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MY CINEMATIC ROMANCE #11 – TOM HARDY

MY CINEMATIC ROMANCE #11 – TOM HARDY

In my latest episode of actor, cinema artist or filmmaker profiles I have picked some favourite roles of Tom Hardy.  This very talented British actor has made a name for himself with a series of intense, moody, muscular and at times psychotic performances. But he has depth too, and demonstrated on occasions, humour, vulnerability and sensitivity beneath the fierce masculine force he brings to the screen. Currently he can be seen lurking in the shadows of the BBC1 drama Taboo (2017), but here are eight other roles which showcase this actor’s depth of talent.

**CONTAINS SPOILERS**

BRONSON (2008)

Arguably, this is Hardy’s proper breakthrough role as he covered himself in shit and acting glory in Nicolas Winding Refn’s unflinching representation of Britain’s most notorious prisoner. Hardy’s in pretty much every scene pulsing with rage and violence; fighting dogs, gypsies and the system like a bald, working class Bane.

THE DARK KNIGHT RISES (2012)

Talk of the devil and he shall appear! Hardy brought his bulking mass and searing eyes to Gotham to wreak havoc on its citizens as arch villain Bane.  The film has some narratives issues but I thought Nolan and cast presented some great set-pieces and action in a pulsating end to the trilogy. With the mask and chilling voice plus hulking physical presence Hardy made a memorable foe for Batman and co.

THE DROP (2014)

Hardy offers another brilliant piece of character work as Bob Saginowski, a Boston barman, who works in a mob-owned pub. He finds himself threatened by local scumbag Matthias Schoenaerts over the disputed ownership of a dog. It’s a subtle performance in which he swallows and bottles his rage with a quiet, yet menacing confidence.

INCEPTION (2010)

Christopher Nolan’s exquisite, mind-bending heist thriller has an fantastic ensemble cast with Hardy popping up as the forger Eames. Unburdened by masks or grunts or over-aggression, Eames is an urbane and sophisticated character who remains calm under fire; while in perfect ‘Received Pronunciation’ delivers some witty one-liners. Here Hardy demonstrates what an ideal James Bond he would make.

LOCKE (2014)

So, the story is about a bloke on his phone driving up the motorway?  Not a pitch that would grab Hollywood in-a-hurry, but a film that is delivered with such hypnotic power it feels epic. Hardy’s Locke is portrayed as a determined man whose life decisions, family and work-life have triangulated simultaneously to crisis point. It is a performance of restraint and brooding anxiety making the one location-movie compelling throughout.

MAD MAX: FURY ROAD (2015)

George Miller’s bruising, muscular and jaw-dropping spectacular is an orgy of car-bombing action and deathly stunts with little dialogue. So, who better to take on a virtually mute yet physical role than Tom Hardy in this smash-and-burn epic.  Max Rockantansky remains one of the iconic existential anti-heroes, with Hardy taking over the baton from Mel Gibson superbly.

THE REVENANT (2015)

Hardy was rightly Oscar nominated for his portrayal of greasy mercenary John Fitzgerald.  While Hardy’s mumbling Fitzgerald certainly has my empathy early doors his decision to leave Glass for dead after killing his son is the act of a scumbag. Once again, Hardy commits to the role of the murderous trapper with dirty aplomb as he more than matches DiCaprio’s compelling performance.

STUART: A LIFE BACKWARDS (2007)

This is an excellent BBC film starring Tom Hardy as Stuart Shorter, a homeless alcoholic and petty criminal who was also a social justice activist. Shorter meets Benedict Cumberbatch’s writer and the two form an unlikely friendship. Hardy’s performance is full of heart-breaking pathos and physical distress because Stuart suffered from muscular dystrophy. Abused as a child and lost as an adult, Stuart’s is a tragic life and one where Hardy further demonstrates his excellent acting range.

THE GIRL WITH ALL THE GIFTS (2016) FILM REVIEW

APOCALYPSE TO ZOMBIES: THE GIRL WITH ALL THE GIFTS (2016) REVIEW

**CONTAINS SPOILERS**

Being an avid cinema-goer I love the experience and have few complaints as a pastime generally. Of course there are great, good, mediocre and bad movies but that’s the nature of any business. However, one of the things that often gets on my nerves is the lack of promotion for really good low-budget films produced in the U.K. Quite often such films on a lower budget fall foul of the power of the Multiplex domination by Hollywood where Disney, Marvel and Star Wars franchise films saturate the cinema screens. Don’t get me wrong I enjoy such cinematic entertainment, but every now and then, a real gem of a film falls between the cracks and does not get the attention it should. One such film is the British zombie-horror drama The Girl With All The Gifts (2016).

