Tag Archives: Film

CULT FILM REVIEW: ERASERHEAD (1977)

CULT FILM REVIEW: ERASERHEAD (1977)

Directed by: David Lynch

Produced by: David Lynch

Written by: David Lynch

Cast: Jack Nance, Charlotte Stewart, Allen Joseph, Jeanne Bates,  Judith Roberts etc.

Music by: David Lynch, Fats Waller, Peter Ivers

Cinematography: Frederick Elmes, Herbert Cardwell

***CONTAINS SPOILERS***





“In heaven everything is fine”, sings the ‘Lady in the Radiator’. Is it really, David, because during the course of your cinematic vision known as Eraserhead (1977), we witness all manner of things which demonstrate heaven is far from our reach. We see the scarred ‘Man in the Planet’, apparently controlling Henry Spencer’s (Jack Nance) fate with mechanical levers. There are also floating heads, blood-squirting chickens, weird alien-looking babies, an enigmatic femme-fatale, a shock-haired and shock-faced protagonist; all existing in an industrial abyss presented in bleak monochrome. If there is a heaven, no one’s getting there!

David Lynch’s debut feature film is a masterpiece of independent cinema. A surrealist, dystopian and anxiety-inducing collage of fantastic images and industrial sounds. Moreover, Eraserhead (1977) was a labour of love for the enigmatic filmmaker. Lynch took years to finish the production. So much so there is one scene where Nance’s character Henry, walks from a corridor through a door. While the edit is immediate, the filming dates were one year apart. Thankfully, Jack Nance didn’t get that famous quiff cut off. Moreover, money was tight. Lynch financed the film from doing part-time jobs, plus he received help from the American Film Institute, family members, and very good friends. There was no Kickstarter in those days.



While Eraserhead (1977) has many seemingly unconnected and bizarre images and freakish scenes, there are several powerful themes running through the film. Indeed, it is a Freudian classic with the nervous and anxious Henry, being lead from one challenging situation to another. The fear of responsibility and parenthood hangs heavy in Lynch’s psyche. Henry lacks confidence and sexual adequacy. Even when he attempts a relationship with Mary (Charlotte Stewart), his sanity is hanging on a thread. Mainly due to the fact their child is a sad, mutated monstrosity. But to Henry’s credit he attempts to love the child, even though such paternal care is doomed.

Lastly, given it had such a low-budget, took the best part of a decade to shoot and spent over a year in post-production, Lynch cinematic skills are meticulously represented in Eraserhead (1977). Kudos as well to the stark cinematography, Nance’s startling deadpan performance, plus Lynch’s incredible soundscape designed with Alan Splet. Ultimately, while it is a powerfully strange film, there is actually much method and heart in Lynch’s madness. The urban decay and freakish nature of Eraserhead (1977) taps into primal fears of bringing a child into a dark world. I, for one, can certainly identify with that.


NETFLIX FILM REVIEW: THE DEVIL ALL THE TIME (2020)

NETFLIX FILM REVIEW: THE DEVIL ALL THE TIME (2020)

Directed by: Antonio Campos

Produced by: Jake Gyllenhaal, Riva Marker, Randall Poster, Max Born

Screenplay by: Antonio Campos, Paulo Campos

Based on: The Devil All the Time by Donald Ray Pollock

Cast: Tom Holland, Bill Skarsgård, Riley Keough, Jason Clarke, Sebastian Stan, Haley Bennett, Eliza Scanlen, Mia Wasikowska, Robert Pattinson, Harry Melling, etc.

Narrated by: Donald Ray Pollock

Music by: Danny Bensi, Saunder Jurriaans

Cinematography: Lol Crawley

***MAY CONTAIN SPOILERS***



Netflix’s latest major film release is a literary adaptation of Donald Ray Pollock’s psychological thriller, The Devil All the Time (2020). One has to believe it is a pretty faithful adaptation because the novelist himself narrates the tale to us via voiceover. Set in the years after World War II, the grim events unfold in the states of Ohio and West Virginia, respectively. While the action is not located in the deep South, the story has many of the tropes synonymous with the Southern Gothic genre, notably: religious fanaticism, explicit sexuality, flawed characters, sickening violence, poverty and human alienation.

