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Cinema, Reviews

THE GIRL WITH ALL THE GIFTS (2016) FILM REVIEW

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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.

Cinema, Reviews

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

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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.

Reviews, Television

HOW’S YOUR CATHOLIC GUILT? THE YOUNG POPE REVIEW (2016)

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HOW’S YOUR CATHOLIC GUILT? REVIEWING THE YOUNG POPE (2016)

**CONTAINS SPOILERS**

Having recently reviewed Martin Scorcese’s Silence (2016) I thought it apt to follow it up by looking at a more contemporary vision of religion and faith with a review of Paulo Sorrentino’s HBO produced The Young Pope. Created, co-written and directed by uber-Italian-auteur Sorrentino it stars the impressive Jude Law as the eponymous lead protagonist. Law’s Lenny Belardo, rather than the crusty-almost-dead-looking-Popes we’re used to seeing behind bulletproof glass or delivering sermons from the Vatican, is in fact a younger, muscular and even sexy Pope.

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Now, while I respect an individual’s right to believe what they want to, be it the teachings of Christ or Mohammed or Obi Wan Kenobi for that matter, I’m not a great fan of ‘Organized Religion.’ Indeed, ‘Organized Religion’ must be up there, along with global governments, Hitler, Spanish flu, and bubonic plague, as the main cause of wars, death and the suffering of millions.  More specifically, Catholicism and its representatives have been at the forefront of negative events down the years including the Medieval Witch Hunts; Spanish Inquisitions; the tragedy of the ‘Fallen Women’ in 1920s-1950s Ireland; general acquiring of huge wealth while followers live in poverty; anti-gay and Pro-life ideologies; and as most recently seen in the film Spotlight (2015), a worldwide cover-up of paedophilia by Catholic priests. So how does Sorrentino approach such issues?

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Well, his creative team’s approach to the material is not one of demonization but rather playful satire, wistful respect and a formidable testing of the Vatican as an institution. His desire it not to bring down the Catholic Church but rather purge the old and modernize its way of thinking and how it represents itself. It’s a testament to the strength of the writing that it held my interest throughout and this was essentially down to the incredible characterisation and performances from Jude Law, Diane Keaton, James Cromwell and incomparable Sivio Orlando as the devious but ultimately soft-hearted-Napoli-fan Cardinal Voiello.

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Over ten episodes of high quality dramatic analysis Sorrentino presents many of the issues facing the Catholic church now including: the paedophilia cases charged; the sexual behaviour, addictions and sins of Priests; the financial and political machinations of the Vatican; the importance of public relations and marketing the Vatican; and of course the very nature of faith and what it means to be a Catholic.  These are indeed heavy subjects yet while serious like Scorcese’s Silence, The Young Pope contains some wry and delicate humour too. I mean ten episodes of a Vatican-based comedy it isn’t, but Paulo Sorrentino’s skewed look shows the priests and nuns, not as higher beings but rather flawed humans like the rest of us.

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None are presented as more human than the lead character Lenny Belardo.  Jude Law’s character is a surly, sarcastic and snappy dude from the start. He smokes and shows little respect for the elder priests, led by Cardinal Voiello and his prior mentor, Cardinal Spencer (James Cromwell) who are as surprised as him that he somehow won the Papacy due to an advantageous split in the votes. Belardo vows to break the “old boys” network and spends much of the season locking heads with Voiello and Spencer in a bitter series of power plays. This young Pope does not suffer fools and refuses to be seen in public and reneges on his public relations duties. He even at times “jokes” about not believing in God; while his first speech delivered in silhouette is an unmitigated PR disaster.

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Yet, at Belardo’s heart is a dark sadness due to his abandonment by his hippy parents, who while a young boy, dumped him at an orphanage run by Sister Mary (Keaton).  Keaton portrays the surrogate Mother to Lenny and his best pal, Cardinal Dussolier (Scott Shepherd) as she supports him admirably during his papal duties. We see Belardo battle his elders, his faith, his anger, loneliness and sexual temptations which are put before him; all as he finds his voice as the Pope. It is a fascinating journey which really pulls you into the Pope’s internal and external strife.