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Somewhere amidst the Hollywood marketing behemoth this film was released last year to very little fanfare and it deserved much more in my opinion. It has an excellent cast with Gemma Arterton, Paddy Considine and Glenn Close playing key characters. It also features an intriguing script – based on his novel – by M.R. Carey, succinct direction by Colm McCarthy; plus a standout performance from young actress Sennia Nanua. I must say that the score by Cristobal Tapia de Veer added to the overall dread, scares and brooding peril and I expect this composer to go to the top of his profession.

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Thematically, the film is very strong dealing initially with a skewed educational situation as Ms Justineau (Arterton) teaches her pupils; who are mysteriously chained to their desks. The reason for this is revealed slowly allowing the tension to rise gradually as Justineau’s special relationship with “gifted one” Melanie develops. Their bond builds throughout and one may argue Justineau’s feelings and decisions are misplaced as the adults versus children dynamic heightens. Indeed, the landscape is filled with monstrous orphans and suspense is generated because Melanie’s allegiance could switch any time between the adults and the other zombie children.

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Thus, compared to the very average rom-zom-com-mash-up Pride and Prejudice and Zombies (2016), which benefited from a £28 million budget, The Girl With All The Gifts (made for £4 million) contains a whole lot more suspense, imagination and atmosphere.  The story itself treads the familiar mud and blood road of a post-apocalyptic world where children are the only hope to combat a deadly virus that has wiped out humanity. It’s a standard scientists-and-soldiers-on-the-road-type-plot which wears a jacket of influences including: Lord of the Flies, 28 Days Later, and various George Romero films very well. Overall, this psychological horror contains a number of tense, heart-racing and gory scenes making it an under-rated classic which deserved more success at the cinema in my humble opinion.

R.I.P – JOHN HURT (1940 – 2017) – PICTORIAL OBITUARY

R.I.P – JOHN HURT (1940 – 1977) – PICTORIAL OBITUARY

The masterful actor John Hurt passed away today and to celebrate his works as a stage and screen performer I pay homage with some pictures and videos of his work. He was always able to imbue a character’s worth and emotion on screen and gave some incredible performances over the years.  Rest in peace John Hurt who was never ever less than brilliant whatever the role.

A LOVELY NIGHT IN THE SUN: LA LA LAND (2016) REVIEWED

LA LA LAND (2016) FILM REVIEW

**SPOILER ALERT!**

In light of the FOURTEEN Oscar nominations from the Academy who am I to go against the tide of musical loveliness that is La La Land. Indeed, while I dislike all kinds of award ceremonies per se it does deserve most of the accolades coming its way. Because as the Trump puppet rears his huge, ugly head in the United States and Brexit looms large in the UK we all need something feel-good and nostalgic to lift us; especially amidst the bitter cold of winter.

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Damian Chazelle, who wrote and directed the exceptional drama Whiplash (2014), has sculpted a sunny post-modern musical which soars throughout paying tribute to both Los Angeles and Hollywood. The movie stars Ryan Gosling as an uncompromising jazz pianist and Emma Stone as a sensitive, budding actress who meet in a contemporary yet somehow old-fashioned vision of LA; where magic and love are in the air and the potentialities of dreams are a palpable force.

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Stone and Gosling are a stunning couple and while Chazelle’s leads may not have the strongest voices they serve the songs exceptionally well with an ordinary wonder. The chemistry between the two sparkles as the story entwines their characters within a “follow your dream” narrative. Arguably there could’ve been slightly more differences between the two than the “I hate jazz” tension; but as in the romantic comedy Crazy, Stupid, Love (2011), Stone and Gosling sail through the film with confidence and profound likeability.

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Chazelle throws everything at the story employing jazz, 80s pop, old band numbers, R and B, and ballads. Moreover, all manner of parody, pastiche and cinematic devices are employed to echo the classic Hollywood musicals of yesteryear; the formidable work of Jacques Demy; plus the more modern pop promos of recent times. The opening Another Day of Sun traffic sequence is a real showstopper as Fame-like dancing and singing on motors in an LA highway jam brilliantly establishes the hyper-real and fantastical elements to come.

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It seems obvious to say that the music in La La Land is to the fore, but Chazelle and the ultra-talented composer Justin Hurwitz commit a verve and soul to the songs and direction. Clearly the characters and lyrics reflect their own personal emotions, dreams and desire to escape everyday existence. While much of the film skims a stylish surface of colour and verve, numbers such as City of Stars and The Fools Who Dream really touch the heartstrings and draw out the internal emotions of the characters.