The film, directed by Antonio Campos — who helmed the under-rated character study, Christine (2016) — starts extremely purposefully. Returning soldier, Miller Jones (Bill Skarsgard), meets a waitress on his bus journey home and eventually marries her. Both Skarsgard and Hayley Bennett, portraying his wife, inhabit empathetic characters working hard to bring up their son and saving for their own place. Jones, however, is haunted by a traumatic incident in the Pacific, and strives for solace in God and family. Indeed, the corrupt force of religious mania spreads like a cancer throughout The Devil All the Time (2020), becoming a constant threat and reason for many of the characters downfall.



Just as I was connecting with Jones’ life and becoming absorbed by Bill Skarsgard’s commanding performance, tragedy strikes and the narrative takes one of several jarring switches between characters. As such the film does not really have a strong plot, meandering from one character to another witnessing all manner of horrific events fate throws at them. Because, let’s be honest, The Devil All the Time (2020), is no way close to being a feelgood film. In fact, it revels in representing the evil acts of so-called human beings. Thus, throughout I felt a constant sense of dread and anxiety. Barely had Skarsgard misery ended and we are then introduced to the tragedies of characters portrayed by Harry Melling and Mia Wasikowska. Simultaneously, Jason Clarke and Riley Keough join the fray as two violent and sex-driven thrill-seekers. Yet, they are weakly written characters who again drive the mood of the film into pitch blackness.

The film gathers some strength and momentum n the middle act when Tom Holland’s son of Miller Jones comes of age. By focussing on his story we get more drama and emotion, especially where his relationship with his step-sister (Eliza Scanlan) is concerned. Holland gives an excellent performance as the young man attempting to make his way in this filthy and ungodly world. Similarly, Robert Pattinson’s oily Preacher oozes repugnant charm in another sterling piece of acting work. Alas, Sebastian Stan’s Sheriff and Douglas Hodge’s rural gangster are given short shrift in another crime subplot which goes nowhere.

Overall, Antonio Campos delivers an extremely solid thriller from an acting and thematic standpoint. Unfortunately, the fragmented screenplay should arguably have been given a more committed plotline. Of course, it has most likely shadowed the structure of the source novel so therein lies the rub. Having said that, despite the structural shortcomings, there are many shocking and violent set-pieces to satisfy horror fans. Ultimately though, The Devil All the Time (2020) lacks redemption, catharsis and even some decent suspense. By the end we are given few characters to care about and delivered the pessimistic vision that life is a belt of misery. Even a suggestion of sugar helps the poison go down and this film offers very little in the way of sweetness or light.

Mark: 7.5 out of 11


CLASSIC FILM REVIEW: BLIND CHANCE/PRZYPADEK (1987)

CLASSIC FILM REVIEW: BLIND CHANCE/PRZYPADEK (1987)

Directed by: Krzysztof Kieślowski

Produced by: Jacek Szelígowski

Written by: Krzysztof Kieślowski

Cast: Bogusław Linda, Tadeusz Łomnicki, Zbigniew Zapasiewicz, Boguslawa Pawelec, Marzena Trybała, Monika Gozdzik, etc.

Music by: Wojciech Kilar

Cinematography: Krzysztof Pakulski

Edited by: Elżbieta Kurkowska

**MAY CONTAIN SPOILERS**



The English translation, according to Google, of the original title of Kieslowski’s classic film, PRZYPADEK, is CASE. Clearly this was considered too simpler a name to give to such a complex film, thus it become known as the more evocative, BLIND CHANCE (1987), when distributed to Western audiences. The title CASE is quite appropriate as the lead character is a case subject in a trio of varying narratives. The brilliant screenplay splits the lead protagonist’s fate into three potentialities and shows how random chance can shape people’s lives. If you think this idea sounds familiar then the films SLIDING DOORS (1998) and RUN LOLA, RUN! (1998), used the same concept in the romance and crime genres, respectively.

Set against the background of Communist Poland, the narratives follow Witek, a medical student at a crossroads in his life. His father dies and he questions whether he wants to be a Doctor. He takes a break from studies and gets a train to Warsaw to explore future possibilities. Kieślowski dramatizes Witek’s journey as a series of three strands, where fate can be decided by chance as well as choice. The splitting point of the story is Witek rushing to catch his train. In the different scenarios he is shown to board the train and not get on the locomotive. Structurally the film is fascinating as the three different episodes explore Witek’s life from a political, spiritual and personal perspective. Popular Polish actor, Bogusław Linda, brings great empathy and humanity to the characterisation of Witek. Each of the strands finds him in difficult situations politically, romantically and philosophically. However, he is a very sympathetic character, who I very much wanted to succeed, because he always tries to make honest and righteous choices.



