Tag Archives: George Romero

100 NOT OUT! SOME GREAT FILMS OF 100 MINUTES OR LESS #1 by PAUL LAIGHT

100 NOT OUT! SOME GREAT FILMS OF 100 MINUTES OR LESS #1

We all love an epic at the cinema; a film which takes it’s time to build up character, plot and suspense. However, to write a great film under 100 or so minutes requires incredible discipline. You need tough, lean writing and a methodical film editor. You need real focus on the plot and an eye to remove the extraneous and zip the story along. You need a brevity and wit in the writing to quickly establish the characters and gain audience empathy. Most of all you need a solid structure, with pace but without losing any depth.

In this little piece, I have a look at some brilliant FEATURE films that represent marvellous examples of fantastic writing all under the magic one hundred minute mark! I imagine most of us have seen these films but if you haven’t then please do so!

**CONTAINS SPOILERS**

12 ANGRY MEN (1957)

Bona fide classic movie adapted from the TV play by Reginald Rose and directed by the legendary filmmaker Sidney Lumet.  The claustrophobic nature of a jury arguing over a murder case is brought to the boil by a superlative cast including Henry Fonda, Jack Klugman, Lee J. Cobb, Martin Balsam etc.  It’s a real festival of acting full of sweat, anger, guilt and reasonable doubt; all cooked to perfection within a hundred magnificent minutes.

12angry

ASSAULT ON PRECINCT 13 (1976)

John Carpenter is a master at producing lean, mean fighting machine movies. This crime film is an unofficial remake of Howard Hawks’ Rio Bravo (1959) and represents your genuine-classic-low-budget-one location-siege movie with a ragtag bunch of cops and cons fighting off hordes of street scum hell bent on revenge following the death of a gang leader. The film is a gritty joy full of hard-boiled characters and dialogue with a simple yet pulsating soundtrack written by Carpenter himself.

assault poster

BROADWAY DANNY ROSE (1984)

Basically take your pick from a slew of Woody Allen films which always tell a great story around the 90 minute mark. Yet, I chose Broadway Danny Rose as it is a comedy gem hidden amidst the treasure trove of a filmic oeuvre. It concerns a hapless agent with the worst roster of acts in New York and his hilarious run-in with the mob. Beautifully constructed with some cracking characters and one-liners, this is always worth another watch if you have 85 minutes to spare.

FARGO (1996)

“He was kinda funny-looking!” THAT line basically sums up the Coen Brothers take on the kidnapping-police-procedural thriller. It’s a hilarious one-liner that becomes even funnier when delivered in the Minnesotan accent and in fact is a very important part of the plot. This film is memorable because it turns the genre on its head with a dark, funny and human story both stylish and gut-wrenching in equal measures. I mean, the killers are revealed immediately and Police Chief Marge Gunderson (wonderful Frances McDormand) solves the case quickly too. This allows the Coens to concentrate on off-beat characterisations and twist the narrative in any direction they so desire. It’s bloody, funny and moral with memorable characters that stick in the heart and mind.

THE KILLING (1956)

Not the recent Scandinavian TV show but the early Stanley Kubrik crime classic constructed in a newsreel style with an authoritative god-like third person narration. It stars Sterling Hayden, Elisha Cook Jnr and Timothy Carey as assorted array of lowdown criminals all combining to pull off a daring racecourse heist. The brilliance is in the metronomic telling of the tale as Kubrik builds suspense and tension throughout with a filmic confidence which would very much become part of his later, and much longer, epics.

MAD MAX: ROAD WARRIOR (1981)

Slight cheat because the titular character was already established during George Miller’s original hard-core low-budget classic. Yet, this is a powerful and brutal apocalyptic Western with cars instead of horses and punk-bandits instead of indigenous Native Americans providing the foes. It smashes along at a wicked pace as hard-bitten and life-grilled Max Rockatansky (Mel Gibson) fights hell-for-leather to survive in the Aussie wasteland while hunting for gas and food.