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It’s hard to criticize such a funny, feel-good movie and as a musical it is probably a masterpiece, however, while the love story served the musical structure really well, I felt that, compared to say Funny Girl (1968), Grease (1977) and Half-A-Sixpence (1967) it arguably lacked a bit of dramatic tension. Indeed, the break-up itself was under-baked and latterly covered by a have-your-cake-and-eat-it “what could have been” fantasy flashback. Yet, this is a minor critique of an incredibly well realised escapist joy.

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So, roll on the Oscars where the film will almost certainly win best film and direction, plus accolades, no doubt, for the musical and technical achievements. The wonderful Ryan Gosling and Emma Stone are certain to be in the fray too. However, while I have seen other more dramatically impactful films such as: Arrival (2016), Manchester by the Sea (2016) and Silence (2016) (not even nominated!!), this remains one terrific musical that will lift the spirits even on the darkest day.

SIX OF THE BEST #4 – FILMS TO AVOID WHILE EATING

SIX OF THE BEST #4 – FILMS TO AVOID WHILE EATING

My blog strand of collating six of the best of something or other continues with a breeze through a series of disgusting, vile and horrific movies that it’s best not to watch while eating.

**CONTAINS SPOILERS & DISGUSTING IMAGES**

BRAINDEAD (1992)

Peter Jackson’s monstrous rom-zom-gore-fest is an utter joy from start to finish. A rabid monkey bite sets in motion a series of flesh-eating zombie attacks as carnage ensues with lawnmowers, death, intestines, blood and dog-eating mothers in 1950s New Zealand.

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EVIL DEAD (1981)

Sam Raimi’s debut feature is a low-budget horror treat.  But be warned as Ash Williams (Bruce Campbell) battles his friends and girlfriend — who all become demons — the bloodletting, decapitations and violent deaths are enough to put you off your pudding.

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THE HUMAN CENTIPEDE (2010)

We all like to connect with people socially but this film takes the cake. Watch and learn as an insane German scientist stitches two American tourists and a random Japanese bloke together. Both grim and hilarious at the same time and gives a whole new meaning to the phrase, “Eat shit and die!”

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ICHI THE KILLER (2001)

The site of a man cutting off his own tongue is enough to have you reaching for the remote; as Takashi Miike’s off-the-wall-manga-gangster-mash-up really tests the boundaries of taste. My favourite image is a sliced face slamming and sliding down the wall following one particularly offensive fight scene.

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RATS (2016)

Morgan Spurlock’s brutal documentary takes us on a whistle-stop tour of the globe visiting New York, Reading, Rajasthan, Cambodia and so on. Amidst the rat-catching, baiting and butchering we are also witness to scientific examination of rats. Most disgustingly the eating of rodents in Vietnam is considered a delicacy. Gross!

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TRAINSPOTTING (1996)

While Irvine Welsh’s classic novel was a dark, violent, black-humoured yet grim portrayal of heroin addiction in Edinburgh; Danny Boyle’s adaptation entertainingly presents it as a fast-paced-rock-and-rolling-drug-lifestyle-sketch-show! Nevertheless, with scenes that involve: the dirtiest toilet in Scotland; Tommy’s toxoplasmosis squat death; and Spud’s shit being flung across the breakfast table, make this one to avoid while tucking into a Friday night curry with your partner.

TOP TWELVE BESTEST FILMS AND TV SHOWS OF 2016

TOP TWELVE BESTEST FILMS AND TV SHOWS OF 2016 – SCREENWASH SPECIAL BY PAUL LAIGHT

Well, here’s wishing you a prosperous New Year going forward!  I’ve read somewhere that apparently 2016 wasn’t a vintage year for movies but I went to the cinema a lot and saw a whole host of cracking entertainment.  Likewise, television budgets and production values continue to soar and there were some incredible shows produced too.

So, here are my TOP TWELVE films I saw at the cinema AND TOP TWELVE television shows watched/streamed.  Some of the films and TV programmes may have bled from 2015 into 2016 release-wise; moreover, I have also included a couple of yet-to-be-released films I saw at the London Film Festival.

Remember dudes these are not necessarily the best films or shows but the ones I enjoyed the most. So, overall, it’s just my opinion, man.

