exploitation story is raised way above its subject matter due to ultra-stylish direction, gorgeous cinematography and a compelling lead performance by Matilda Lutz. She portrays Jen, an aspiring actress, who is on a weekend getaway with handsome boyfriend (cheating husband), Richard (Kevin Janssens). He seems very well off as their break takes place at a stunning isolated villa location. However, things go awry when two of his hunting buddies turn up, and one, Stan (Vincent Colombe) attacks Jen while Richard is out. From then on events twist from incredibly bad to worse for Jen, and she finds herself being hunted down in the blazing heat of the desert. The film looks absolutely incredible with amazing photography and colour design. Overall, what it lacks in story and characterisation though, it more than makes up for in stunning action, searing violence and a powerful critique of toxic masculinity.

Mark: 8 out of 11


TERRIFIER (2016) – DIRECTED BY DAMIEN LEONE

I saw this horror film appear in a post on the YouTube channel What Culture Horror. So, the story of a demented clown who never speaks and slashes people to death on Halloween definitely piqued my interest. It’s both extremely violent and low-budget, having been made for around $100,000. However, it is in fact impressively shot and edited for such a small amount of money. The gory effects are amazingly effective too, summoning up memories of 1980’s prosthetic film effects. There is no real subtext or thematic strength, but I was pretty tense and sickened throughout. Moreover, the clown called Art is a memorably monstrous creation. He kills without reason and purely for his own entertainment. Nihilistic in tone, the director sure knows his horror and delights in presenting many sick ways of murdering his characters. Thus, if you like disembowelling, strangulation, burning, beheading and other gruesome movie deaths then, Terrifier (2016), is worth watching from behind the safety of the sofa.

Mark: 7.5 out of 11



CITY OF THE LIVING DEAD (1980) / THE HOUSE BY THE CEMETERY (1981) – DIRECTED BY LUCIO FULCI

Filmmaker, Lucio Fulci, is often found lurking in the shadow of Italian horror filmmakers such as Mario Bava and Dario Argento, however, he truly knows how to frighten and sicken the life out of an audience. So much so he has been given the nickname, ‘Godfather of Gore’. As well as directing many films, notably, Zombie Flesh Eaters (1979) and The New York Ripper (1982), he is infamous for his “Gates of Hell” trilogy which included: City of the Living Dead (1980), The House By the Cemetery (1981) and The Beyond (1981). I re-watched the first two recently and while not as terrifying as when I saw them in the past, they still have the power to shock. While lacking coherent plots, containing pretty bad acting and some chronically dreadful dubbing in places, paradoxically Fulci’s films can arguably be considered surreal horror classics. They may not make any narrative sense, but his ability to create stunningly violent set-pieces is legendary. Memorable scenes include: the spewing of intestines, crawling maggots, hanging priests, drilled brains, chopped heads and monsters rising from basements and graves. Such imagery and dreaded moments — all set to a creepy synth soundtrack — make Fulci’s movies unsettling viewing experiences.

Mark: 7 out of 11


ISLAND OF DEATH (1976) – DIRECTED BY NICO MASTORAKIS

Not only is this one of the sickest films I have seen, it is also one of the most appalling I have sat through. Having said that, that is in fact what Greek director Mastorakis, based on what I’ve read, set out to do. The story, if you can call it that, focusses on a couple called Christopher (Robert Behling) and Celia (Jane Lyle) who go on a sex-driven-kill-crazy-honeymoon-rampage on the Greek island of Mykonos. If you can get past the couple having sex in a phone booth while telephoning his mother, and stomach Christopher raping a goat before killing it, then do watch the rest of this conveyor belt of pornographic sex and violence. By the end, I was stunned to silence at how sick the film was.

Mark: 1 out of 11


TETSUO – THE IRON MAN (1989) – DIRECTED BY SHINYA TSUKAMOTO

Lauded as a low-budget Japanese extreme body horror cult classic, Tetsuo: The Iron Man (1989), is either the work of a genius or a complete madman. Filmmaker, Shinya Tsukamoto, deserves so much praise for literally making most of the film in his own house and paying for it out of his own pocket. Yet, the thumping industrial soundtrack, jump-cutting-stop-motion style and story of metal invading the body, soul and mind of various characters was too f*cked-up, even for me. I know it gets mentioned as a work of genius, but it was frankly unwatchable. Thankfully, it’s only sixty-seven minutes of hell to get through.

Unmarked!

