One of the legends of cinema passed away a couple of days ago in George A. Romero. Here was a filmmaker who will always remain an inspiration to me as a movie fan and independent filmmaker.
He is most famous for single-handedly inventing the modern day zombie film, however, that, in my opinion is to simplify his legacy. What he achieved on low budgets with films such as: Night of Living Dead (1968), The Crazies (1973), Dawn of the Dead (1978), Martin (1978), Day of the Dead (1985) and more, was nothing short of incredible.
His films indelibly etched images, sounds, music, sequences and of course bloody gore into my mind; some of which I will never forget to this day. Most importantly, though his horror films were of the fantastic variety, they were filled with incredible insight into the socio-political machinations of the day.
Because, George A. Romero knew that the horror on the screen could never match the horrors of war, oppression and death that humanity bestowed upon itself down the years and in the now. For being an independent, intelligent and political filmmaker is how Romero should be remembered.
Is The Mummy (2017) an original movie? No! Is Tom Cruise’s latest attempt at a movie franchise a good film? Not particularly! But is it an entertaining-take-your-brain-out-popcorn movie? Yes! Now, of course, film reviews are all about opinions and The Mummy is an average film at best, but compared to some of the blockbusters of recent years such as Batman v. Superman (2016) and Suicide Squad (2016), it at least makes sense and has a decent through-line narrative.
I mean, I watch a lot of films, some great, some okay and some not-so-great and every now and then a film receives a critical pasting it deserves. But sometimes films get a kicking they don’t deserve. I think that bloggers and critics, professional or hobbyists, love the sound of their own voice, keyboard-tapping and ego passing judgement. Indeed, I am no different. To give the thumbs up or thumbs down can be empowering; it’s a lot of fun. Yet, at times one can get so caught up in their higher ideals of film critique and actually apply intelligent analysis to the wrong films. Either that or they just thought the film was crap! But in The Mummy’s case I don’t think it is.
The film kicks off at a fantastic pace and aside from a mid-act breather for some exposition from Russell Crowe’s Dr Jekyll, keeps up the fast action relentlessly. Because, essentially this is all plot, action, jokes and monsters and is NOT MEANT TO BE TAKEN SERIOUSLY! The story is pretty simple and mirrors the Brendan Fraser movies from the late 90s/early 2000s; and any number of Mummy monster films where a hidden tomb is opened up and releases unimaginable horror upon the world. The old Universal Boris Karloff classic from 1932 was a moodier, low-budget and atmospheric affair while this is an altogether whizz-bang-rollercoaster-ride-affair.
The main protagonist is Tom Cruise’s Nick Morton. He is basically an Indiana Jones meets Ethan Hunt type soldier, who along with his partner Chris Vail (Jake Johnson) is looting Iraq for Saddam’s hidden treasures. Of course, things don’t go according to plan and he and his partner, along with Annabelle Wallis’ fill-in-the-history-dots-archaeologist, unearth a monstrous and murderous Egyptian princess called Ahmanet (striking Sofia Boutella). In recent films such as Kingsman: Secret Service (2014) and Star Trek: Beyond (2016), Boutella has proved herself a physically commanding performer and once again she stands out here.
I don’t know but maybe I was in a good mood but I really enjoyed the bone-snapping ghouls; heart-stopping plane crash; Ahmanet’s sensual yet suspenseful pursuit; car chases through the murky woods; underwater zombies; duality of man versus monster theme; plus a great little homage to An American Werewolf in London (1981). I would say though that Tom Cruise probably unhinged the story slightly with his “superstar” persona and a less well-known actor may have added a bit more suspense. However, his characters’ arc was actually quite interesting as a cursed thief questioning his morals and actions. Plus, the final pay off, suggesting further adventures, was actually quite satisfying too.