TOP TWELVE FILMS SEEN AT THE CINEMA IN 2016 (in alphabetical order)

ARRIVAL (2016)

“. . .an intelligent and emotional science-fiction drama with a beautifully constructed narrative.”

BONE TOMAHAWK (2015)

“A tremendous genre-blend of horror and Western, this debut feature from S. Craig Zahler is destined to be a cult classic.”

CAPTAIN AMERICA 3: CIVIL WAR (2016)

“. . . again the Russo Brothers direct with whip-cracking pace and humour, making this easily one of the blockbusters of the year.”

DOCTOR STRANGE (2016)

“. . .wonderful fun with hallucinogenic visuals, eye-popping fight scenes plus mystical marvels!”

THE HATEFUL EIGHT (2015)

“. . . QT remakes Reservoir Dogs (1992) via Agatha Christie, setting it in the snowy West of America circa 1870s.”

MANCHESTER-BY-THE-SEA (2016)

“. . . heart-racking drama which stretches the emotions while also providing flickers of light amidst the pain.”

MEN AND CHICKEN (2015)

“. . . lurches from hilarious physical violence to examinations of religion and science in a film I can only describe as being like the Three Stooges meet The Island of Dr Moreau.”

THE NICE GUYS (2016)

“. . . pings a shaggy-dog narrative along at a cracking pace with a script filled with so many hilarious punchlines and sight gags.”

RAW (2016)

“. . . great horror film which has one of the most disgusting scenes I have had the pleasure to see for some time.”

THE REVENANT (2015)

“. . . just superb, grueling, bloody, epic and beautiful filmmaking!”

ROGUE ONE: A STAR WARS STORY (2016)

“. . . a rip roaring mission-in-space-war movie set just before the original Star Wars movie!”

ROOM (2015)

“. . . a film not just about isolation, abandonment and the horror of humanity; but also the unbridled love a mother has for their child.”

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TOP TWELVE TV SHOWS SEEN IN 2016 (in alphabetical order)

BETTER CALL SAUL (2016) – SEASON 2

“Are there any better character drama shows around than this show? The writing and acting in Season 2 was just brilliant.”

BILLIONS (2016) – SEASON 1

“. . . great acting, script and cat-and-mouse twists galore in a meaty twelve episodes.”

DAREDEVIL (2016) – SEASON 2

“This has it all including: amazing fight scenes, bloody violence, rip-roaring action and hellish derring-do!”

FARGO (2015) – SEASON 2

“. . . drama, humour and suspense are incredible as is the cast.”

GAME OF THRONES (2016) – SEASON 6

“. . . these ten episodes were just a pacey, brutal, vicious, conniving, fiery, animalistic, blinding, cutting, resurrecting delight.”

GOMORRAH (2016) – SEASON 2

“. . . further brutality and skulduggery follows in a show which has a heart of pitch black darkness acted out like a contemporary reflection of the Roman Empire.”

IT’S ALWAYS SUNNY IN PHILADELPHIA (2016) – SEASON 11

“. . . gags explode like fireworks throughout the series as things go south and very dark; more often than not ending in chaotic hilarity.”

MAKING A MURDERER (2015) – SEASON 1

“. . . It is as thrilling and suspenseful as anything Hitchcock created as the trials of these men and their families are thrust before us.”

PENNY DREADFUL (2016) – SEASON 3

“. . .a blindingly beautiful and bloody wondrous season as various narrative threads unfolded but then suddenly it was gone.”

SOUTH PARK (2016) – SEASON 20

“. . . yet another fantastically gross, satirical and ballsy animated series from Parker and Stone.”

STEWART LEE’S COMEDY VEHICLE (2016) – SEASON 4

“. . . Lee is a human anti-depressant lifting my spirits while at the same time making me think about the very nature of the subjects he tackles.”

WESTWORLD (2016) – SEASON 1

“Brilliant and exquisite Sci-fi-western-mash-up from Michael Crichton, Jonathan Nolan and Lisa Joy.”

SCREENWASH – DECEMBER 2016 – REVIEW ROUND-UP

SCREENWASH – DECEMBER 2016 – FILM & TV REVIEW ROUND-UP

Merry Christmas to anyone reading this and a Happy New Year!  So, as we wind down our employment and head home for the holiday season I offer my final cinema and TV screen round-up of the year.

From next year the Screenwash monthly round-up will mainly consist of the best stuff I saw each month rather than EVERYTHING!  My blog will also feature the usual classic film features and reviews as usual.  I’m off to the pub soon so a very quick run-through with marks, as usual, out of eleven!