SHUDDER HORROR REVIEW: KING COHEN (2018)

SHUDDER HORROR REVIEW: KING COHEN (2018)

Directed by Steve Mitchell

Featuring: Larry Cohen, J.J. Abrams, Rick Baker, Eric Bogosian, Richard J. Brewer, Jon Burlingame, Barbara Carrera, Joe Dante, James Dixon, F.X. Feeney, Robert Forster, Megan Gallagher, Mick Garris, Paul Glickman, Frederick King Keller, David Kern, Yaphet Kotto, Paul Kurta, John Landis, Laurene Landon, Traci Lords, Michael Moriarty, Daniel Pearl, Eric Roberts, Martin Scorsese, Nathaniel Thompson, Ryan Turek, Janelle Webb, Fred Williamson etc.



In England, where I grew up in the 1970’s, we used to used have only THREE television channels to choose from. Latterly in the 1980’s that increased to four. Now, we have what seems like millions of streaming and cable channels to choose from. They’re coming out of our ears and minds and from the skies and the darkened underground. Of course, we have the major channels such as Sky, Apple, BBC, ITV, Netflix, Disney + and Amazon, to but name a few, however, there are now specific streaming outlets geared toward whole genres.

One of these is Shudderhttps://www.shudder.com/ – and they specialise in screening B-movies, video nasties, slasher, serial killer, monster, essential and non-essential horror films from past and present. Fellow blogger, Bobby Carroll, has recently been reviewing some of Shudder’s catalogue and I too will be doing the same. Check out his site here – it’s very good! So, over the last few weeks I have binged on so many horror films. Some are very good ones, some pretty bad ones and some just absolutely downright ugly releases. I guess one could consider me strange to immerse myself in so many horror films back-to-back; however, I love to be moved by fear and sickened with fright. Having said that the true terror on this Earth is happening out there in the real world. What occurs on the cinema or TV screen within the horror genre is actually an escape for me; albeit a gruesome, deathly and bloody one.



The first film I’d like to review is King Cohen (2018). It is a very lively jaunt through the career of independent filmmaker Larry Cohen. If you didn’t know Larry Cohen, he is one of the most prolific screenwriters ever. Born in 1941 in Washington Heights, New York, he began a stand-up career at the age of seventeen, before moving onto writing teleplays and TV scripts for CBS and NBC. Working within the TV and Hollywood system was creatively stifling for Cohen, so he decided to write, produce and direct his own films as a true independent. Examples of his directorial work include: Bone (1972), Black Caesar (1973), It’s Alive (1974), God Told Me To (1976), The Private Files of J. Edgar Hoover (1977), Q-The Winged Serpent (1982), The Stuff (1985), plus he wrote the screenplays for Best Seller (1987), Maniac Cop (1988), Phone Booth (2002) and Cellular (2004).        

As a tribute to Larry Cohen, who passed away last year, this is a tremendously lively and positive documentary about a true maverick filmmaker. Larry Cohen indeed features heavily in the interviews. He comes across as energetic, intelligent, funny and ballsy. Testimonies from Fred Williamson, Martin Scorsese, Joe Dante, Rick Baker, Eric Roberts and many, many more people who worked with Cohen bear witness to his prolific output and unorthodox ways of shooting films. Because he wanted control over his writing, many of his directorial releases were very low budget and he would often film in a guerrilla style on the streets of New York or even in his own house. He became famous for “stealing” scenes which included, unbeknown to them, the general public and NO film or work permits. I admired both his hubris and determination to tell his cinematic stories, and despite the lack of money his scripts were full of ingenuity, humour and much intelligence. Thus, if you love films about filmmaking and exploitation movies in general, then you should definitely check out King Cohen (2019) and Larry Cohen’s back catalogue of horrors too.

Mark: 8 out of 11


UNDER-RATED CLASSICS #8 – THE NINTH CONFIGURATION (1980)

UNDER-RATED CLASSICS #8 – THE NINTH CONFIGURATION (1980)

Directed, written and produced by: William Peter Blatty

Based on The Ninth Configuration by William Peter Blatty

Starring: Stacy Keach, Scott Wilson, Jason Miller, Ed Flanders, Robert Loggia, Moses Gunn, Joe Spinell, Neville Brand etc.

Music by: Barry De Vorzon

Cinematography: Gerry Fisher

*** MAY CONTAIN SPOILERS ***



“I became insane, with long intervals of horrible sanity.”
― Edgar Allan Poe

Sparked by uber-film critic Mark Kermode waxing lyrical about The Ninth Configuration (1980) in one of his cinema books, I was extremely pleased when I found a remastered 2016 reissue streaming on Amazon Prime. I don’t always agree with Kermode’s effusive praise of certain films, however, his opinion should always be respected. Having watched the film I can concur that it is indeed an under-rated classic. Just to clarify, 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.