In fact, while it’s very generic with haphazard plotting it is no worse than blockbusters like A Force Awakens (2015) or Fast and Furious 7 (2015) or Mission Impossible 6 (2016); which I enjoyed but are all very surface and style-driven, while remaining entertaining action films. Overall, The Mummy was totally unoriginal and I would’ve preferred even more horror and gore! But if, like me, you sometimes don’t want to think too much it works as a silly bit of monster entertainment with some brilliant action stunts thrown in. An alternative title perhaps could have been The Mummy: Romancing the Bones – and ultimately it is nowhere near as bad as many critics have stated; in my humble keyboard-tapping opinion that is.
CLASSIC COMEDY REVIEW – 6 HILARIOUS MONUMENTS FROM PSYCHOVILLEC
Following the third season and movie version of the League of Gentlemen, Reece Shearsmith, Steve Pemberton, Mark Gatiss and Jeremy Dyson would find a cornucopia of acting and writing work on radio, film, TV and the theatre. In fact, their respective talents would make them very much in demand as they appeared or wrote for work such as: Doctor Who, Sherlock, Whitechapel, Marple, Benidorm, Poirot, Happy Valley, Ghost Stories (stage), Spaced, A Field in England (2013), The Widower, The World’s End (2013), High Rise (2015) and many, many more.
On top of that Steve Pemberton and Reece Shearsmith collaborated on a fraternal relation to the League of Gentlemen called Psychoville. Here they committed another gruesome set of original characters each with their own mysterious past. They brought together, over the crooked path of two seasons and a Halloween special, programmes involving all manner of murder, comedy, telekinesis, mental illness, mistaken identity and disgusting deeds.
If you haven’t seen it then I urge you to do so as it is insanely clever and darkly funny. Here are SIX clips which highlight the genius of the show. You can still catch all the episodes on Netflix, if you have the stomach for it.
**THESE CLIPS CONTAIN SPOILERS**
SEASON 1 – MURDER MYSTERY SCENE
David takes the Murder Mystery evening a tad too far!
SEASON 1 – “ROPE” PARODY
This is an insanely clever and silly homage to Alf Hitchcock’s masterful “one-take” thriller.
SEASON 2 – CREEPY LIBRARIAN
Reece Shearsmith plays an obsessional librarian perfectly!
SEASON 2 – TINA TURNER KARAOKE
Probably one of the funniest and bizaare impressions of Tina Turner ever!
SEASON 1 – THE JOY OF BIRTH
Unhinged midwife Joy speaks very honestly about the “glory” of birth.
HALLOWEEN SPECIAL – MR JELLY ORDERS A PROSTITUTE
Bitter clown Mr Jelly calls a lady of the night who does “specials”!
CLASSIC COMEDY REVIEW: TWELVETY MEMORABLE SKETCHES FROM THE LEAGUE OF GENTLEMEN
Reece Shearsmith, Steve Pemberton, Mark Gatiss and Jeremy Dyson are utter geniuses! Having won the top comedy award at the Edinburgh Fringe Festival in 1994 they successfully took their surreal and grotesque character comedy from the radio to the TV. Thus, in 1999 they brought an array of wonderfully drawn comedic characters, both funny and horrific in equal measures, to the small screen.
The show ran for three brilliant seasons and here are some the best moments I could find on YouTube. If you’ve never seen the show then you should as it retains its ability to shock, horrify and more than anything else make you piss yourself laughing.
Please note: these are the best sketches I could find online and there many more throughout the show, so do catch up with it on Netflix if you’ve never seen it. Once you start watching the inhabitants of Royston Vasey – YOU’LL NEVER LEAVE!
“YOU’RE MY WIFE NOW, DAVE!”
The circus comes to town with strange occurences!
JED HUNTER’S COMMERCIAL AUDITION
An audition doesn’t quite go according to plan!
ATTACHMENTS DATING AGENCY
A dating agency with a less than tactful interviewer.
GO JOHNNY GO GO GO
The weirdest card games known to humanity.