NIGHT OF THE LIVING DEAD (1968)

George A. Romero’s low-fi classic is the Godfather of all modern zombie movies. It’s another siege film as a group of various characters become holed up in a Pennsylvanian farmhouse attempting to avoid the living dead’s bloodthirsty clutches. Made literally on a shoestring from money raised independently (no Kickstarter back in those days), it would become one of the most successful horror films ever outside the Hollywood system. It’s grainy, creepy and gory and offers a subversive critique of the politics of the era.

PREDESTINATION (2014)

One of my films of 2015 I have now seen it twice and it is like a snake-charmer; I just cannot help but fall for its twisted, hypnotic and serpentine narrative. In my original review a year ago I wrote:

“It may completely fall apart on subsequent viewings but for the running time it offered a lot more than many other star-driven, big-budget movies. . .”

However, I can safely say this brilliant cult time-travel movie based on a classic Heinlein short story called All You Zombies gets better with further viewing and stands up on further inspection. I’m still scratching my head at how it all fits together, but that is part of the pleasure too.

RESERVOIR DOGS (1992)

Oh for the days when Tarantino didn’t have a lot of money and wrote cracking muscular scripts which defy genre conventions and rip along at breakneck speed. His recent epic films are just as entertaining as this heist-gone-wrong thriller but longer and arguably in need of a trim or two. I’ve seen this film many times and it still retains its vice-like power, as the masculine egos clash and kill each other right up to the bloody end.

TRAINSPOTTING (1996)

This is a both a literary and cinematic classic. It’s a snap-shot rollercoaster smash-cut of junkie vignettes which delivers on all sensory and emotional levels; with a cracking soundtrack to boot! From the twisted mind of Irvine Welsh, writer John Hodge and director Danny Boyle takes the seemingly unfilmable book and craft a fizzing, twisted vision of heroin addicts, which stylises the lifestyle with dark humour and a sense of loss at the devastating impact of addiction. Choose life: choose Trainspotting!


TREMORS (1990)

I love this film. It’s a real B-movie guilty pleasure with seismic underground monsters attacking a small back water town ironically named Perfection.  The action bolts along and it wears its Jaws-in-the-dirt influences hilariously. Most of all I love the characters, notably Kevin Bacon and Fred Ward’s handyman buddies trying desperately to escape their dead end jobs. It’s a fun script with loads of action and great one-liners with Bacon himself having loads of fun without hamming it up.

UP (2009)

Take your pick from any number of Pixar classics notably the Toy Story trilogy, however, I have chosen this gem because it is just so damned imaginative and original. I mean, how’d you get a winning narrative out of an odd couple bromance between a grieving old geezer and an overweight Boy Scout. But this film does so in a great story about overcoming grief, companionship and finding comfort in helping others. Most of all it’s funny, touching and heart-toasting and does it all in fewer than 100 marvellous minutes.

TEN THINGS I HATE ABOUT YOU #3: FOUND FOOTAGE “FILMS”!

TEN THINGS I HATE ABOUT YOU:  FOUND FOOTAGE FILMS

**CONTAINS SWEARING AND SPOILERS AND OVER-USE OF CAPITALS**

Usually I’m very positive on this page but on occasions I feel the need to let rip at things that irk me. Loss of the Voice-Over Guy in film trailers pisses me off as does the generally poor expositional style of many trailers which TELL the whole story or give key plot points away IN THE TRAILER!!!  E.g. Terminator: Genocide (2015). But there is one sub-genre of movie-making which has me tearing my nuts off with rage and that is the continued proliferation of FOUND FOOTAGE style films. And here are TEN reasons why!!!

1) THE BLAIR WITCH PROJECT (1999) – I hate this fucking film!  Because of its ridiculous success it undoubtedly gave birth to an army of other bastards that have been stinking up the cinema and TV screens for the past few decades. Firstly, this film sucks!  As both a story AND a horror story.  If this film scares you then you are a moron!  It’s an okay short film padded out to an overlong bore-fest which was only topped for boringness when Paranormal Activity (2007) came out.