While the writer and director, William Peter Blatty, won a Golden Globe for best screenplay, I feel that The Ninth Configuration (1980) is somewhat of a lost masterpiece. It was released at the same time as Ordinary People (1980) , The Elephant Man (1980) and Raging Bull (1980) and rarely seems to be discussed or praised at all these days. Well, aside from Mark Kermode’s gratefully received validation. Thematically, it is very strong as it deals with mental breakdown and illness amidst soldiers post-Vietnam. Moreover, it also contains memorable iconography within a curiously foreboding setting.



Based on Blatty’s 1978 novel, which in itself was a reworking of an earlier story called, Twinkle, Twinkle “Killer” Kane, The Ninth Configuration centres the action in a grand chateau located, rather weirdly in America somewhere. The dark, shadowy castle (which was actually in Germany), is surrounded by deep forestation and is used by the U.S. government as an insane asylum for military personnel. Spring-boarding themes and ideas from movies such as: One Flew Over The Cuckoo’s Nest (1975), Mash (1970) and, in regards to its exploration of P.T.S.D., The Deer Hunter (1978), the narrative features a whole host of eccentric and over-the-edge characters. They include an Astronaut, Captain Billy Cutshaw (Scott Wilson), who went mad and sabotaged a space launch, Jason Miller as Lieutenant Frankie Reno, a soldier attempting to direct Hamlet with a cast of dogs; and the recently arrived, new psychiatrist, Colonel Vincent Kane (Stacey Keach). It is Kane’s and Cutshaw’s developing relationship which powers many of the philosophical and existential debates within the film’s incredible script.

For a film set in an asylum Blatty unsurpisingly uses dark humour, hysterical personalities and some incredibly funny lines of dialogue to propel an absurd first half. However, as Cutshaw and Kane’s connection grows deeper, the two men push each other into some very dark places. Exploring the slight gap between insanity and sanity is a tricky thing to get right in terms of tone, however, Blatty, is a brilliant writer and succeeds with a script that zig-zags the line between chaos and structure. He also benefits from an amazing ensemble cast of character actors who throw themselves heartily into the chaos on show. Scott Wilson and Stacey Keach are especially memorable in their intense and honest portrayals of soldiers pushed too far by their respective commands.

Overall, The Ninth Configuration (1980) is a forgotten masterpiece which deserves revisiting. I was blown away by the endlessly quotable dialogue and the risks Blatty took as a director. I mean, he opens with an incongruous Country and Western song-backed montage before the credits. This pop video beginning is jarring, but somehow makes sense in the end. Blatty then veers between farcical humour, crazed episodes involving the lunatics taking over the asylum, and philosophical and theological discourse within the therapy sessions. Finally, the film finishes with a violent and cathartic denouement, yet one which, given the dark existentialism that has unfolded, is amazingly full of hope, faith and optimism.

Mark: 9.5 out of 11




BFI FILM REVIEW: BAIT (2019)

BFI FILM REVIEW: BAIT (2019)

Directed, written, shot and edited by: Mark Jenkin

Produced by: Kate Byers, Linn Waite

Cast: Edward Rowe, Mary Woodvine, Simon Shepherd, Giles King etc.

Production company: Early Day Films

Distributed by: BFI (UK)


**MAY CONTAIN SPOILERS**



Not to be confused with the B-Movie shark movie, Bait (2015), Mark Jenkin’s tour-de-force arthouse classic, Bait (2019), is a whole together different kettle of fish. The story is set in Cornwall and centres around local fisherman, Martin Ward (Edward Rowe), and his various day-to-day struggles. Having had to sell the family cottage to middle-class city types, the Leigh family, Martin is fiercely determined to save up for a boat. In the meantime, he fishes with nets on the beach, as his brother, Steven (Giles King), uses their deceased father’s vessel for tourist cruises. Martin is resentful toward Steven and clashes with his brother and the Leigh’s throughout the film.

Bait (2019) is a low-budget and independent passion project. Mark Jenkin used a vintage hand-cranked Bolex camera, using 16mm monochrome film that he hand processed. He wrote, directed, lit, filmed and edited the film, but also used an army of local people to assist with the production. The story and themes of gentrification and city versus coastal types are explored very effectively in Bait (2019). Wherever you stand on the point of traditionalism versus upward mobility and financial appropriation, via the character of Martin and Edward Rowe’s bruising and hulking performance there are very powerful emotions of grief, loss and cultural absorption represented. The writing is initially quite simple in that the Leigh family are a negative force within the Cornish village. The son, Hugo, creates a lot of conflict by destroying Martin’s lobster traps and clashing with local hothead youth, Wenna (Chloe Endean). However, the Leigh’s are not mere stereotypes, but rather just shown as a family unit, like the Wards, who are trying to make a living.