LES MCQUEEN
“It’s a shit business!” Poor Les just can’t get a break!
IRIS AND MRS LEVINSON DO “BATTLE”
The duelling cleaner and “boss” continue their bickering!
WRITER: Alice Birch, adapted from Lady Macbeth of the Mtsensk by Nikolai Leskov
CAST: Florence Pugh, Cosmo Jarvis, Naomi Ackie, Paul Hilton
**MAY CONTAIN SPOILERS**
Are there great films announced as classics or loved by critics which you do not like? That isn’t to say they aren’t great films but subjectively you just don’t enjoy them? I guess the biggest ones for me are probably Mulholland Drive (2001) and Close Encounters of the Third Kind (1977). I love the work of Spielberg and Lynch mostly but just do not enjoy these critically acclaimed films at all.
Similarly, a brilliantly made low-budget-period-horror from last year called The Witch (2016) got huge plaudits and the filmmaker Robert Eggers deserved much praise for his atmospheric direction. However, I found it a tremendous bore. As for the box office smash Blair Witch Project (1999); don’t get me started on that over-rated genius-marketing-over-quality-cinema-trash.
Anyway, how is this ranting connected to my viewing of the grim and pretentious Lady Macbeth (2016)? Well, it’s a film that critics are no doubt going to enjoy for its subversive genre skewering of the traditional period drama. Moreover, the direction by William Oldroyd is stark and impressive, while the fearless Florence Pugh in the lead is clearly going to be an actress to watch in the future. However, it is an intellectual film with little humanity and is ultimately nihilistic in terms of entertainment.
The story is set in 1865 rural England up North against the backdrop of patriarchal dominance where women must and shall know their place. Pugh’s character Katherine is essentially sold into a loveless marriage and rather than play the dutiful wife she rebels viciously. Firstly, she drinks the Master’s house dry of the booze and then enters into an extremely erotic affair with one of the servants, portrayed with muscular naivety by Cosmo Jarvis.
From then on the cycle of events descend to hellish depths. Murder and revenge are clearly hinted at in the film’s Shakespearean title as Katherine gives Lady Macbeth a run for her money in terms of evil plotting and fiendish acts. Indeed, this expertly made film is a pure exercise in passionate hysteria featuring a spoilt and lustful lead character. While I love challenging cinema — especially by the likes of Nicolas Winding Refn, Michael Haneke and Lynn Ramsay — there remains an emotional vacuum in this narrative because I found it hard to care about anyone.
The most sympathetic character in my view was the brutalized maid Anna and perhaps the story would’ve been more interesting for me if told from her perspective? So while the film was beautifully shot and framed, I was quite often stumped by the characters’ motivations; especially by Katharine’s decisions at the end. I mean is she the kind of heroine feminism longs for? I doubt that because ultimately she is an evil human being and not a standard bearer for woman kind. Or is she?
Lady Macbeth undoubtedly makes valuable points in regard to the racist and sexist oppression of the time but it is very difficult to have empathy for a lead character who has had a severe personality by-pass. A far better representation of female empowerment against dominant patriarchy is Park Chan-Wook’s brilliant film The Handmaiden (2016). So, while this film is likely to be on a lot of critics’ “Best films of 2017” lists, I found it overall a pretentious bore.
(Mark: 5.5 out of 11 for the film)
(Mark: 9 out of 11 for Florence Pugh)
CAST: Garance Marillier, Laurent Lucas, Rabah Naït Oufella, Ella Rumpf
Often you watch films and think it’s not a great movie but such is the intriguing premise or themes, it could make a fascinating essay. With Raw, however, it’s both a bloody good coming-of-age-gory-horror-story and has a number of thematically powerful messages that makes you think too. Indeed, in this film meat is definitely murder.
It begins with innocent-goody-two-shoes-veggie-star-student entering her first week at Veterinary college. With it being the first week she is subject to the more experienced student practical jokes and initiation ceremonies; all amidst hedonistic sex and drug parties reminiscent of something from the fall of the Roman Empire.