If you find yourself absorbed by compelling human dramas that make you think, then you will definitely enjoy, BLIND CHANCE (1987). Kieslowski is a truly masterful filmmaker who creates complex ideas and emotions, but delivers them in a digestible fashion. Kieslowski is not overly intellectual or pretentious, even when positing deep existential questions. Are we tied to fate or do we have some element of control over our lives? Does pure chance rule our world and should we fight against our fate? As such, the film is both fascinating analysis and absorbing drama, because Witek is such a believable character. He desires a career, friends, love and belonging. Moreover, Kieslowski uses Witek as a case study to critique both politics and religion, at the same time opining the importance of loyalty, love and family.

Revered Polish filmmaker, Kieślowski, wrote and directed BLIND CHANCE (1987) in 1981, but due to heavy censorship it was not released for a number of years. Even on initial release many scenes which were cut as they were considered to have critiqued the Polish government. The version I watched on Arrow Video thankfully was restored expertly with just one scene missing. The crisp restoration also highlighted Krzysztof Pakulski’s exquisite cinematography. Indeed, while the use of natural lighting techniques is quite commonplace today, the mood and atmosphere of the composition really compliments the seriousness of Witek’s various journeys. Overall, while there are no easy answers to the questions raised, Kieslowski’s remarkable ending to the film will leave you in no doubt as to his feelings toward life’s rich but fatalistic tapestry.

Mark: 9.5 out of 11



“CINEMA” REVIEW: THE NIGHTINGALE (2019)

“CINEMA” REVIEW: THE NIGHTINGALE (2019)

Directed by: Jennifer Kent

Produced by: Kristina Ceyton, Steve Hutensky, Jennifer Kent, Bruna Papandrea

Written by: Jennifer Kent

Cast: Aisling Franciosi, Sam Claflin, Baykali Ganambarr, Damon Herriman, Harry Greenwood, Ewen Leslie, Charlie Shotwell, Michael Sheasby, etc.

Music by: Jed Kurzel

Cinematography: Radek Ladczuk

***MAY CONTAIN SPOILERS***



THE NIGHTINGALE (2019) is a brutal film about rape and murder. It’s about the rape of an individual. The rape of a nation. The murders of youth, race, nature, humanity and life itself. It is an extremely powerful and impactful viewing experience, but not for those of a faint heart or sensitive disposition. When released it caused much controversy with some audience members walking out during festival screenings. This is no doubt due to several scenes displaying sickening moments of violence against men, women and children. However, the director Jennifer Kent, has not written and helmed a mere exploitation revenge film here. Instead, she has fashioned a beautiful and ugly tragedy, which prevails damning indictment against masculine savagery, colonialism and British rule.

Set in 1825 in the penal colony of Van Diemen’s Land (presently Tasmania), THE NIGHTINGALE (2019), follows a young female convict seeking revenge for an unspeakable act of violence committed against her family. Clare Carroll, nicknamed “Nightingale” due to her lovely singing voice, is a young mother and wife looking to be given her freedom. It is held by Sam Claflin’s abusive British officer, Hawkins. Rather than free her he decides to thrust himself upon her sexually. Yet, when she rebuffs his drunken and lurid behaviour, he goes mob-handed to take her. Then when her husband intervenes, Hawkins and his soldiers act without honour or courage, leaving a family wrecked in their wake.



Hawkins and his men venture through the bush to Launceston the next day, to gain a promotion from the top brass he believes he deserves. Claire rallies and pursues them with bloody revenge in mind. She is assisted in her search by Aboriginal guide, “Billy” Mangana (Baykali Ganambarr). Billy is initially reluctant to chase British soldiers. Not surprising as the British have ravaged his people, land and culture, leaving the indigenous people outcasts in their own country. While Claire and Billy initially conflict they soon realise they have a common foe. Thus, while revenge supplies the bones for the narrative, the screenplay fleshes out their chase with intriguing cultural clashes and reconciliation. Indeed, the unlikely pair will eventually come to respect each other’s differences and find common ground over the course of the story.