Bait (2019) won’t be for everyone though as it is very experimental in nature. While the story and themes are clear, the editing, black-and-white-scratchy photography, dubbed dialogue and sound creates a self-consciously arty experience. Indeed, while some may proclaim the style as original, it is obviously influenced by cinematic formalists including Jean-Luc Godard, Ingmar Bergman and Sergei Eisenstein. The elliptical montage editing style, direct address (actors stare either at or just off camera) and overlapping dialogue will certainly appeal to film students and scholars alike. Overall, Bait (2019) treads a fine line between genius cinema and what could be classed as plain bad filmmaking. Thankfully, we have wonderful film critics, like Mark Kermode, to tell us it is one of the best and most important British films released in the last decade.

Mark: 9.5 out of 11

SIX OF THE BEST #26 – ENNIO MORRICONE (R.I.P 1928-2020)

SIX OF THE BEST #26 – ENNIO MORRICONE – (R.I.P – 1928-2020)

“If you scroll through all the movies I’ve worked on, you can understand how I was a specialist in westerns, love stories, political movies, action thrillers, horror movies, and so on. So, in other words, I’m no specialist, because I’ve done everything. I’m a specialist in music.” Ennio Morricone


As if 2020 couldn’t get any more dramatic, one of the greatest musical composers and dramatists ever known has passed away. Ennio Morricone, rather incredibly, wrote the scores for over four hundred films and television works. He also managed to write well over one hundred classical pieces. To say Ennio Morricone was a prolific genius is somewhat of an understatement.

Morricone won six BAFTAs, eleven Nastro d’Argento, three Grammy Awards, three Golden Globes, six BAFTAs, ten David di Donatello, two European Film Awards, the Golden Lion Honorary Award and the Polar Music Prize. In 2007, he received the Academy Honorary Award for his outstanding commitment to cinema. Moreover, he was also nominated for a further six Oscars. Lastly, Morricone had to wait until 2016 to receive his only competitive Academy Award for the haunting score to Quentin Tarantino’s The Hateful Eight (2016). For Morricone to receive only one Oscar for musical composition is astounding and proves once again there is no justice in the world.

A meagre blog piece from a London-based hack will never be enough of a tribute to a composer who worked in every cinematic genre and with an incredible array of famous and infamous filmmakers. Notables include: Sergio Leone, Oliver Stone, Warren Beatty, John Carpenter, Quentin Tarantino, Sergio Corbucci, Dario Argento, Duccio Tessari, Sergio Sollima, Henri Verneuil, Bernardo Bertolucci, Mauro Bolognini, Giuliano Montaldo, Roland Joffé, Don Siegel, Mike Nichols, Brian De Palma, Barry Levinson and many more companies including advertisers, singers, recording artists and fashion designers. Morricone even found time to compose the 1978 World Cup theme song.

Thus, as a tribute to one of the greatest cinematic artists I have selected six of Morricone’s best film orchestrations. Although given his brilliance and spectacular output, one could certainly pick many more; even sixty of the best!! Riposa in pace, Ennio, il maestro!




THE GOOD, THE BAD AND THE UGLY (1966)



THE GREAT SILENCE (1968)



ONCE UPON A TIME IN THE WEST (1968)



ONCE UPON A TIME IN AMERICA (1984)



THE MISSION (1986)



THE HATEFUL EIGHT (2016)


MY CINEMATIC ROMANCE #20 – KATHRYN BIGELOW

MY CINEMATIC ROMANCE #20 – KATHRYN BIGELOW

If there’s specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons: I can’t change my gender, and I refuse to stop making movies. It’s irrelevant who or what directed a movie, the important thing is that you either respond to it or you don’t. There should be more women directing; I think there’s just not the awareness that it’s really possible. It is.“— Kathryn Bigelow in 1990


Having most recently directed the searing period drama, Detroit (2017), Bigelow has been making feature films, since her debut, The Loveless (1981), for over thirty-nine years. With a strong academic background, having studied at the San Francisco Art Institute and Columbia University, it’s fascinating to review a career which has eschewed arthouse cinema and essentially been spent working mainly on big-budget genre films. However, one can see in her directorial canon that Bigelow, while striving for commercial success, is constantly testing the boundaries of genre storytelling.

Along with a powerful visual style that attains symbiosis with the core material, she intelligently explores themes relating to violence, individual freedom versus the system, masculinity in crisis, gender representations and socio-political corruption. Lastly, her characters are often outsiders, morally complex and dealing with deep personal trauma. In short: Bigelow’s worldview is one of both healthy scepticism and cynicism, but also an element of hope within the longing for control. So, here are five of Kathryn Bigelow’s most impactful cinematic releases.