Not surprisingly this is a very sexual, animalistic and instinctive film dealing as it does with beasts both human, canine and equine. The lead actress Marillier is a prominent force throughout as her journey follows a carnal, chemical and gory path. Ducorneau, the director, gets a great performance from this young talent as her character transforms from angel to devil without the loss of audience empathy.
This is both an entertaining contemporary horror film and a very intelligent one. It works on so many different levels with themes covered including: veganism, peer pressure, initiation, fitting in, animal cruelty, sexuality. lesbianism, homosexuality, animalism, sisterhood, hedonism, nature versus nurture, cannibalism, family etc. It crosses genres effortlessly and has one of the greatest and disgusting scenes I have had the pleasure to see for some time. (Mark: 9 out of 11)
WRITER: DAVID BIRKE based on the novel Oh by Phillipe Dijan
CAST: ISABEL HUPPERT, LAURENT LAFITTE, ANNE CONSIGNY, CHARLES BERLING, VIRGINIE EFIRA
**MAY CONTAIN SPOILERS**
Where do I begin with this film? Is it a comedy? Is it a satire? Is it a drama? Is it a horror film? Well, all of the above I would say and then some. For starters Isabel Huppert SHOULD have won the Oscar for best actress over the candy floss performance of Emma Stone. That genuinely was a first world artistic travesty! Huppert is absolutely sensational as the damaged anti-heroine who having been part of a horrific childhood event is then subjected to a vicious sexual attack in the very first scene. Thus, immediately the film brutalises the main character and makes the audience complicit with her subsequent actions which are complex to say the least. Because as a successful business-woman with a murky past she doesn’t go down the route of victim but rather something completely different.
As it’s directed by the rambunctious cinema satirist Paul Verhoeven I expected a difficult yet entertaining ride, however, this film at times was painful to watch and not what I would call easy entertainment at all. In fact, I’m surprised there hasn’t been more controversy or outrage from the liberal left in the queasy representation of sexual violence. Don’t get me wrong there is a lot to like about the film, especially: the darkly humorous screenplay; the hilarious representations of bourgeois-middle-class-family life; and the unexpected twists in the plots take the breath away. Yet, both male and female humiliation is at the heart of the story and Huppert’s character is kind of unlikeable, making it is difficult to get behind many of her decisions.
Overall, Elle has been laden with awards and received much critical acclaim and I can certainly confirm it is a brave and challenging character drama with very risky themes at its heart. My interpretation is that the writer and filmmakers have a nihilistic view of the French bourgeoisie and that humanity in general is full of damaged lunatics out for what they can get. Essentially too, Huppert’s character has been ruined by the actions of men and her motivations are borne out of trying to gain control of a horrific situation. Thus, I would recommend this film for those who prefer their cinema to challenge, shock and question the nature of sexual politics, rather than spoon feed us fluffy and patriarchal love stories. Because, mainly, this is not a love story but rather one of hate.
(Mark: 8 out of 11 for the film)
(Mark: 11 out of 11 for Isabelle Huppert)
CAST: DANIEL KALUUYA, ALLISON WILLIAMS, CATHERINE KEENER, LIL REL HOWERY
**MAY CONTAIN SPOILERS**
Written and directed by the very talented Jordan Peele – known for his sketch comedy work on shows such as: Key and Peele and MADtv– Get Out is a humdinger of a horror-thriller-satire. It concerns Chris Washington and his girlfriend, Rose Armitage on a “meet-the-parents” getaway weekend. At first, Chris reads the family’s overly accommodating behaviour as nervous attempts to deal with their daughter’s interracial relationship, but as the weekend progresses we get the terrifying truth about the situation.