Overall, this was a heavy yet rewarding series to watch. The scenery and imagery on show dazzle as Sorrentino and his cinematographer conjure some startling holy visions and beautiful architectural compositions. The writing is also of the highest quality with some magnificently lofty, pious and poetic speeches throughout. Being very clever Sorrentino both pokes a teasing stick at the Vatican but also praises the Lord in his own inimitable way, creating several fascinating characters in the process. Jude Law has never ever been better in a show which while initially testing rewards those who keep the faith.

Articles, Cinema, Reviews, Television

TOP TWELVE BESTEST FILMS AND TV SHOWS OF 2016

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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.”

Cinema, Reviews, Television

SCREENWASH – NOVEMBER 2016 – DVD & ON DEMAND REVIEW ROUND-UP

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SCREENWASH – NOVEMBER 2016 – DVD & ON DEMAND REVIEW ROUND-UP

In addition to my cinema reviews I also watched an eclectic mix of TV shows, big movies and art and indie flicks this month. As usual I have packaged them into bitesize chunks for your perusal. As usual marks are out of eleven.

**CONTAINS SPOILERS**

AMANDA KNOX (2016) – NETFLIX

The despicable murder of Meredith Kercher caused a media and legal storm in Italy over ten years ago now. Amanda Knox and her then-boyfriend, Raffaele Sollecito were charged and convicted before appealing against the crimes. This intriguing documentary lifts the lid on a case where the media and Italian legal system are on trial as much as Knox herself. (Mark: 8 out of 11)

CIRCLE (2015) – NETFLIX

Well-written-one-location-low-budget film finds many strangers in room fighting for their lives.  Social, religious, gender and ethnic demographics become key to the choice of “who dies next”; in a nifty, intelligent thriller which critiques humanity in an entertaining fashion. (Mark: 7.5 out of 11)

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DJANGO UNCHAINED (2012) – NETFLIX

Tarantino’s classic revisionist slave western gets better on every watch; and I would have to say that it is arguably, amidst the stylistic flourishes, his most satisfying narrative as a whole. The bone-crunching violence and bloody shootouts are a joy, yet Tarantino also draws emotional power from the love story between Jamie Foxx and Kerry Washington’s enslaved couple. Meanwhile, Christophe Waltz and Leonard DiCaprio ride off into the sunset with the acting honours. (Mark: 10 out of 11)

ENTER THE DRAGON (1973) – TCM

I loved this Bruce Lee Kung-fu classic when I was growing up. Now, it just seems like a slightly tired James Bond rip-off in terms of plot, however, Bruce Lee was a martial arts master and movie star; so it is his charisma and fighting skills which really shine through now. (Mark: 8 out of 11 – for Lee!)

GOOSEBUMPS (2015) – SKY CINEMA

This is a pretty decent meta-fictional comedy-action film with Jack Black hamming it up as a mysterious writer whose creations wreak havoc on a small town. (Mark: 7.5 out of 11)

GOTO – ISLAND OF LOVE (1969) – DVD

This is a very surreal drama from critically acclaimed Polish filmmaker Walerian Borowczyk.  In the past I would have loved insane stuff like this but I couldn’t get my head around the weird inhabitants of a prison colony acting out warped love rituals while trapped on an island. (Mark: 5 out of 11)

THE GUEST (2014) – FILM FOUR

The Guest (2014) is a smart, funny and violent B-movie which makes merry hell of its’ “cuckoo in the nest” plot.  Dan Stevens is brilliant and has all the charm and looks of a bona fide movie star in the making and a good shout for the next James Bond. I’ve seen this a few times now and it is a genuine under-rated classic. (Mark: 9 out of 11)