***ARTICLE CONTAINS FILM SPOILERS***



NEAR DARK (1987)

While The Lost Boys (1987) is rightly regarded as a very entertaining 80’s vampire film, Near Dark (1987) is way, way superior. Despite not catching fire at the box office, this neo-horror-western contains a fantastic cast of James Cameron alumni, including: Lance Henriksen, Bill Paxton and Jenette Goldstein. These great character actors inhabit this snarling gang of vampires perfectly as the film contains shockingly brutal violence and hard-bitten dialogue amidst a tender love story.



BLUE STEEL (1990)

While Jamie Lee Curtis is generally better known for her horror and comedy film performances, Kathryn Bigelow made excellent use of her dramatic acting ability as a rookie police officer caught up with Ron Silver’s psychotic commodities trader. Blue Steel (1990) is a variegated genre film which takes a standard police procedural narrative and twists it into something far more psychologically compelling. Lee Curtis excels, as does vicious bad-guy Silver, aptly named Eugene Hunt!



POINT BREAK (1991)

This classic heist meets surfing movie meets gay subtext bromance is jam-packed with classic action scenes and faux-deep philosophical musings. Keanu Reeves is the daftly named cop, Johnny Utah, who goes undercover, amidst the beach brigade to find a bunch of bank robbers. His suspicions fall on Patrick Swayze’s elemental surfer-dude-god and a dangerous “bromantic” game of cat-and-mouse ensues. Bigelow scored her first major hit with Point Break (1991), infusing it with some incredibly visceral stunt, surfing, robbery and chase sequences in an exhilarating film experience.



THE HURT LOCKER (2008)

After the box office failures of her previous three films, the under-rated sci-fi thriller, Strange Days (1995), enigmatic mystery, The Weight of Water (2000), and stodgy cold war film, K-19: The Widowmaker (2002), Bigelow’s seemingly took a career break. She would, however, come back with her most critically acclaimed and Oscar-winning film, The Hurt Locker (2008). From a brilliant script by Mark Boal and led by Jeremy Renner’s standout lead performance, The Hurt Locker (2008), put the audience right at the heart of a bomb disposal unit in Iraq. Putting aside the politics for a moment, the film is full of incredibly tense and superbly edited scenes which have your heart in your mouth. Simultaneously too, the film also shows the devastating emotional, physical and mental effect war has on the people of Iraq and the soldiers sent to fight this horrifically unjust conflict.



ZERO DARK THIRTY (2012)

Whereas The Hurt Locker (2008) had highly emotional and empathetic protagonists, Bigelow and Boal’s next film Zero Dark Thirty (2012), is a much more clinical and technically efficient cinematic experience. In parts, both a war drama and espionage thriller, the story also has a feel of an old-fashioned Western as American military and CIA operatives, led by the excellent Jessica Chastain and Jason Clarke, hunt down Osama Bin Laden. Politically speaking this is a film which makes me feel very uncomfortable for a number of reasons. It plays out like a revenge story. It also seems to both criticize and vindicate torture in the early scenes. This makes me uneasy as I understand the 9/11 attacks were just horrific, yet they seemed to get used as a motive for many more atrocities by the United States government. I guess that was what Bigelow and Boal were going for. They attempted to create a morally and emotionally complex war thriller that lets you interpret the events yourself and conclude one’s own judgements.



FILMS THAT GOT AWAY #11 – HOUNDS OF LOVE (2016)

FILMS THAT GOT AWAY #11 – HOUNDS OF LOVE (2016)

Written and Directed by: Ben Young

Produced by: Melissa Kelly

Cast: Emma Booth, Ashleigh Cummings, Stephen Curry, Harris Gilbertson, Susie Porter, Damian De Montemas, etc.

Music by: Dan Luscombe

Cinematography: Michael McDermott

Edited by: Merlin Eden

*** MAY CONTAIN SPOILERS ***



Where narratives relating to rape, abduction, and serial killers are concerned, a filmmaker can tread a fine line between lurid exploitation and absorbing suspense and drama. Low budget B-movies are replete with stories of death, sexual assault and crazed murderers. Some overstep the mark becoming notorious beacons of bad taste. Many horror fans love the exploitational nature of “video nasties”, seeking out films like: Cannibal Holocaust (1980), A Serbian Film (2010), I Spit on Your Grave (1978), Driller Killer (1979), Texas Chainsaw Massacre (1974) and The Last House on the Left (1972), to name but a few. The latter two films directed by horror maestros Tobe Hooper and Wes Craven are arguably exceptional visions of terror which transcend their horror genre subject matter. Similarly, Ben Young’s The Hounds of Love (2016), in my view, represents the evil of human beings without exploiting the actors or audience.