The narrative is a tremendous mash-up of horror and social satire following in the footsteps of films such as: The Stepford Wives (1972), Night of the Living Dead (1968) and They Live (1988) which used horror stories as a means of social commentary. Moreover, Peele’s screenplay brilliantly sets up some humorous and awkward scenes between the overly politically-correct white characters before twisting into darker territory. However, there are many laughs to be had also especially from Chris’ best friend portrayed by Lil Rel Howery as a dogged and profane Trans-Airport security employee.
The cast, notably Daniel Kaluuya, Catherine Keener and Allison Williams, are all excellent but most impressive was the writing. I watch so many TV and cinema presentations which over-write dialogue or include extraneous scenes, yet nothing in Peele’s script is wasted with an impressive set-up-punchline-call-back structure within a plethora of visual, verbal and performance set-pieces.
Recent films such as Twelve Years a Slave (2013) and Birth of the Nation (2016) took audiences to very serious places in regard to slavery, however, Peele’s contemporary vision of modern society and racial tensions brilliantly satirises middle-class America and entertainingly highlights the culture experiences with many genuine scares to boot.
Denzel Washington’s honest, down-to-earth and heart-cracking drama is a formidable character piece and acting tour-de-force. Adapted from August Wilson’s prize-winning play, the narrative bristles with authentic working class lives of 1950s Pittsburgh, and is littered with some wonderful stories and dialogue. At the heart of the drama are Denzel Washington’s complex character Troy Maxson and his long-suffering wife, Rose; portrayed with significant humility and pathos by Viola Davis. Great support comes also from Mykelti Williamson as Troy’s mentally impaired brother, Gabriel.
Troy’s character is very charismatic and he delivers some hearty yarns from his past, but he’s also bitter and a drinker and, while he has had a hard life, he bullies everyone around him. His sons and more importantly his wife Rose put up with it but eventually he grinds everyone down, pushing them away with his boorish “I-know-best” arrogance and aggression. With her quiet power Viola Davis more than matches Denzel Washington’s grandstanding and Rose’s heartfelt speech toward the end of the film is a stunning retort to her husband’s continual tirades and emotional neglect.
I’ve seen some criticisms of the film stating it is too “stagey”. Well, as it is based on a play that is understandable, yet, August Wilson’s words are a thing of beauty and therefore deserve focus. I think, while directing, Denzel Washington could quite easily have opened up the settings and had conversations on the street, but the decision was made to “fence” in the characters to create a sense of claustrophobia and intensity. By keeping the players mainly in the yard and the house we feel as trapped as they are by society, social status and their life decisions. It’s an intimate film about proper characters and real lives and overall the performances alone make the film feel cinematic. (Mark: 9 out of 11)
MOONLIGHT (2016)
Barry Jenkins low-budget contemporary drama is another brilliantly acted character memoir; although when compared to Fences it benefits from a more complex structure and cinematic style. Split into a trio of linear timelines from the same characters’ lives we get three different actors representing the life and changes which occur in Chiron’s existence; with chapters named, Little, Chiron and Black.
Each section draws us into the characters’ world as Chiron searches for meaning, identity and direction as to who he really is as a person. With his father absent Little Chiron (Alex Hibbert) cannot find satisfaction via his mother, an angry and lost woman portrayed brilliantly by Naomi Harris. Small for his age he is also at the mercy of school bullies and while a random meeting with a local drug dealer, Juan (Mahershala Ali) provides Little with a mentor to connect with it doesn’t sustain. Ali as Juan, like most of the performances, delivers a subtle realisation of a character trapped by his life choices and perhaps sees some redemption in ‘Little’. Alas, due to his lifestyle and ‘job’ he is clearly not the role model ‘Little’ needs.