Having received much critical acclaim with the low-budget horror film THE BABADOOK (2014), Jennifer Kent has moved from inner demonic possession to a more epic and external approach to horror. Because amidst the bucolic wonder of the Australian wilderness, the British brought death and chaos to the area. While one understands the need to have a place to house its prisoners (the barbarous treatment of the working classes is a whole different story), the rapacious desolation of the indigenous culture is a vital message within the film. Claire Carroll and Billy Mangana are symbols of a lost and damaged generation. They are emblems of people who deserve justice and reparation. Moreover, the message remains valid today, especially with the rise of the alternative-right and the continued sexual abuse faced by women everyday. Lastly, with a moving and tough leading portrayal by Aisling Franciosi, Baykali Ganambarr providing a spiritual heart, and Sam Claflin giving a fearlessly repugnant representation of British aggression, THE NIGHTINGALE (2019), tells a horrific, disturbing, but righteously relevant tale.

Mark: 9 out of 11


CINEMA REVIEW: TENET (2020)

CINEMA REVIEW: TENET (2020)

Directed by: Christopher Nolan

Produced by: Emma Thomas, Christopher Nolan

Written by: Christopher Nolan

Cast: John David Washington, Robert Pattinson, Elizabeth Debicki, Dimple Kapadia, Michael Caine, Kenneth Branagh, Martin Donovan, Clement Poesy, etc.

Music by: Ludwig Göransson

Cinematography: Hoyte van Hoytema

***MAY CONTAIN SPOILERS***



I am writing this review from the future while travelling backwards to the past to try and alter events which have yet to occur in the present. Confused yet? Jokes aside, Christopher Nolan’s latest temporally challenging and narratively inverted blockbuster, TENET (2020), is actually not as complicated as some would lead you to believe. However, that’s because I’ve been training my brain with such mind-boggling adventures in time, space and dimensions while watching the third season of the ingenious German sci-fi drama, DARK (2020), this week. Safe to say however, TENET is still rather complex and probably unnecessarily so. Yet, Christopher Nolan is a filmmaker who loves exploring challenging scientific concepts and marrying them to hugely involving plots and stylish spectacular action. All credit to him too for pushing himself and the audience!

TENET opens with a fast-paced set-piece located at a Ukrainian opera house. A SWAT team, that includes our unnamed hero, (John David Washington), is there to save a spy and obtain an unidentified object, which will of course become an integral part of the plot later or earlier on in the story. From then on, ‘The Protagonist’, as he later becomes known, becomes embroiled in stopping the megalomaniacal plans of Russian oligarch, Andrei Sator (Kenneth Branagh). In order to do so he attempts to infiltrate and stop Sator via his bullied wife, Kat (Elizabeth Debicki). Here the Protagonist builds a bond to Kat and this provides the emotional glue of the film. Although, I’ll be honest, I was too busy thinking about the machinations of Nolan’s head-twirling approach to temporal structure, than actually feel much for the characters.



What the film lacks in emotional depth it more than makes up with spectacular action. There are at least six incredible set-pieces that involve hand-to-hand combat, fast-paced vehicle pursuit, bungee-jumping and all-out combat between various government and mercenary factions. Nolan and his production team twist the action with a visually mirrored trick which, well I won’t say anymore. Moreover, the grandiose style and cinematography are eye-popping. Sharp suits, sharper knives and futuristic masks are adorned by the characters giving the spy thriller a hyperreal edge. Similarly, the stunts and editing are superbly orchestrated and executed. Having said that, the sound design and dialogue could have been better. Far be it from me to criticize, but in striving for verisimilitude in the sound, the constant wearing of masks meant important dialogue lacked clarity. Likewise, in the final amazing set-piece I was lost amidst the bodies and explosions as to who was who and why and what and how. Clearly a second and third watch of TENET (2020) is in order.

While the action was pretty much flawless throughout, the screenplay, unlike say Nolan’s prior high-concept masterpiece, INCEPTION (2010), did lack character depth for me. While I realise this was Nolan’s intention, hardly any time is given setting up the characters. So much so they become cyphers within the plot. Nonetheless, the charisma of the cast, notably John David Washington and the impressive Robert Pattinson, dominates the screen and the two bounce off each other magnetically. Elizabeth Debicki and Kenneth Branagh also bring much to their roles, however their subplot involving domestic abuse felt out of place in such a post-modern spectacle. Moreover, Branagh’s oligarch was, in certain scenes, verging on parodic cliche. I wondered if the villain of the piece could have been a little less B-movie heavy at times and possibly more cultured. This is a minor gripe though. After all, he is the bad guy!