**MAY CONTAIN SPOILERS**

A PERFECT DAY (2015) – NETFLIX

Well-meaning and intriguing comedy-drama set circa ‘90s Balkan conflict stars Benicio Del Toro as an Aid worker facing anything but a perfect day.  (Mark: 7.5 out of 11)

BILLIONS (2016) – SKY ATLANTIC

Tremendous drama starring Damian Lewis and Paul Giamatti, as a billionaire stockbroker and New York Attorney General respectively, who lock horns over insider trading. This has the lot: great acting, script and cat-and-mouse twists galore in a meaty twelve episodes. (Mark: 8.5 out of 11)

BILLIONS

BLUE VELVET (1986) – BFI CINEMA

“Why are there people like Frank?” asks Kyle Maclachlan’s Jeffery Beaumont in David Lynch’s dark journey into the underbelly of small town America. Hopper’s tour-de-force performance is chilling and funny in this eccentric, violent and memorable thriller. (Mark: 9 out of 11)

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CASE 39 (2009) – NETFLIX

An alright chiller starring Renee Zellweger as a social worker investigating the abuse of a young girl. Of course, not all is what it seems. (Mark: 6.5 out of 11)

FUNDAMENTALS OF CARING (2016) – NETFLIX

Paul Rudd is excellent as a depressed man seeking escape from life by helping muscular-dystrophy effected youth, Craig Roberts, in a touching and funny road movie. (Mark: 7.5 out of 11)

FUNNY GIRL (1968) – NETFLIX

The classic Broadway musical which I saw recently in London with Sheridan Smith (I wasn’t with her – she was in it) is a breezy blast through the songs and career of Fanny Brice. The kind-of-rags-to-riches-narrative is simple but the delivery is brilliant, with Barbara Streisand bursting with life, humour and song in an energetic Oscar-winning performance. (Mark: 8 out of 11)

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JOY (2016) – SKY CINEMA

Hit-and-miss drama stars the amazing Jennifer Lawrence as Joy Mangano; who battles family strife and corporate sexism to rise to the dizzy heights of TV shopping celebrity. (Mark: 7 out of 11)

IP MAN 3 (2015) – NETFLIX

Donnie Yen, again, excels in the further adventures of martial arts legend Ip Man. This time its 1959 and he’s up against Mike Tyson as a gangland boss and other rivals to his Wing Chun crown. Worth watching for the majestic fight scenes and the always awesome Donnie Yen (Mark: 7.5 out of 11)

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LES DOULOS (1963) – BFI CINEMA

Classic French Noir from Jean-Pierre Melville stars Jean Belmondo is a shadowy joy which thrills with its twisting plot following a robbery-gone-wrong. (Mark: 7.5 out of 11)

MASCOTS (2015) – NETFLIX

Christopher Guest’s comedy mockumentary about sports mascots has some big and silly belly laughs and even sillier costumes too. It’s very daft with some fun routines throughout. (Mark: 7.5 out of 11)

MATCHSTICK MEN (2003) – SKY CINEMA

Nicolas Cage and Sam Rockwell are brilliant in Ridley Scott’s smaller-in-scale-than-usual-con-artist film which contains a series of thrilling twists and Cage’s excellent OCD-afflicted performance. (Mark: 7.5 out of 11)

PUSH (2009) – NETFLIX

Captain America/Chris Evans stars in this not-bad action-thriller about telekinetics being hunted down by a nefarious agency somewhere in Hong Kong. (Mark: 7 out of 11)

REMAINS OF THE DAY (1993) – MOVIE MIX

Sensational period drama set just before WW2 features incredible acting from Anthony Hopkins and Emma Thompson. They star as the Butler and Housekeeper who develop feelings for each other but professional commitments keep them at arms-length in a wonderfully touching human story.  (Mark: 9.5 out of 11)

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ROGUE ONE: A STAR WARS STORY (2016) – CINEMA

Disney’s Star Wars roadshow-behemoth moves onto the first of it’s’ anthology series with a rip roaring war movie set just before A New Hope (1977) – (Mark: 9 out of 11). My full review is here.

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SATURDAY NIGHT & SUNDAY MORNING (1960) – DVD

Albert Finney is excellent in this ground-breaking-for-its-day-working-class-social-realist drama. He’s a hard-working-boozing-chauvinist who rebels against the bosses and law in a gritty, and at times humorous, slice of British life. (Mark: 7.5 out of 11).

SECRET IN THEIR EYES (2015) – SKY CINEMA

Pointless and so-so remake of the classic Argentinian Oscar-winner which takes a great story and good cast and reduces it to a functional detective story. (Mark: 6 out of 11).