THE LAKE HOUSE (2006) – ITV2

Soppy time-travel love story which kind of does and doesn’t make sense stars Keanu Reeves and Sandra Bullock. It’s a likable film with fun concept and pleasant moments.  (Mark: 7 out of 11)

MATCH POINT (2005) – NETFLIX

Woody Allen’s excellent London-set thriller builds slowly and pays off wonderfully by the end. The characters are well drawn as Jonathan Rhys-Meyers young existential tennis pro darkens his soul through poor life decisions. Emily Mortimer, Scarlett Johannsson, Brian Cox and Matthew Goode complete an attractive cast in the excellent Dostoyevsky-laced crime drama. (Mark: 8.5 out of 11)

PEOPLE JUST DO NOTHING – SEASON 1 (2014) – NETFLIX

This is a funny Gervais-influenced-Office-style-mockumentary-comedy which follows the shenanigans of a West London pirate radio station. Satirizing youth culture and we get a peek into the lives of the likes of MC Grindah and feckless mates.  (Mark: 7.5 out of 11)

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SAW (2004) – SKY CINEMA

While it started a tortuous never-ending-cash-cow-franchise, never forget the original Saw is a genuine horror classic from James Wan and Leigh Whannell. You get two guys, one cell and a hell-of-a-dangerous serial killer on the loose that leads to some great twists and bloody murder. The ending alone is still a gob-smacking treat as you put together Jigsaw’s fiendish plan. (Mark: 9 out of 11)

SIN CITY 2: A DAME TO KILL FOR – SKY CINEMA

Roberto Rodriguez and Frank Miller’s sequel to the mind-blowing violent-noir-comic-book-digital-backlot-splatterfest Sin City (2005) was eagerly anticipated by me. This had the same hard-boiled dialogue, bone-crunching violence and some fantastic imagery, but aside from Eva Green’s terrific femme fatale it lacked the impact of the first film and fell a bit flat. (Mark: 6 out of 11)

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SONS OF ANARCHY – SEASON 3 (2010) – NETFLIX

The third revving-crunching-porno-shooting-explosive season had Jax and the other gang members battling the Mayans, the FBI and going on “holiday” to Ireland to take on the “Real” Irish Republican Army. It’s a real soapy mix of violence, bullets and familial-led drama with enough plot turns and jaw-dropping set-pieces to keep you entertained throughout the fast-paced episodes. (Mark: 8 out of 11)

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THE FINEST HOURS (2016) – SKY CINEMA

This Disney disaster movie set in the 1950s is a very watchable human drama sensitively directed by Craig Gillespie. It flopped at the box office, yet Chris Pine and Casey Affleck are on very good form in the leads and there are some great set-pieces too on the sea. The real star is Carter Burwell’s epic music but in my opinion the film deserved a bigger audience. (Mark: 8 out of 11)

TO THE WONDER (2012) – DVD

This is a beautifully shot yet overlong and pretentious love story with banal Olga Kurylenko and a depressive Ben Affleck sleep-walking through his role. Terence Malick is a fine auteur but despite the wondrous scenery and vaguely interesting structure this bored me overall. (Mark: 6 out of 11)

Cinema, Film Festivals, Reviews

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

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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.

Cinema, Classic Film Reviews, Film Festivals, Reviews

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

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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: 

Cinema, Film Festivals, Reviews

2016 BFI – LFF – MINDHORN (2016) – REVIEW

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2016 BFI LONDON FILM FESTIVAL – MINDHORN (2016)

SPOILER FREE REVIEW

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MINDHORN (2016)

DIRECTOR:  Sean Foley

SCREENPLAY: Julian Barratt, Simon Farnaby

CAST: Julian Barratt, Simon Farnaby, Essie Davis, Steve Coogan, Jessica Barden, Russell Tovey.

STORY: Over-the-hill actor Richard Thorncroft reprises his 1980s TV role of Mindhorn in order to track down a vicious murderer on the Isle of Man.