Ultimately, TENET (2020) is a big, brash and confident Bond-type film with bells on. Sure, the rules of the world could have been excavated and presented somewhat clearer. But, Nolan favours a breakneck pace and be damned if you cannot keep up. Indeed, I am certain he has covered all the plot-holes (or paradoxes) I thought I saw and numerous questions I had by the end. While it is not without flaws, on first watch, I once again have to congratulate Christopher Nolan for striving for original thinking and fascinating concepts within a genre film. One may even argue that there are too many ideas here and simplification could have created a more emotionally satisfying film. However, there are many moments of cinematic genius in TENET (2020), notably in the Sisyphean payoffs within the inverted plot structure. Finally, one won’t see a more shiny and beautiful looking film all year. The future is bright: the future is Christopher Nolan.

Mark: 9.5 out of 11


SHUDDER HORROR FILM REVIEWS – VIRAL

SHUDDER HORROR FILM REVIEWS – VIRAL

The horror genre is a fantastic medium with which to explore social, cultural and political events. Thus, with the COVID-19 pandemic still threatening the world’s health, wealth and societal structures, it will not surprise anyone when we get a raft of future films, songs, shorts and television programmes influenced by pandemics, viruses and lockdowns. Yet, there have already been, since the dawn of time, many horror, drama and science fiction films and series which have dealt with the end of the world due to some unknown or man-made virus.

For example, George A. Romero’s seminal low-budget masterpiece, Night of the Living Dead (1968), influenced an eruption of cannibalistic zombie movies after release. Indeed, the wave of undead genre films show no sign of stopping either. It makes sense therefore to focus my latest Shudder reviews on virus-based films and this category is obviously called Viral! Here I review four movies I watched on Shudder which all encompass some form of infection, disease or virus which impacts the living and the dead. As usual, all marks are out of eleven with the highest-rated film first.



ONE CUT OF THE DEAD (2017) – DIRECTED BY SHIN’ICHIRO UEDA

This film has both an amazing story on and off the screen. The budget of the One Cut of the Dead (2017) has been reported to be as low as $25,000. The film went on to be a massive hit in Japan, making over $25,000,000 at the box office there and abroad. Personally speaking, I am not a fan of indulgent one-take movies, but the sheer energy and invention of the initial thirty-seven minute take, followed by the hilarious scenes later, make this zombie-film-within-a-film-within-a-film a terrific watch. The lengthy set-up makes the furious splattering of punchlines in the film’s second half an absolute scream. To think it started out as part of an acting/filmmaking course makes the creative achievement all the more incredible. If you like zombie comedies and films about filmmaking too, this genuinely breathes new life into both sub-genres.

Mark: 9 out of 11


MAYHEM (2017) – DIRECTED BY JOE LYNCH

This office-based killer-thriller-horror-comedy resonated with me, as I myself have been trapped working in the corporate world. Steven Yuen is the jaded business attorney, Derek Cho, working for a law firm that regular screws over the less wealthy. When Derek is framed and fired, he plots revenge. However, his plans go sideways quickly when a nasty virus causes his office to be quarantined. The virus itself doesn’t kill, but it is capable of making people act out their wildest impulses – which tend to involve extreme sexual, verbal and violent behaviour. Mayhem (2017) uses a geographical structure similar to The Raid (2011) and Dredd (2012), where Derek must fight his way up from the ground floor to the corporate suits at the top. Steven Yuen is fantastic in the lead and he is ably supported by movie-star-in-waiting, Samara Weaving. The action, fighting and gore are well executed, and the script contains some great twists in this fast-paced horror gem.