SELF/LESS (2015) – SKY CINEMA

Badly-reviewed-but-not-too-bad takes a great premise of Ben Kingsley having his consciousness transferred into Ryan Reynolds’ soldier and turns it into a decent action-chase thriller. (Mark: 7 out of 11).

THE SIEGE OF JADOTVILLE (2016) – NETFLIX

Decent based-on-a-true-story set in the Congo during a battle in the Katanga district circa 1961. Charismatic Jamie Dornan leads UN troops battling French mercenaries in some brutal and explosive battle scenes which echo the backs-to-the-wall heroics of Rourke’s Drift. (Mark: 7.5 out of 11).

SUGARLAND EXPRESS (1974) – FILM FOUR

Steven Spielberg’s debut cinema release is a lively road-pursuit-comedy-drama with a sparky lead performance from a very young Goldie Hawn. The characters strife didn’t grab me but the action barrels along sweetly with some funny scenes and beautiful cinematography. (Mark: 7.5 out of 11).

SULLY (2016) – CINEMA

Tom Hanks excels as the experienced and noble pilot Chesley Sullenburger who somehow landed a plane on the Hudson after birds had ripped out its engines. Clint Eastwood directs with his usual steady hand as the film shows life experience is often more valuable than a computer simulation. (Mark: 7.5 out of 11).

THE THIN BLUE LINE (1988) – NETFLIX

Errol Morris’ seminal documentary about a miscarriage of justice pretty much re-invented the crime documentary with its’ chilling re-enactments and interviews with the personae involved. The film would eventually prove the innocence of wrongly-accused drifter Randall Adams in the crime of a murdered police officer in 1976. Formidable, gripping and humane drama. (Mark: 9 out of 11).

THE THREE AMIGOS (1986) – SKY CINEMA

Chevy Chase, Martin Short and comedy genius Steve Martin star in this silly spoof of Westerns and silent-comedies as they are mistaken for hardened protectors of the weak. (Mark: 7 out of 11).

WESTWORLD (2016) – HBO – SKY ATLANTIC

Brilliant and exquisite Sci-fi-western-mash-up from Jonathan Nolan and Lisa Joy with an all-star cast is reviewed – (Mark: 9 out of 11) – in full here:

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WHITE FANG (1991) – SKY CINEMA

Ethan Hawke is a young explorer looking to make a go of his dead father’s gold mine in the end of the 19th century Yukon. Lots of snow and action aplenty as Hawke’s boy becomes a man and befriends a young wolf in the process in fine family entertainment. (Mark: 7.5 out of 11).

WOLF HALL (2015) – NETFLIX

Mark Rylance owns this dark drama as Thomas Cromwell; a key figure in the court of Henry the VIII – here portrayed by the brilliant Damian Lewis. Based on Hilary Mantel’s astonishing novels it charts the political and religious back-stabbing of the day in a naturally shot and wonderfully acted period drama. Rylance’s performance is subtle and steely as the man from lower stock who rose to pull the strings in the King’s court.  (Mark: 8.5 out of 11).

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SIX OF THE BEST #3 – MOVIE NUTTERS

SIX OF THE BEST #3 – MOVIE NUTTERS

In the third episode of this occasional strand I have decided to have a look at some good old cinema nut-jobs. This was precipitated by a recent watch of David Lynch’s classic Blue Velvet (1986) which features an incredible performance from Dennis Hopper as Frank Booth.  He is, of course included here, along with five other movie loons.

**CONTAINS SPOILERS**

FRANK BOOTH – BLUE VELVET (1986) – DENNIS HOPPER

“Why are there people like Frank?” asks Kyle Maclachlan’s Jeffery Beaumont midway through David Lynch’s dark journey into the underbelly of small town America. Why indeed? We do not know why Frank is the way he is: he just is!  The drugs, shouting, swearing, sado-masochistic and psycho-sexual violence stem from the dark recesses of Lynch’s imagination; while Hopper’s tour-de-force performance is chilling, scary and at times, inappropriately laugh-out-loud funny.

ANTON CHIGURH – NO COUNTRY FOR OLD MEN (2007) – JAVIER BARDEM

You’d have to be a person of the highest confidence or crazy insane to sport the haircut Chigurh/Bardem does in this wonderful Coen Brothers’ adaptation of the Cormac McCarthy’s neo-Western novel. Chigurh is not just a stone-cold killer but also one with a strange amoral compass and set of rules. Also, his reliance on chance and the flip of a coin as to whether someone lives or dies is even more scarier than the deadly bolt-gun he uses to dispatch his victims.