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REVIEW:             

This hilarious comedy from the mind-tanks of Julian Barratt and Simon Farnaby is an absolute joy, both paying homage and taking the piss out of 1980s cop shows, actors, television and the Isle of Man in general. It centres on washed-up actor Richard Thorncroft, who having been a big TV star in the 80s is now an overweight, balding mess living in a Walthamstow bedsit. Thorncroft’s star rose when he portrayed a Manx detective with a very special power: through a Soviet bionic eye he was able to literally SEE THE TRUTH of the criminals.

Flash forward twenty-odd years and Thorncroft is making ends meet with corporate video jobs and working on adverts for girdles and deep-vein thrombosis socks. That is until a vicious and murderous lunatic is on the rampage on the Isle of Man, and by some insane quirk, will only speak Mindhorn to himself. So, Thorncroft dons the “eye of truth” again and heads back to the Isle of Man before catching up with his ex-wife, former stuntman and far-more successful TV nemesis portrayed by Steve Coogan.

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Overall, this is an uneven comedy in terms of story and plot and lacks the cinematic verve of the Cornetto trilogy created by Edgar Wright and Simon Pegg. However, Julian Barratt is a comedy genius and his performance alone makes it worth watching. Barratt filters his cowardly, proud and foolish ‘Howard Moon’ persona into the flailing thespian with much hilarity. Moreover, Simon Farnaby hams up his Danish stuntman role to perfection and Russell Tovey is hilarious as “The Kestrel” (don’t ask!) The sight gags, parodies and one-liners come thick and fast and this is recommended for everyone who loves offbeat comedy. Indeed, fans of The Mighty Boosh, Alan Partridge, Harry Enfield’s Norbert Smith and Garth Marenghi’s Dark Place will love this comedic gem.

Cinema, Film Festivals, Reviews

2016 BFI – LFF – A MONSTER CALLS (2016) – REVIEW

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2016 BFI: LONDON FILM FESTIVAL – A MONSTER CALLS (2016)

SPOILER FREE REVIEW

Thanks to my wonderful BFI-card-carrying wife I have had the pleasure of attending a number of Gala screenings in the last few years at the LFF.  Last year I saw the premiere of Suffragette (2015) and this year we got tickets for A Monster Calls.  I am also due to see several other films at the LFF too; therefore, I will be posting some short spoiler-free reviews about the films for your consideration.

TITLE:  A MONSTER CALLS (2016)

DIRECTOR: J. A. Bayona – (The Orphanage (2007), The Impossible (2012), Penny Dreadful (2014)

SCREENPLAY: Patrick Ness (from the book by Patrick Ness/Siobhan Dodd)

CAST: Felicity Jones, Lewis MacDougall, Liam Neeson, Sigourney Weaver, Toby Kebbell

STORY: Connor, a 13-year old boy, struggling to come to terms with his mother’s cancer, finds his life turned upside down by the appearance of a monster from the woods.

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REVIEW: This beautifully told story treads familiar ground where fantasy is used by a child to deal with real life trauma.  Narratives by Roald Dahl and JK Rowling are perfect examples of this, plus films such as: The Wizard of Oz (1939), Time Bandits (1981) and Pans Labyrinth (2006) contained magical worlds and monsters that utilised fantasy as a barrier to the pain of everyday experience. While A Monster Calls is good it’s arguably not as iconic as the classic films mentioned, however, it is a story with grand power, imagination and heart-breaking pathos.

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The performances of all involved are excellent, notably Lewis MacDougall as the angry and afraid Connor.  Spanish filmmaker J.A. Bayona directs very confidently.  His dark palette of live action, effects and animation give the audience an exciting canvas to gorge on and Liam Neeson’s monster is, while initially threatening, a fantastic screen beast. The stories-within-a-story structure are deftly weaved and overall this is a film which, while scaring the very young, will provide fine entertainment for most the family. My only criticism is the adult roles were slightly under-written and more drama could have been mined between the likes of Kebbell, Weaver and Jones’ characters.