Mark: 8.5 out of 11



THE CRAZIES (1973) – DIRECTED BY GEORGE A. ROMERO

Arguably, one of George Romero’s lesser known films is called The Crazies (1973). The narrative finds residents of a small American town accidentally infected by a darned biological weapon. The subsequent lockdown, quarantine and heavy-handed military invasion causes a small band of townspeople to fight back and attempt escape. As the soldier’s net closes in on them their lives are threatened by both the military and the virus. Overall, watching The Crazies is a dramatic, but chaotic experience. The ideas are strong, but Romero’s story is hamstrung by the low budget, choppy editing and some bad acting. Having said that, The Crazies echoes a lot of the issues our world has been experiencing lately. Although the deaths are more gruesome in Romero’s film and his characters don’t stockpile as much toilet roll as we have.

Mark: 7 out of 11


BLOOD QUANTUM (2019) – DIRECTED BY JEFF BARNABY

As well as providing a portal with which to watch older horror films, Shudder is also producing and buying up its own exclusive productions for streaming. One such release is Jeff Barnaby’s Blood Quantum (2019). Set in 1981, on the Red Crow Indian Reservation in Quebec, Canada, it’s an entertaining addition to the zombie genre, that perhaps would have been better served as a longer series. The story set-up is simple, as local sheriff, Traylor (Michael Greyeyes), is mystified when dead animals start to reanimate. Skip forward six months and a full-on viral assault has caused the dead to come back to life. The neat twist is that the indigenous American population is immune to the disease, but white people aren’t. Traylor and his community fight the dead (and living), attempting to keep safe from those that threaten their existence. Thematically, Blood Quantum (2019) is very powerful. The subtext of racial tension within the zombie genre is dramatically explored. Moreover, there are some explosively gory deaths and decent action. My main issue was with a script that laboured in places, as the film’s pace was slowed by overlong dialogues scenes.

Mark: 7 out of 11



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!

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


FILMS THAT GOT AWAY #9 – ONCE (2007)

FILMS THAT GOT AWAY #9 – ONCE (2007)

Written and directed by: John Carney

Produced by: Martina Niland

Cast: Glenn Hansard, Marketa Irglova

Original songs by: Glenn Hansard, Marketa Irglova and Interference.

Cinematography: Tim Fleming


**** MAY CONTAIN SPOILERS ****



I am not sure why I missed this film first time around, however, it’s most likely due to prior prejudices against musical or music-based films. Yet, since I married in 2016, I have began to watch and enjoy more musicals. This is mainly due to my wife being a massive fan of musical cinema and theatre. While it’s still not necessarily my favourite genre, every now and then an utter gem of a musical will emerge. John Carney’s beautifully moving love story between a hoover repair guy and a flower-selling girl, Once (2007), is certainly one of those.

John Carney is an honest filmmaker who is attracted to outsiders and people with real emotional turmoil. They tend to be at crossroads in their lives and are struggling either with their dreams or their relationships. He also loves musicians, flaws and all. In Begin Again (2013), a washed-up musical executive, portrayed by Mark Ruffalo, meets unhappy singer-songwriter, Keira Knightley and their first-world romance is played out to bittersweet consequences. Similarly, in Sing Street (2016), a troubled teenager comes of age through his 1980’s pop band and bittersweet romance with a rebellious and equally-troubled schoolgirl. Notice a pattern? Well, this style of music, gritty city backdrops and salty romances were established in Carney’s breakout hit, Once (2007).

Made for a ridiculously low budget of around $150,000, this ultra-realistic musical contains songs that burst with love and pain from the characters of Guy (Glenn Hansard) and Girl (Marketa Irglova). The two meet and connect, but this is no conventional romance as they both have powerful emotional histories between them. It’s the beautiful music and their authentic dialogue exchanges which drive the story. Hansard’s singing and guitar playing are so powerful and moving. Their duet in the music shop of the song, Falling Slowly is a tour-de-force. I was not surprised when I saw it had won the Oscar for best original film. Overall, Once (2007) is a surprisingly brilliant no-budget feature, shot on the streets of Dublin, which deservedly became a big hit.

Mark: 9 out of 11


SIX OF THE BEST #25 – FILM PLOT-HOLES!

SIX OF THE BEST #25 – FILM PLOT-HOLES!

One of the main reasons I watch films is because I love a good story. I especially like working out the ins and outs of the plot lines too. So, it stands to reason that some films may have inconsistencies in their story or even plot holes. I would define a plot hole as a gap in the story which remains unexplained by the writer or writers. Sometimes these can spoil the film, but more often than not it can add to the enjoyment. They may in fact be known to the writers, however, they may have left it as an enigma for the audience to work out. Either that or the writers made a mistake or they could not be bothered to, or were unable to close the hole. In fact, they may be hoping we don’t notice or care.