I’m happy for the filmmakers for garnering such success but given they have not released anything of note since shows this was a fluke success. I mean the characters were awful and dumb; notably when one moron threw away the map and got them LOST!  The ending isn’t bad but I was just so relieved when they all died!  Verbal Kint once said, “The greatest trick the Devil pulled was convincing you he doesn’t exist.”  I disagree: it was making this film so phenomenally successful.

2) UNNECESSARY!– Found footage is unnecessary to tell a story. I can see some benefit in perhaps framing your story like that if it’s Cannibal Holocaust (1980) and it’s documentary film crew blah-blah-blah!  But in my opinion it ADDS NOTHING to the story as a stylistic device.  Use flash-backs, montage, flash-forwards, voiceover, non-linear structures etc. but found footage is like one of those Chihuahua dogs: irritating, totally lacking in charm and completely pointless.

3) POISON – Like Hitler, Gangnam Style, Miley Cyrus, Adam Sandler, Ugg Boots etc. found footage films are inexplicably successful yet also poison humanity!!  I admire low-budget/independent filmmakers and DO NOT begrudge any success these people have had BUT THE FILMS ARE RUBBISH!! The cinematic epitome of the Emperor’s New Clothes.

4) CLUMSY – It’s just SO clunky!! Even the best ever found footage film Chronicle (2012) which uses the device imaginatively suffered because they had to make up some reason for one of the characters to be filming.   Oh, it’s my sister’s mum’s birthday and funeral and we need to film it for future posterity. Oh, I accidentally left my phone camera on while in the woods and am now being hunted down by my own shadow! No!  STOP IT!!

5) THE FILMS LOOK SHIT!  Need I say more?!?  Low budget does not mean the film needs to be shot through CCTV or infra-red or in low-grade digital footage grainier than hamster shit. Ten minutes or so is bearable but a whole film like that is just too much to handle!

6) LAZY – Oh, we’re gonna make a horror film shall but we don’t have much money: shall we use our imagination like say Sam Raimi or James Wan and construct a proper story with nasty monsters, witty dialogue, funny and horrific set-pieces OR shall we set up a fake camera and have doors move slightly or faces suddenly appear on screen or it’s quiet and then a shadow moves!  Yeah, don’t bother with characters you may connect with or creating suspense through something called a story let’s make a found footage film because WE ARE LAZY!!

7) INSULTING – Occasionally, found footage is used well such as in Creep (2014) with Mark Duplass or REC (2007), but overall the films are an insult to the horror genre. I love horror films and there have been some really good ones recently such as: Insidious (2010), Saw (2004), The Conjuring (2013), The Babadook (2014), It Follows (2014), You’re Next (2011), Let The Right One In (2008), The Descent (2005), Cabin in the Woods (2012), Shaun of the Dead (2004) to name a few.  And were any of them found footage films:  HELL NO!!!

8) MORONS – It’s an invite for every talentless, breathing moron with a camera who think they can become a filmmaker.  Don’t bother writing a script or creating decent characters or storyboarding imaginative cinematic moments – just don’t bother because you can just tripod a camera and PRETEND its close-circuit TV or a cameraman or videographer! Even horror legend George Romero got sucked into the talent vortex with the atrocious Diary of the Dead (2007) and Oscar winner Barry Levinson too with The Bay (2012).  Stop the world I’m getting off!!


9) VERMIN – Like rats in London you’re never too far away from a found footage film.  There’s too many of them – they are a plague upon the culture and humanity overall. Please STOP watching them because as they are cheap to make they spawn rubbish sequels! They are like the appendix; utterly pointless but when they burst on the cinema screen they are poisonous, painful and one must immediately seek medical help.

10) FOUND FOOTAGE FILMS ARE NOT SCARY!  Perhaps in the darkened cinema you could be tricked into THINKING they are scary when a shadow, door or tree moves but they’re not. Overall they are as scary as a Panda in a bib!