While it may not be as gory on-screen as the films mentioned above, The Hounds of Love (2016), does offer a shattering and sickening set of images and sounds within these savage set of events. Set in Perth, Australia during 1987, this is a disturbing and all too realistic horror story. It opens with a majestic set of slow-motion shots from the point-of-view of suburban couple, Evelyn White (Emma Booth) and John White (Stephen Curry). They sit in their vehicle as the sun hazes and watch teenage girls playing netball in the school yard. They are stalking their next victim; patiently waiting to lure another unsuspecting soul into their nefariously sadistic crimes. Stylistically impressive, but at the same time incredibly unnerving, Ben Young skilfully establishes the canvas on which he will paint further horrors.



Having fed their violent and sexual lust with the opening victim, we are then introduced to their next. Vicki Moloney (Ashleigh Cummings) is a rebellious teenager who is smarting from her parents recent split. Acting with both charisma and defiance, Vicki is slightly annoying, yet empathetic. Obviously, she does not deserve the ordeal she is about to experience at the hands of the Whites. The sequence which finds them cajoling her into their clutches is so tense and had me screaming at the screen, “No!!!! Get out!!!” What follows then, as Vicki becomes a prisoner, is a series of heart-pounding and distressing scenes which raise the stakes to unbearable tension. Ashleigh Cummings performance is absolutely compelling as “final girl”, Vicki. She takes a potentially one-dimensional casualty and imbues her with fight, guile, pain, distress, intelligence and determination. No surprise therefore that she won a Best acting debut award at the Venice Film Festival.

Cummings performance is not the only one which impacts the story greatly. Emma Booth’s complex portrayal of Evelyn is quite startling. This is a character who is permanently on-the-edge and desperate to please her evil partner, John. Systematically controlled and bullied, there is no excuse for Evelyn’s part in the kidnappings and torture of these young girls. But, it is clear to see that toxic masculinity has, over the years contributed to her mental and emotional collapse. Booth’s persistently fraught acting is all bag-of-bones and shredded nerves. It is via Evelyn’s imploding emotional state that Vicki is able to attempt to turn her against John’s venal influence.

Ultimately, one could say this is an exploitation film in terms of theme and story. However, it feels different than the many B-movie serial killer films I have seen. I felt like I was in the hands of a filmmaker who was determined to explore the nature of sadistic relationships in a risky, but intelligent manner. The acting, cinematography, direction and haunting soundtrack all contribute to make this a highly effective psychological thriller. Of course, there are many which may feel differently and that the film has its cake and eats it in term of violence and sexual perversion. Yet, we never actually see much of the cake. Unlike many of the films I mention in the opening paragraph, the audience only see the build-up and aftermath of the crimes. Indeed, what we don’t see on screen is more frightening than what we do. That, overall, is what sets The Hounds of Love (2016) apart from many other films dealing with these unpalatable themes and subjects.

Mark: 9 out of 11



“CINEMA” REVIEW: EMMA (2020)

“CINEMA” REVIEW: EMMA (2020)

Directed by: Autumn de Wilde

Produced by: Tim Bevan, Eric Fellner, Graham Broadbent, Pete Czernin

Screenplay by: Eleanor Catton

Based on: Emma by Jane Austen

Cast: Anya Taylor-Joy, Johnny Flynn, Josh O’Connor, Callum Turner, Mia Goth, Miranda Hart, Bill Nighy, etc.

Music by: Isobel Waller-Bridge, David Schweitzer

Cinematography: Christopher Blauvelt

**** MAY CONTAIN SPOILERS ****



With society and humanity constantly battered by recessions, pandemics, stock market crashes, famine, war, greed, prejudice, hatred, social media conflict, computer hacking, crime, exploitation, depression, addiction and any other number of apocalyptic threats, you can always rely on a good old-fashioned Jane Austen adaptation to create an escape from such woes. While I’m not a huge fan of Ms. Austen’s literary works, due mainly to ignorance on my part, I certainly recognise her genius as a storyteller. Indeed, she virtually single-handedly created, way back in the early 19th century, her own genre of romantic comedy in the Georgian-Regency period.

Emma was her fourth completed novel and released in 1815. It concerns the titular heroine, Emma Woodhouse. She is well-off, clever and someone who enjoys matchmaking and manipulating affairs of the heart. There have been many adaptations of the book on TV and film and aside from the loose Hollywood remake, Clueless (1995), I had not seen any of them. I only got roped into watching the latest version of, Emma (2020), directed by Autumn De Wilde, with Anya Taylor-Joy and Johnny Flynn in the leads, because my wife insisted on it. In marriage one must make sacrifices and compromises, so as it was our anniversary, I agreed to watch the film at home under “Cinema Rules.” I’m most glad I did too as I found it an extremely light but frothy work of entertainment.