The original book has won loads of prizes for the author Patrick Ness but the fascinating backstory is the idea was proposed by cancer sufferer Siobhan Dodd. Thus, it is a sad caveat that she never got to see her vision on the page or on the screen.  Nonetheless, one expects that the book and subsequent film will give hope to people dealing with life-threatening illness and grief on a daily basis. More than anything though stories, fantasy or otherwise, are the lifeblood of escape and provide assurance and security in an insecure world.

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Cinema, Classic Film Reviews, Reviews

THE TIN DRUM (1979) – CLASSIC FILM REVIEW

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THE TIN DRUM (1979) – CLASSIC FILM REVIEW

**THIS REVIEW CONTAINS SPOILERS**

I’d never seen this film before and am so glad I did because it now in my top twenty best films I have EVER witnessed. It is a tour-de-force of writing, directing, acting, design, narration, humour, drama, sound and imagination. Based on Gunter Grass’ exceptional novel The Tin Drum – directed by Volker Schlondorff – it is set in the realistic backdrop of post-World War 1 Germany, and during World War 2, before veering into magical realism and surrealism to present a giddy allegorical tale of some wonder.

The comical opening contains a prologue which sets the ambiguous tone of humour and darkness.  It establishes the ancestry of our leading character Oskar Matzerath (amazing David Bennent) and clearly echoes and influences current filmmakers such as Paul Thomas Anderson, the Coens and Wes Anderson with its’ curious oddity. From there on Oskar himself enters the world and while initially reluctant he is forced into life and what a life that is!

Born with the mind of an adult, at the age of three, Oskar decides that he will NOT grow up for as long as he chooses. Anyone who crosses him is subject to a visceral scream which is loud enough to shatter glass. In addition, Oskar also smashes a tin drum incessantly revealing a psychotic pathology which disregards the pain and suffering of those around him. My reading is that Oskar is representative of the rise of fascism and Hitler in these difficult socio-political times for Germany. This idea is further supported by the fact his mother has two men chasing her affection; a gruff German grocer, Alfred, and gentler Polish man, Jan; and either could be Oskar’s father. These are divisive and confusing times for Germany, and a child, especially one who is as precocious, strange and violent as Oskar.

The meat of the film is continual conflict, death and dark situations. The scenes on the beach with eels being captured using a dead horse’s head is full of symbolism and a black humour I will never forget.  More conflict for Oskar ensues as he rejects all authority including religion.  When his mother dies, seemingly from overwhelming guilt, and his friend, a Jewish toymaker, commits suicide following Nazi oppression, Oskar’s life is further stained by death. Latterly, the film enters a stage where – while he is still physically a three-year-old – he hits puberty and become sexually active. The explicit sex scenes involving Maria, a sixteen year old shop girl, are disturbing and unforgettable and this leads to further conflict with Oskar’s father who eventually marries Maria.  Anger and jealousy provokes Oskar so much he literally runs off with the circus and becomes part of a troupe that entertains German soldiers during the war. It is not long though before further tragedy strikes and his strange romance with dwarf singer Roswitha, ends suddenly with her demise.

The Tin Drum is intense, visceral and brave filmmaking. While it uses history as a backbone, its’ muscle, skin and clothes are eccentricity, allegory and insanity. It was one of the most financially successful German films of the era and won the 1979 Oscar for Best Foreign Film. I guess I missed it because it is rarely shown on television, no doubt due to the controversial sex scenes involving 11 year-old Bennent. Overall, it is one of the most original stories I have seen on screen and the child actor who played Oskar was a revelation. I have rarely been so horrified, moved and made to laugh as much as I have by a recent cinema visit. I would heartily recommend this film to anyone serious about making films and those who demand intensity in their cinema viewing.