In the second and third sections Chiron’s relationship with his best friend Kevin comes to the fore both in terms of some powerful drama and intimate sexual connections. Barry Jenkins framing, colour design, use of music and editing choices all commit to create a poetic and fragmented style, further drawing me into Chiron/Black’s story. Chiron’s continual search for identity and meaning in the world reflects the most essential of human needs: the search for identity and love. Overall, this is a film of harsh and beautiful moments and each segment was layered with so many emotions and so skilfully told that I wanted to see more of the characters. (Mark: 9 out of 11)
SPLIT (2016)
Split (2016) is an altogether different film about the search for identity. In fact the lead character portrayed devilishly well by James McAvoy has TWENTY-THREE different people battling around his mind and something is about to give. Let me say that a film like Split won’t be challenging the Oscars because in essence it is a terrifying B-movie thriller, however, McAvoy gives a performance of such quality it reminded me of Anthony Hopkins as Hannibal Lecter in his cannibal pomp. McAvoy’s twisted ability to switch between the many personalities was a real guilty pleasure as he earned his acting fee over and over and over again.
The story concerns three girls, Casey, Marcia and Claire (including an excellent Anya Taylor-Joy) who are kidnapped and imprisoned by the various personalities in Kevin Crumb’s head. Some – including OCD driven Dennis – are more dominant than others and attempt to wrestle total control, which is where McAvoy’s sly switches are a real joy to watch. As a cat-and-mouse plot bleeds out we also get some intriguing back-story flashbacks into Casey traumatic past. These events really add colour to the main narrative and ramp up the tension and suspense. The scenes between Kevin, his personalities and sympathetic Doctor Fletcher (Betty Buckley) also add some dark humour to the story. By the end though all humour is gone and we get a stunning and believable supernatural turn as Kevin’s mind unleashes an altogether different personality.
Writer/Director M. Night Shyamalan’s dalliance with big-budget-franchise-Hollywood-pictures – including: After Earth (2013) and The Last Airbender (2010) – did not do his career any favours. But with Split he is back on terrific form as he takes a simple abduction plot and renders it full of horror, twists and fantastical ideas. While I did not enjoy his previous film The Visit (2015) – mainly due to the stupid kid rapping throughout a decent horror story – this one is highly recommended for psycho horror fans and for McAvoy’s performance alone. (Mark: 8.5 out of 11)
In a new strand I have decided to have a look at some future film releases and reasons why they may be worth catching at the cinema.
TITLE: GET OUT
DIRECTOR/WRITER: JORDAN PEELE
RELEASE DATE (UK): 17 MARCH 2017
GENRE: Thriller, Horror, Social Satire
PITCH: Chris Washington (DANIEL KALUUYA) and his girlfriend, Rose Armitage (ALLISON WILLIAMS), have reached the meet-the-parents milestone of dating, so she invites him for a weekend getaway upstate with Missy (CATHERINE KEENER, Captain Phillips) and Dean (BRADLEY WHITFORD).
At first, Chris reads the family’s overly accommodating behavior as nervous attempts to deal with their daughter’s interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries leads him to a truth that he could have never imagined.
FIVE REASONS THIS COULD BE GOOD!
It’s written and directed by the very talented Jordan Peele; known for his comedy, TV and sketch work on shows such as: Key and Peele and MADtv.
It’s produced by Blumhouse who are known for excellent lower budget films such as The Gift (2015), the Insidious series, Whiplash (2014) and most recently Split (2016).
It stars Daniel Kaluuya who was brilliant in Black Mirror and Sicario (2015). Plus there is fine support from Allison Williams and the incomparable Catherine Keener.
The narrative sounds like a tremendous mash-up of horror and social satire following in the footsteps of films such as: The Stepford Wives (1972), Night of the Living Dead (1968) and They Live (1988) which used horror stories as a means of social commentary.
Films such as Twelve Years a Slave (2013) take audiences to very serious places in regard to the treatment of slaves. The more contemporary vision of modern society and racial tensions in Get Out (2017) satirises middle-class America and thrillingly highlights such cultural and racial experiences within the thriller genre.Check out the trailer:
The Cinema Fix presents 