As I had little knowledge of the book I went into the narrative of Emma (2020) unburdened by scanning the differences between novel and film. At two hours in length one expects there to be some omissions, however, I would not have noticed. What I did gather was that this was a bright and very attractive looking production. The costumes, props, landscapes and interior locations were all deftly presented with vibrant colour design. Likewise, the cinematography, camera movement and editing are also delivered very sharply. This lends the literary adaptation a cinematic pace, splendour and verve which I wholly enjoyed. Furthermore, the appealing cast are wrangled impressively too. Anya Taylor-Joy, as the energetic schemer Emma, is technically very gifted. She brings a metronomic pulse to the screen and her chemistry with Johnny Flynn really resonates. Flynn, who I really rate as an actor, imbued his character, Knightly, with both warmth and likeable fortitude. In supporting roles Bill Nighy brings his usual class to proceedings, while Josh O’Connor steals the early scenes with his hilarious turn as an eccentric young vicar.

Let’s be honest though, the story and characters are a bit of a lightweight soufflé that could collapse under close scrutiny. I mean we are really in first world problems throughout as Emma attempts to pair her young ward, portrayed by the lovely Mia Goth, with the vicar, only to find such attempts backfire, ultimately spiralling out of her control. As such one could find Emma quite annoying, immature and emotionally stunted. That, though, is where Austen’s strength of writing memorable characters really shines through. Because Emma is someone who, while potentially unlikeable, eventually learns her lesson and changes her controlling ways. Lastly, with a tremendously attractive cast and production, some mild complexity of character and finally Jane Austen’s singing wit and dialogue, Emma (2020), overall, offers a delectable frisson of escapist cinema.

Mark: 8 out of 11

NETFLIX FILM REVIEW: DA 5 BLOODS (2020)

NETFLIX FILM REVIEW: DA 5 BLOODS (2020)

Directed by: Spike Lee

Produced by: Jon Kilik, Spike Lee, Beatriz Levin, Lloyd Levin

Written by: Danny Bilson, Paul De Meo, Spike Lee, Kevin Willmott

Cast: Delroy Lindo, Jonathan Majors, Clarke Peters, Norm Lewis, Isiah Whitlock Jr., Mélanie Thierry, Paul Walter Hauser, Jasper Pääkkönen, Jean Reno, Chadwick Boseman etc.

Music by: Terence Blanchard, Marvin Gaye

Cinematography: Newton Thomas Sigel

Distribution: Netflix

***MAY CONTAIN SPOILERS***



Shelton Jackson “Spike” Lee has been a prolific actor, director, producer and polemicist for some time now. An ultra-talented and outspoken cinematic artist, he has directed thirty fiction and documentary films since his debut feature film She’s Gotta Have It (1986). Plus, all manner of promos, commercials, music videos, short films and television series. An energetic firebrand of a director he has made films in many genres and is a risk-taker in subject, theme and style. Whether you agree with what he has to say he is a filmmaker who is always creating situations and characters who must be heard.  

His latest film, Da 5 Bloods (2020), is a timely Netflix film release which encapsulates crime, heist, political, war, drama, Blaxploitation, comedy, documentary, love and experimental film genres. Lee has never been afraid of taking risks and sometimes his films have not worked because of it. However, with BlacKKKlansman (2018) he succeeded in making one of the best films of 2018 and should have won Best Film Oscar in my view. Da 5 Bloods (2020) grabs the power baton of Lee’s prior film and runs with it, delivering an entertaining, funny, thought-provoking, stylish and brilliant genre-blending story full of sustainable socio-political arguments in the era of the Black Lives Matter movement.



The narrative begins by establishing four aging Vietnam veterans, portrayed by the magnetic ensemble of Delroy Lindo, Clarke Peters, Norm Lewis and Isiah Whitlock Jr. They meet in Ho Chi Minh City in order to venture into the jungle and locate the remains of their squad leader. During some very stylised, richly colour-saturated and impactful flashbacks, it is revealed their friend, “Stormin Norman” (the charismatic, Chadwick Boseman), was killed in combat. Furthermore, and this is the money reason they are back in ‘Nam – there is army gold in those hills. Thus, the comrades set out to locate their friend’s body, and the gold, in order to find reparation and hopefully some form of redemption.

The film begins warmly as we enjoy the company of these great actors portraying reunited friends on an old boys outing. However, the film, as it introduces further subplots involving Jean Reno’s suspicious businessmen, Desroche and Delroy Lindo’s Paul crumbling mental state, moves into far darker territory the further the men get into the jungle. Lindo himself gives arguably the best performance of his career as a soldier grieving for his lost friend and desperate to get compensation for the unjust loss of so many lives in Vietnam. His character’s downward mental trajectory is one of the most powerful elements of Da 5 Bloods (2020). No doubt Lindo will be nominated come awards time and so he should be.