There are so many films out there and I’m sure one could nitpick holes in most stories. Here I have picked out six of my favourites. I have chosen well known films so as to differentiate between good and just plain bad storytelling. Moreover, I have also omitted horror films where people just make stupid decisions. Likewise fantastical, surreal and dream logic narratives are avoided. Lastly, the major Marvel franchise plot hole is skimmed. You know the narrative hole that occurs in the stand alone entries. E.g. in Spiderman: Far From Home (2019), if the world is being threatened why don’t the other Avengers help poor Peter Parker? Oh, they’re conveniently busy. . . hmmm. Anyway, here are six of the best plot holes I like. If you can think of more please let me know.

***CONTAINS MASSIVE SPOILERS***



KING KONG (1933 / 1978 / 2005) – how did they get King Kong back to New York?

This question is not always one that is brought up as an obvious plot hole. However, think about it. Kong is captured on Skull Island, but is suddenly revealed in New York. How did they manage to find a boat big enough to carry him to America? And what if he woke up? He would destroy any ship carrying him with a yawn and stretch. Plus, because we do not SEE him being transported a massive hole in the narrative occurs.


How King Kong quadrupled in size since 1933

HALLOWEEN (1978) – who taught Michael Myers how to drive?

It chills the bones when Donald Pleasance’s Dr Samuel Loomis finds on a dark evening on October 30th, the day before Halloween, his most feared patient, Michael Myers has escaped from a maximum security facility. Myers has stolen a car and sped off into the night. The big question is, given Michael was six when he committed the murder, how the hell did he learn to drive? Obviously given Myers is a manifestation of pure evil, he somehow mastered driving through psychic force.



STAR TREK: THE MOTION PICTURE (1979) – the V’Ger probe would be coded as Voyager!

Talking of William Shatner masks, Star Trek is a wonderful science fiction television series and film franchise. It’s loved by many and given the numerous narratives involving time travel and alien species there are no doubt more plot holes in there. I mean the number of aliens who talk English and look human is quite something. However, in Star Trek: The Motion Picture (1979), there is a major plot hole involving the “V-Ger” probe. Indeed, the entire twist of the plot centers around “V-Ger” actually being “Voyager,” as demonstrated by the corroded name plate on the probe. It seems weird though that nowhere in its programming (or anywhere else) did Voyager have its name recorded. It would be like if a label of a computer, say “Dell”, had the “D” covered up, the boot-up screen would not read, “ell” during post, it would still read, “Dell”! Thus, the plot hole is entirely illogical, Captain.



THE TERMINATOR (1984) – why not just destroy the time machine and stop Kyle Reese going back?

There are loads of plot queries in James Cameron’s classic sci-fi thriller. The one I like the most is more paradoxical than plot hole, but similarly this illustrates flaws in Skynet’s overall plan. Given Skynet and The Terminator have detailed files on everyone, why didn’t they know Kyle Reese was John Connor’s father? If so, just destroy the time machine to stop him going back. If killing Sarah Connor in the past stops John from ever being born, perhaps killing Kyle or stopping him time travelling would have the same effect.


SHAWSHANK REDEMPTION (1994) – when Andy escapes, how does he put the poster back so perfectly?

This is one plot hole I love and is in fact, given Andy Dufresne’s incredible struggle to escape, one you can certainly understand. I mean, thematically speaking, Andy is coded as a spiritual Christ-like figure throughout the film. It’s very subtle, but it is there. Thus, perhaps, he had some divine intervention during his escape. He definitely earned it. Lastly, I also love that it is literally a plot hole and Andy escaped right through it.



SIGNS (2002) – why did the Aliens raid a water-based planet when it hurt them?

While the director has had his fair share of critics, I generally enjoy most of his early films and some of the more recent ones. Signs (2002) is a fantastic sci-fi thriller with themes of faith, family and alien incursion. The major hole is the aliens have to be incredibly stupid to want to invade a planet that is 70% their biggest weakness. However, as some have pointed out, it wasn’t an invasion, but a raid to get some people. However, given people are made up of water and water is in Earth’s atmosphere, perhaps Shyamalan should have made their weakness alcohol or even actual acid. Still a very entertaining film though.