JACK TORRANCE – THE SHINING (1980) – JACK NICHOLSON

The slow demise of the isolated writer driven to kill by the demons of the past are brilliantly captured in Stanley Kubrick’s stylish and memorable Stephen King adaptation. Nicholson cornered the market on explosive larger-than-life masculine roles but here he was far more unhinged. His performance as Jack Torrance is both scary and funny, as writer’s block, the ghosts of the Overlook Hotel plus his own depression weld to send him over the edge and into lunacy and murder.

ASAMI YAMAZAKI – AUDITION – (1999) – EIHI SHIINA

To describe Asami as a nutter is a bit harsh on nutters really. Because, cutting your victims limbs, digits and tongues off, before placing them in a hessian sack is pretty extreme. A calm psychopath, Asami literally chills to the bone; however, her victims are carefully chosen men who she enacts tortuous revenge on for historical sexual abuse. This is a scary horror film that is both stomach-churning and thematically strong, delivering a damning indictment on the casting couch culture.

MAX CADY – CAPE FEAR (1991) – ROBERT DE NIRO

Robert Mitchum’s performance in the original Cape Fear (1962) deserves a mention, as does his powerhouse and menacing turn as Harry Powell in Night of the Hunter (1955); who almost made the list too. Nonetheless, DeNiro’s Cady is a marvellous cinematic creation rooted in pure bible-belt-Southern-preacher-avenging-devil-hatred. All muscles, tattoos and a sense of violent vengeance he pursues Sam Bowden (Nick Nolte) and his family with an insane zeal; terrorizing them with unforgettable physical, sexual and murderous threat.

ANNIE WILKES – MISERY (1990) – KATHY BATES

Here is another Stephen King loon for your consideration. Kathy Bates deservedly won an Oscar for her barnstorming performance as Annie Wilkes. She is a charismatic lunatic who takes the ‘I’m your number one fan’ maxim to the extreme; with a mania stemming from a skewed understanding of the world which is not helped by her seeming isolation. When James Caan’s author kills off her favourite literary character hell hath no fury like a mad-woman scorned! Carlsberg don’t do torture: but if they did!

2016 – BFI – LFF – FREE FIRE (2016) – REVIEW

2016 – BFI – LONDON FILM FESTIVAL – FREE FIRE (2016) – REVIEW

TITLE:  FREE FIRE (2016)

DIRECTOR: Ben Wheatley

SCREENPLAY: Amy Jump, Ben Wheatley

CAST:   Armie Hammer, Brie Larson, Cillian Murphy, Jack Reynor, Noah Taylor, Babou Ceesay, Michael Smiley, Sam Riley, Sharlto Copley etc.

STORY:   An arms-deal-gone-wrong sets off a blistering gun fight in an abandoned Boston warehouse.

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REVIEW (CONTAINS SPOILERS):

I admire the film director Ben Wheatley, and his writing/editing partner Amy Jump very much. They essentially are in the kind of industry position I would love to be in. They make independent low-medium budgeted films, seemingly on their own terms, get cracking actors involved and receive decent critical praise too.  Moreover, they have become FILM 4/BFI/London Film Festival darlings receiving funding and heavy promotion for the films High Rise (2015) and most recently, the incendiary comedy-thriller Free Fire (2016). The latter closed this year’s festival to a packed and thoroughly entertained Odeon Leicester Square and I was very fortunate to see Wheatley and his stellar cast introduce the film. 

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While I admire Wheatley’s career progression I have loved and not-quite loved his work. His first film Down Terrace (2009) was delightfully eccentric gangster film, while his next Kill List (2011), was a terrifying tale of two hit men’s descent into hell. Kill List fell apart for me with the grim yet overly surreal and symbolic ending, however, his work on comedy-serial-killer film Sightseers (2012) Dr Who, and Ideal confirmed him as a very talented filmmaker.  A Field In England (2013) could be praised as a brave filmic experiment which did not quite work as a story; while the stylized J.G. Ballard adaptation High Rise (2015) was an incredible film to look at, with Wheatley presenting some of his best work to date. However, the last 45 minutes was so chaotic it lost focus and while this was, arguably, in keeping with Ballard’s vision I would have preferred slightly more clarity.