The cinematic excellence on show too from Spike Lee and his production crew is to be applauded too. Lee’s box of magic tricks includes: jump cuts, aspect ratio switches, colour saturation, Shakespearean soliloquies, documentary footage, flashbacks, conveyor-belt camera tracks, stills photography, slow-motion, direct address and many other devices. The exceptional cinematography is drenched in an opulent score from Terence Blanchard and the incredible voice of Marvin Gaye. I guess my main reservations about the film would be the elongated running time, with some scenes indulgently over-running. Moreover, there were also a couple of convenient plot coincidences which could have been ironed out. Nonetheless, with Da 5 Bloods (2020), Spike Lee has delivered another bravura mix of genre and socio-political filmmaking which, like classics such as The Treasure of Sierra Madre (1948) and Apocalypse Now (1979), stare into the dark heart of humanity and find greed, war and death there. Unlike those two films though, Da 5 Bloods (2020), also contains hope, light in the tunnel, and the idea that togetherness brings strength in the face of adversity.

Mark: 9 out 11


BFI FILM REVIEW: DAUGHTERS OF THE DUST (1991)

BFI FILM REVIEW: DAUGHTERS OF THE DUST (1991)

Directed by: Julie Dash

Produced by: Lindsay Law, Julie Dash, Arthur Jafa, Steven Jones

Written by: Julie Dash

Cast: Cora Lee Day, Barbara O, Alva Rogers, Trula Hoosier, Umar Abdurrahamn, Adisa Anderson, Kaycee Moore etc.

Music by: John Barnes

Cinematography: Arthur Jafa

***MAY CONTAIN SPOILERS***



“I didn’t want to tell a historical drama about African-American women in the same way that I had seen other dramas. I decided to work with a different type of narrative structure…[and] that the typical male-oriented western-narrative structure was not appropriate for this particular film. So I let the story unravel and reveal itself in a way in which an African Gullah would tell the story, because that’s part of our tradition. The story unfolds throughout this day-and-a-half in various vignettes. It unfolds and comes back. It’s a different way of telling a story. It’s totally different, new.” — Julie Dash

If you didn’t know the British Film Institute (or BFI) is the UK’s lead organisation for film, television and the moving image. It is a cultural charity that: presents world cinema for audiences in cinemas, at festivals and online; cares for the BFI National Archive, the most significant film and television archive in the world; is a registered charity that actively seeks out and supports the next generation of filmmakers; organises and runs the annual London Film Festival; and works with the government and industry to make the UK the most creatively exciting place to make film internationally. As my wife and I are members we get sent films on Blu-Ray/DVD as part of the membership. These can be re-released classics or remastered arthouse masterpieces such as Daughters of the Dust (1991).

Daughters of the Dust (1991) was a labour of love for writer and director Julie Dash. Originally inspired, way back in 1975, by her father’s experiences, she strived to create a short, poetic and cinematic account of a Gullah family’s migration from idyllic island life to New York at the turn of the century. Eventually, and after many year’s of development and struggle, PBS’ American Playhouse would grant the low budget for a feature film. The film is set in 1902. It tells the story of three generations of Gullah women in the Peazant family and their varying viewpoints, thoughts and philosophies in regard to the move from Helena Island.


Daughters of the Dust review – the dreamlike film that inspired Beyoncé's  Lemonade | Film | The Guardian

Daughters of the Dust (1991) was made for a reported $800,000, but it looks worth far more in terms of cinematography, costumes and settings. Arthur Jafa’s camera placement and use of the natural light, on the beach and swamp land especially, conjures up some magical imagery. The iconic images of the women on the beaches in their bright white dresses are stunningly memorable. While watching I felt like I was viewing a gallery of moving paintings, such was the exceptional nature of the composition. Again, despite a low budget and use of actors from independent cinema, Julie Dash, gets some incredibly natural and compelling performances from her cast. It’s all the more amazing as most of the cast had to learn the Gullah language employed from scratch.

Thematically the film is very powerful too. Conflict derives from dialectics such as the clashing of elder versus younger people, ancient beliefs versus Christian religion, African heritage versus Neo-American capitalism and nature versus technology. Julie Dash structures these themes and the character’s desires in a non-linear fashion over a period of a long weekend. There are poetic flashbacks and flashforwards too as the imagery is supported by a voiceover from a yet to be born child of parents, Eli and Eula. Ultimately, this film is a very immersive experience. There are no subtitles, so the language can be tricky to understand, but for me that enhanced the desire to feel the narrative. Indeed, the lyrical beauty of Daughters of the Dust (1991), combined with the humming percussion-driven music, stunning landscapes and inventive cinematic language mean you are swept out to sea by the powerful emotions of Julie Dash’s spectacular vision.

Mark: 9 out of 11