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I sensed from his brief introduction that Free Fire (2016) was Ben Wheatley’s attempt to return to something less socio-political, psycho-sexually and philosophically complex than High Rise (2015).  He basically said, “I wanted to make a film with guns where people get hurt.” And he has certainly succeeded there, because Free Fire is an all-out-ballsy-gritty-shoot-em-up which employs a wonderful 1970s Boston setting (actually shot in Brighton) to dress his actors up in flares, beards, sideburns, dagger-collars, long hair and Cuban heels, all while delivering a sweaty-fast-paced-high-octane-bloody-gun-fest.

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The premise is very simple: an arms deal between a Rhodesian gun runner and the IRA descends into chaos as opposing sides split amidst a series of bullets and double-crosses.  Having established the characters into archetypes such as the professionals, soldiers, sidekicks, junkies and Brie Larson’s broker the narrative splinters spectacularly into magnificent mayhem.  The cast are all brilliant, but I personally loved Armie Hammer’s suave Jewish hit-man and Sharlto Copley’s obnoxious Afrikaner; plus Sam Riley is also a standout as the junkie prick whose behaviour ultimately screws the deal.

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The whole thing plays out like a live-action cartoon but Wheatley and Jump do invest some empathy and likeability into the characters too. The subtext of world politics was not lost on me as Irish, Afro-American, South African, and American nationalities all face-off and later there’s a brilliant use of an old John Denver country classic. The script is terrific, full of violent delights and sparkling one-liners throughout as the cast spit out insults and zingers with glee. Do you remember when you play gunfights with your mates in the playground?  Well, this is the film equivalent of that – except with more blood and violence and death.

2016 BFI – LFF – PHANTASM REMASTERED (1979) – REVIEW

2016 BFI – LONDON FILM FESTIVAL – PHANTASM REMASTERED  (1979) – REVIEW

TITLE:  PHANTASM REMASTERED (1979 / 2016)

DIRECTOR/SCREENPLAY:  Don Coscarelli

CAST:   Michael Baldwin, Reggie Bannister, Bill Thornbury

STORY:    A grieving boy and his older brother come face-to-face with an evil Funeral director named ‘The Tall Man’ and all hell breaks loose.


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REVIEW (CONTAINS SPOILERS):

This brilliant low-budget cult horror film from 1979 was made independently for around $300,000 by then twentysomething Don Coscarelli.  It has subsequently been lovingly remastered by J.J. Abrams production company Bad Robot and comes back to the screens in a glistening, shiny and bloody new print. Director Coscarelli introduced this screening and seeing it at the Central Picturehouse in Piccadilly was certainly a wonderful experience for this horror fan!


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Where do you start with a bizarre story such as this?  Well, firstly Phantasm is a great example of ideas and imagination being worth more than any big Hollywood budget. It’s the reason the film is held in such high regard by horror film fans. Indeed, if you can conjure up a series of iconic images, empathetic characters and scary moments and manage to tell a half-decent story then you have got a great chance to create a memorable experience for a cinema-going audience.


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The film opens with a grisly murder and then a funeral, before we are introduced to thirteen-year-old Mike and his older brother Jody. The brothers are grieving for the recent loss of their parents but remain close. Mike hangs out at the graveyard and then becomes suspicious of the funeral director when he incredibly picks up a heavy coffin on his own.  Mike manages to convince Jody and their friend Reggie (Reggie Bannister), a local ice-cream man, to investigate further and they are drawn into a series of insane and life-threatening situations.


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The narrative seemingly linear jumps from one surreal set-piece to another and contains memorable images and characters such as: ‘The Tall Man’ portrayed menacingly by Angus Scrimm; the silver killing spheres; the murderous yellow-blooded dwarves; and the inter-dimensional portal which leads to a strange slave-planet. These are all unforgettable and the stuff of bloody death and nightmares. While the plot lacks clarity at times it moves at some pace and the combination of small town life mixed with insane killing devices and crazed creatures creates a wholly memorable mix.


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Phantasm is a synthesis of genres from rites-of-passage, suspense, horror and science fiction.  Ultimately, it’s the epitome of a cult classic and a triumph of concepts over finance. It’s full of mood and atmosphere and has a creepy synth-based soundtrack that cranks up the fear factor. Overall, super-positive Coscarelli created an imaginative fantasy concerned with death and mourning that has stood the test of time. It may lack the polish of big budget productions but the scares and surrealism reminded me of the works of Italian horror-master Lucio Fulci and Spanish filmmaking genius Luis Bunuel. It’s a film I would wholly recommend for devotees of horror and science-fiction and for those who like their movies raw, inventive and nightmarish.


Check out the trailer here: