Thursday 27 December 2012
Before the Devil Knows You're Dead (US, 2007)
A reasonably good thriller in which a familial inside job goes tragically and horribly awry.
Tuesday 25 December 2012
They Drive by Night (US, 1940)
Truck drivin' brothers from their inauspicious beginnings to eventual success in a major player. Occupational hazards aside, one must field potentially fatal attention from the boss' calumniating wife.
The first film about long haul drivers? There's witty lines aplenty, Bogey is of course great; it's a good film, but noir it is not.
The first film about long haul drivers? There's witty lines aplenty, Bogey is of course great; it's a good film, but noir it is not.
Quicksand (US, 1950)
Decent noir-ish "one thing leads to another" thriller in which a young Mickey Rooney gets way in over his head, starting with an initial
borrowing of $20 cash.
The ending is non-fatalistically upbeat, departing in tone from the rest of the film and noir generally, not necessarily a bad thing, just an observation. Peter Lorre is magnificent, posesssing perhaps the singularly most memorable "face" of the era.
Viewed legally at archive.org, don't let the unrepresentative IMDB rating put you off.
The ending is non-fatalistically upbeat, departing in tone from the rest of the film and noir generally, not necessarily a bad thing, just an observation. Peter Lorre is magnificent, posesssing perhaps the singularly most memorable "face" of the era.
Viewed legally at archive.org, don't let the unrepresentative IMDB rating put you off.
What Richard Did (IE, 2012)
I've written elsewhere about the Irish Film Syndrome.
Lenny Abrahamson is about the only (well known at least) Irish film director who bucks this trend, making arguably the best Irish film of all time,
Adam & Paul, and also the very strong Garage.
What Richard Did then moves away from the rural and urban underclasses to depict the rugby-playing gate-housed boarding-schooled silver spoons of recession-proof Dublin 4, and how casual, incidental, accidental violent death can also visit the uppermost echelons of society.
It's difficult to unremember the Annabel nightclub incident - which the film is clearly based on - and match it with the ending of this movie, which diverges significantly from actual events. It's not as good a film as the aforementioned masterpieces, but still a quality picture, retaining the director's trademark sensitivity, naturalism and realism.
What Richard Did then moves away from the rural and urban underclasses to depict the rugby-playing gate-housed boarding-schooled silver spoons of recession-proof Dublin 4, and how casual, incidental, accidental violent death can also visit the uppermost echelons of society.
It's difficult to unremember the Annabel nightclub incident - which the film is clearly based on - and match it with the ending of this movie, which diverges significantly from actual events. It's not as good a film as the aforementioned masterpieces, but still a quality picture, retaining the director's trademark sensitivity, naturalism and realism.
The Hunt (DK, 2012)
A teacher in a small Danish village is wrongly accused of abusing a child; the repercussions are predictable, and even when cleared, he might still be pursued by ill-bearers.
It's a serious, thoughtful and reasonably good film, the gloomily dramatic ending perhaps unnecessary.
It's a serious, thoughtful and reasonably good film, the gloomily dramatic ending perhaps unnecessary.
Wednesday 12 December 2012
Sightseers (UK, 2012)
The initially unexpected violence is theatrical, but a little on the gratuitous/casual side.
Entertaining, unusual and original enough, it is also well photographed.
Better regarded as a pisstake than taken seriously.
Entertaining, unusual and original enough, it is also well photographed.
Better regarded as a pisstake than taken seriously.
Scarlet Street (US, 1945)
Never been a fan of the overrated Fritz Lang, even his American noir-era output. This however is a pleasant surprise; a decent noir, once again legally viewable online at www.archive.org.
L'Enfer (FR, 1994)
A hostelry keeper in rural France groundlessly begins to suspect his curvaceous, doting younger wife of infidelity, and ends up losing the proverbial completely.
Scripted initially by Clouzot in 1964, it retains a structural feel, bringing to mind Polanski's Repulsion. It ends ambiguously.
Regarded as one of late Chabrol's better pieces, it's kinda hard to know what to make of it.
Scripted initially by Clouzot in 1964, it retains a structural feel, bringing to mind Polanski's Repulsion. It ends ambiguously.
Regarded as one of late Chabrol's better pieces, it's kinda hard to know what to make of it.
Kiss of Death (US, 1947)
Upper-crust noir-ish piece in which a convict agrees to play ball with the cops and testify against his erstwhile partners in crime.
It's nicely, clearly filmed and care-aboutable enough to watch in one sitting.
A straightforward crime yarn, it's got me wondering: did the earlier noirs have can't-make-head-nor-tail-of it "plots", the mid/later period relatively conventional, easy-to-follow ones?
It's nicely, clearly filmed and care-aboutable enough to watch in one sitting.
A straightforward crime yarn, it's got me wondering: did the earlier noirs have can't-make-head-nor-tail-of it "plots", the mid/later period relatively conventional, easy-to-follow ones?
Argo (US, 2012)
Post-revolution Iran. American diplomats with a price on their head (literally) must go underground. A fake film crew arrives undercover to spring them out, but the odds are heavily stacked against them.
It's a good thriller; several of the incidents seem highly, highly unlikely, and thus all the more remarkable when one is reminded that the film is largely based on fact.
It's a good thriller; several of the incidents seem highly, highly unlikely, and thus all the more remarkable when one is reminded that the film is largely based on fact.
Saturday 1 December 2012
The File on Thelma Jordan (US, 1950)
Noir-ish crime/romance/courtroom drama, not as taut as more 'noir noirs' but worth a look. Again, it's available in the film noir section of archive.org.
Tuesday 27 November 2012
The Master (US, 2012)
The film that's not about Scientology that is about Scientology.
An unstable, drunken, violent naval veteran takes up with a charismatic leader of what appears to be a cult. The cult's soundbytes encompass time-travel, hypnotism, mysticism and a fair amount of "make it up as you along".
The film illustrates the extraordinary lengths to which the 'Master' goes to win the mind of one person, and how some people will buy into esoteric mumbo-jumbo which mightn't make much sense but lures one in with its "something".
Not as great as it's been talked up to be, but it is a good, well-produced and thought-provoking film. The scene leading up to Dodd's interruption by a skeptic is spellbinding.
This as good a place as any to drop the classic track by The Fall, "Riddler". This is the live version, sorry, there's no other on YT at the moment.
An unstable, drunken, violent naval veteran takes up with a charismatic leader of what appears to be a cult. The cult's soundbytes encompass time-travel, hypnotism, mysticism and a fair amount of "make it up as you along".
The film illustrates the extraordinary lengths to which the 'Master' goes to win the mind of one person, and how some people will buy into esoteric mumbo-jumbo which mightn't make much sense but lures one in with its "something".
Not as great as it's been talked up to be, but it is a good, well-produced and thought-provoking film. The scene leading up to Dodd's interruption by a skeptic is spellbinding.
This as good a place as any to drop the classic track by The Fall, "Riddler". This is the live version, sorry, there's no other on YT at the moment.
Sunday 25 November 2012
Masques (FR, 1987)
A wealthy, pompous 'golden oldies' TV show presenter receives at his country mansion a young journalist who will write his biography.
The presenter's slightly odd household service staff is the most convincing aspect of the film; the background/fate of the 2 young girls who are central to the plot seems to have been brushed over.
Not among late Chabrol's best, but still better than, say, Poulet Au Vinagre or the awful Dr. M.
The presenter's slightly odd household service staff is the most convincing aspect of the film; the background/fate of the 2 young girls who are central to the plot seems to have been brushed over.
Not among late Chabrol's best, but still better than, say, Poulet Au Vinagre or the awful Dr. M.
The Man Who Cheated Himself (US, 1950)
A homicide lieutenant's girlfriend accidentally shoots dead her soon-to-be-divorced husband. Lieutenant gets put on the case with his happily newly-wed rookie brother, new to the homicide detail, who will learn a thing or two on this, his first case.
A reasonably good noir; there's a heavy line of irony in the film and some nice city location shots throughout.
The location of the closing sequences looks remarkably similar to that used in Point Blank.
A reasonably good noir; there's a heavy line of irony in the film and some nice city location shots throughout.
The location of the closing sequences looks remarkably similar to that used in Point Blank.
Sunday 18 November 2012
Rust & Bone / De rouille et d'os (FR, 2011)
Modestly observed story of a rough'n'ready security guard/illegal fighter and a young-ish woman who becomes an amputee after an accident at an aquarium where she works as a show-whale trainer. Both seemingly from disparate socio economic backgrounds; one wonders if Stephanie is brutalised by her adopted milieu.
The film's 'moments' alternate between brutal and subtle; it's quite original, and offers a rare portrayal of the underbelly of the southern French idyll.
The film's 'moments' alternate between brutal and subtle; it's quite original, and offers a rare portrayal of the underbelly of the southern French idyll.
Thursday 15 November 2012
Skyfall (UK, 2012)
An interesting new take on the Bond franchise; the first I've seen at the cinema since seeing Never Say Never Again in Dublin back in 1983.
Craig has made the rôle his own, any doubt immediately shattered.
A thrilling thriller, almost 2.5 hours long, but it didn't seem long at all: always a good sign.
Craig has made the rôle his own, any doubt immediately shattered.
A thrilling thriller, almost 2.5 hours long, but it didn't seem long at all: always a good sign.
Sunday 11 November 2012
Dead Man's Shoes (UK, 2004)
Paddy Considine as Richard, an intense (ex?) soldier, avenges the eventually tragic maltreatment of his simple/special needs younger brother by a bunch of nasty small-town drugging lumpens.
It's a gripping revenge thriller, watched entirely in one sitting; key motivating factors in Richard's rampage unfold via flashback, a smidgen of Sixth Sense-ness emerges, and there's some appropriately black humour.
One may wonder: Was the matter not properly investigated first time round? Could Richard's excesses be linked to an occupational deployment?
Another good British feature (and soundtrack) from the Shane Meadows and WARP stables.
It's a gripping revenge thriller, watched entirely in one sitting; key motivating factors in Richard's rampage unfold via flashback, a smidgen of Sixth Sense-ness emerges, and there's some appropriately black humour.
One may wonder: Was the matter not properly investigated first time round? Could Richard's excesses be linked to an occupational deployment?
Another good British feature (and soundtrack) from the Shane Meadows and WARP stables.
Elena (RU, 2011)
Hearty retired nurse Elena lives with a former patient, her ailing, wealthy husband of a few years in a posh part of Moscow. Her ne'er-do-well son meanwhile lives with his wife and similarly aimless son in a crumbling apartment block on the wrong side of town near what looks like a nuclear power plant.
Husband's semi-estranged daughter also enters the equation, a good-time girl in her early 20's with a key, incisive philosophy. Elena must act against her husband's wishes to get her grandson to university, thus saving him from military service. But if she succeeds, will anything really change for her family?
If Zvyagintsev's The Return combined a gripping story with atmospheric photography and The Banishment's merits were aesthetic over storyline, it's the turn of Elena to place plot above photography. Not unexpectedly, it's a solemn slow burner; one which touches upon some interesting moral issues. Echoes of Claude Chabrol's Juste Avant la Nuit at the end. Soundtrack by Philip Glass.
Husband's semi-estranged daughter also enters the equation, a good-time girl in her early 20's with a key, incisive philosophy. Elena must act against her husband's wishes to get her grandson to university, thus saving him from military service. But if she succeeds, will anything really change for her family?
If Zvyagintsev's The Return combined a gripping story with atmospheric photography and The Banishment's merits were aesthetic over storyline, it's the turn of Elena to place plot above photography. Not unexpectedly, it's a solemn slow burner; one which touches upon some interesting moral issues. Echoes of Claude Chabrol's Juste Avant la Nuit at the end. Soundtrack by Philip Glass.
Sunday 4 November 2012
Sing Your Song (US, 2011)
Decent biopic/documentary chronicling the life and times of Jamaican-American Harry Belafonte, actor, musician and political agitator.
Wednesday 31 October 2012
Behind Green Lights (US, 1946)
Noir take on political intrigue and vulture journalism and there's a cool "stiff escapes on way to morgue" episode in there as well. Short and good fun, has this quality noir been neglected by the aficionados..?
Looper (2012)
Being by nature slow, I didn't 'get' this; a read of the wiki article didn't make it much easier to understand either. But, in a good way; the film is
enjoyable, and young Joe's line "Your face is backwards" is memorable. The dark, dystopian, in places futuristic look-and-feel is convincing. It's a
thought-provoking and well made thriller. Could do with seeing it again.
I Love Trouble (US, 1948)
Go the the archive.org Film Noir section. Look up 'em all up on IMDB. Note the ones that get a rating of 7 or more. Watch the movie. Repeat. That's the formula. It works for me, now you try it.
I Love Trouble is one of these. The plot is incidental, all the noir qualities are here, and it's just another good, enjoyable genre piece. The gold-jacketed Janis Carter is bewitchingly stunning as...whoever she is.
I Love Trouble is one of these. The plot is incidental, all the noir qualities are here, and it's just another good, enjoyable genre piece. The gold-jacketed Janis Carter is bewitchingly stunning as...whoever she is.
Tuesday 30 October 2012
Barbara (DE, 2012)
Unlaboured, well-stated portrayal of the quotidian travails faced by a young woman doctor, transferred from Berlin to a small village during the GDR dictatorship.
The ending may seem somewhat hopeful. It's not a monumental earth-shattering masterpiece a la Das Leben der Anderen, but it is a good film.
The ending may seem somewhat hopeful. It's not a monumental earth-shattering masterpiece a la Das Leben der Anderen, but it is a good film.
Friday 19 October 2012
Point Blank (US, 1967)
Mentalist crime drama with a twist at the end; it's a good film, but just a tiny tad less good than its retrospective critical stature would suggest. The conspirational tone/atmospherics comparable with The Parallax View, The Conversation both of which it predates by appprox 7 years.
This showing in a Boorman retrospective as part of the Queen's Festival, Belfast.
This showing in a Boorman retrospective as part of the Queen's Festival, Belfast.
Wednesday 17 October 2012
Liberal Arts (US, 2012)
Went to this on the basis of Elizabeth Olsen's top notch performance in Martha Marcy May Marlene, one of my top 2 films of 2012 so far, and also on the strength of the trailer. It's subtly soppy and striving for 'meaningfulness' in places, but not a bad show; Olsen's character is embarrassingly over-earnest by times, perhaps deliberately - she carries it off very well and it's further proof of her ability as an actress.
Just a little short of 7/10.
Just a little short of 7/10.
O'Horten (NO, 2007)
Decent, nicely produced 'slice of life' from Norway; the eponymous railway employee's last day of work before his retirement brings some slightly unexpected diversions. A simple, human and likeable film in vaguely similar territory to Bombon El Perro and unkindly underrated by IMDB users.
Saturday 13 October 2012
Woman on the Run (US, 1950)
An excellent, delicious noir, with sharp, no-nonsense, funny dialogue, strong performances all round, nicely framed photography and some quality cityscapes. Short and thoroughly enjoyable, the archive.org 'transfer' isn't the best quality, but don't let that put you off.
Holy Motors (FR, 2012)
Leos Carax has been a minor favourite for some years (minor in the sense that he's not been prolific, understandable given the nature and quality of his work), since having the privilege of seeing retrospective of his work at Cork's annual French Film Festival.
The year was (I think) 2000, the venue the now sadly defunct Kino, where many a gem was aired; truly the jewel of the Real Capital's cinematic alternatives. It was the only fully independent arthouse cinema in Ireland.
His excellent earlier works (Boy Meets Girl, Mauvais Sang and Pola X) have in common some of the finest lyrical and atmospheric cinematography of modern times, and a credible, yet comparatively conventional preoccupation with young love. Holy Motors represents a departure for the director; fractured, in places richly colouful (recalling Terence Malick's The Tree of Life) and lacking a discernable plot, which of course, is no bad thing.
Denis Lavant alternates as a beggar, agent of industrial espionage, savage, assassin, modern father, moribund parent and other things in this rather inexplicable (in a good way) film. It's remarkable for its sheer variety, colourfulness and nonsensicalness. As one would expect, the cinematography and photography are top-rate stuff.
His excellent earlier works (Boy Meets Girl, Mauvais Sang and Pola X) have in common some of the finest lyrical and atmospheric cinematography of modern times, and a credible, yet comparatively conventional preoccupation with young love. Holy Motors represents a departure for the director; fractured, in places richly colouful (recalling Terence Malick's The Tree of Life) and lacking a discernable plot, which of course, is no bad thing.
Denis Lavant alternates as a beggar, agent of industrial espionage, savage, assassin, modern father, moribund parent and other things in this rather inexplicable (in a good way) film. It's remarkable for its sheer variety, colourfulness and nonsensicalness. As one would expect, the cinematography and photography are top-rate stuff.
Time Table (US, 1956)
A steady 'inside-job' noir, with a "there's no such thing as a perfect crime" strapline. The closing scenes among its strongest. A good quality version is legally viewable at archive.org.
Rien ne vas plus (FR, 1997)
Isabelle Huppert leads as the a con-artist preying upon wealthy men at business conferences etc. The film starts off well, but the main set-piece is somewhat lacking. Not bad, but not among 90's Chabrol's best.
Sunday 30 September 2012
Too Late for Tears (US, 1949)
This blog's thousands of regular readers are beginning to notice a distinct pattern here: public domain lunchtime noirs legally viewed online
at archive.org or on the
openflix YT channel. And yes, this is another.
Lizabeth Scott shines as the manipulative, empty, pretty girl with things to hide - including her husband, shot at point-blank range and dumped in a lake. This in an effort to keep a hold on a suitcase containing $60,000 mysteriously thrown into their car (presumably by criminals) while out driving one night.
A reasonably satisfying noir. This version looks like a recording from TV, has quite a lot of audio static, and maybe missing a few brief moments here and there.
Lizabeth Scott shines as the manipulative, empty, pretty girl with things to hide - including her husband, shot at point-blank range and dumped in a lake. This in an effort to keep a hold on a suitcase containing $60,000 mysteriously thrown into their car (presumably by criminals) while out driving one night.
A reasonably satisfying noir. This version looks like a recording from TV, has quite a lot of audio static, and maybe missing a few brief moments here and there.
Santa Sangre (MX/IT, 1989)
I tend to regard modern films or directors mentioned in the same breath as Lynch or Buñuel with high suspicion, because it'd be impossible to equal either, or even come close.
Until this. A unique movie, part sacreligious horror, part revenge story, part comedy, part circus/asylum freakshow, with almost other-worldly attention to detail.
It's a truly magic, masterful, colourful, visual feast, just made for the cinema, in places hilarious, and never has anything so unusual ever been carried off so naturalistically. Well up there with The Phantom of Liberty, Valerie and her Week of Wonders and Lynch at his best.
I repeatedly overlooked renting this movie because the DVD cover made it look too fanciful/theatrical. Duh...full marks and many thanks to QFT Belfast for putting the likes of it on. I wasn't expecting much from this on the basis of the trailer on YT, but it's the best film I've seen this year, or certainly in the top 2.
Until this. A unique movie, part sacreligious horror, part revenge story, part comedy, part circus/asylum freakshow, with almost other-worldly attention to detail.
It's a truly magic, masterful, colourful, visual feast, just made for the cinema, in places hilarious, and never has anything so unusual ever been carried off so naturalistically. Well up there with The Phantom of Liberty, Valerie and her Week of Wonders and Lynch at his best.
I repeatedly overlooked renting this movie because the DVD cover made it look too fanciful/theatrical. Duh...full marks and many thanks to QFT Belfast for putting the likes of it on. I wasn't expecting much from this on the basis of the trailer on YT, but it's the best film I've seen this year, or certainly in the top 2.
Killing Them Softly (US, 2012)
A nuanced variation on the traditional crime/hitman storyline but lacking impact.
The recession/Obama-era political statement-making is deliberate but not overly-laboured.
Not bad, but not as good as one might be led to believe.
The recession/Obama-era political statement-making is deliberate but not overly-laboured.
Not bad, but not as good as one might be led to believe.
Tabu (PT, 2012)
An elderly Portugese woman in modern Lisbon in 'second childhood' mode has not long left for this world.
In part II, We learn more of her past life in Portugese Africa from her former lover, of whom her few surviving relatives learn on her deathbed.
Filmed in black and white, in a "square" aspect ratio, it's a tender and very good-looking film, with gilmpses of an original vision from this director. A tad long perhaps, and the hints at colonial-era political unrest could have been omitted, but these small complaints in light of the overall visual strength.
In part II, We learn more of her past life in Portugese Africa from her former lover, of whom her few surviving relatives learn on her deathbed.
Filmed in black and white, in a "square" aspect ratio, it's a tender and very good-looking film, with gilmpses of an original vision from this director. A tad long perhaps, and the hints at colonial-era political unrest could have been omitted, but these small complaints in light of the overall visual strength.
Il Divo (IT, 2008)
Le Conseguenze dell'Amore was the best film I saw in 2004. Not only a great film, but uniquely for an Italian movie, it also has an exceedingly
good soundtrack.
Il Divo (also directed by Sorrentino and starring Servillo) relates the story of Giulio Andreotti Italian premier for multiple short periods, on whose watch many key 'strategy of tension' events occurred. He would eventually be investigated but ultimately cleared of any criminal association during/after the Tangentopoli scandal.
His involvement - or otherwise - in mafia doings is not shied away from in this film however. Equally, Andreotti is portrayed as an ordinary yet highly intelligent man of the people who looks after his sometimes impoverished consitituents.
One of the most interesting scenes of the film is the former premier's soliloquy in which the strategia della tensione is renamed the 'strategy of survival', with the ex-premier pleading that certain evil acts were necessary for the greater long-term good, that is the isolation of extremist elements the promotion of reasonable, centrist parties.
The film is quite inventive and visually impressive. Some brief background reading recommended in order to understand the subject matter better.
Il Divo (also directed by Sorrentino and starring Servillo) relates the story of Giulio Andreotti Italian premier for multiple short periods, on whose watch many key 'strategy of tension' events occurred. He would eventually be investigated but ultimately cleared of any criminal association during/after the Tangentopoli scandal.
His involvement - or otherwise - in mafia doings is not shied away from in this film however. Equally, Andreotti is portrayed as an ordinary yet highly intelligent man of the people who looks after his sometimes impoverished consitituents.
One of the most interesting scenes of the film is the former premier's soliloquy in which the strategia della tensione is renamed the 'strategy of survival', with the ex-premier pleading that certain evil acts were necessary for the greater long-term good, that is the isolation of extremist elements the promotion of reasonable, centrist parties.
The film is quite inventive and visually impressive. Some brief background reading recommended in order to understand the subject matter better.
Saturday 22 September 2012
Impact (US, 1949)
Noir~ish drama in which a duplicitous woman attempts to have her lover murder her doting husband. Hubby survives, would-be assassin dies fleeing the scene of the attempt, hubby eventually returns home and is charged with the lover's murder.
A conventional romance (with stringed music) emerges with the most lovely Ella Raines. The 'noirest' aspect of the film is the slightly convoluted crime plot. Charles Coburn's canny Irish cop makes a decent fist of a Munster accent.
Part inspiration for the Coen bros' 'The Man Who Wasn't There' perhaps, albeit with a happpier ending. It's a good film, legally viewable online at archive.org or at the Open Flix YT Channel.
A conventional romance (with stringed music) emerges with the most lovely Ella Raines. The 'noirest' aspect of the film is the slightly convoluted crime plot. Charles Coburn's canny Irish cop makes a decent fist of a Munster accent.
Part inspiration for the Coen bros' 'The Man Who Wasn't There' perhaps, albeit with a happpier ending. It's a good film, legally viewable online at archive.org or at the Open Flix YT Channel.
Saturday 1 September 2012
L'Oeil du Malin / The Third Lover (FR/DE, 1962)
My fourth Chabrol film in 4 weeks, which must be a new record...
The first to star Stéphane Audran as Hèléne, who became a staple during Chabrol's peak era. Peak era L'Oeil du Malin is not, but still a reasonably good film; better than À Double Tour, slightly better than Le Beau Serge, but nowhere near as good as Les Bonnes Femmes.
A young, self-absorbed journalist is despatched to a suburban village outside Munich to report upon daily life there. A chance meeting with a French woman yields an invite to her home which she shares with her German writer husband. Albin soon becomes a regular into their cosy home, but begins to nurture designs of his own...The story is partly narrated by Albin, and there is perhaps a little too much of his internalised feelings. The ending, while not unexpected, is, again, perhaps less effective than in Chabrol's best work.
There's some interesting footage from a subdued daytime Oktoberfest at a fair outside of town. Chabrol himself makes a very brief appearance as a member of the public in the gentleman's club scene.
Unattractive but useful Chabrol fansite here with a very good filmography.
The first to star Stéphane Audran as Hèléne, who became a staple during Chabrol's peak era. Peak era L'Oeil du Malin is not, but still a reasonably good film; better than À Double Tour, slightly better than Le Beau Serge, but nowhere near as good as Les Bonnes Femmes.
A young, self-absorbed journalist is despatched to a suburban village outside Munich to report upon daily life there. A chance meeting with a French woman yields an invite to her home which she shares with her German writer husband. Albin soon becomes a regular into their cosy home, but begins to nurture designs of his own...The story is partly narrated by Albin, and there is perhaps a little too much of his internalised feelings. The ending, while not unexpected, is, again, perhaps less effective than in Chabrol's best work.
There's some interesting footage from a subdued daytime Oktoberfest at a fair outside of town. Chabrol himself makes a very brief appearance as a member of the public in the gentleman's club scene.
Unattractive but useful Chabrol fansite here with a very good filmography.
Monday 27 August 2012
The Girl Cut in Two / La Fille Coupée en Deux (FR, 2007)
Chabrol's penultimate feature depicts a love triangle between a pretty peacock of a weathergirl and a much older, married, rich, learned-quote-for-every-occasion playboy literary type, and a brash, loud, overconfident richkid from a decrepit 'old money' family with lurking secrets and sadness.
It's a different film for Chabrol, partly familiar, partly not (particularly the ending), and perhaps due to Gabrielle's modest circumstances. The agreeable Ludivigne Sagnier makes it most watchable, and there's some black humour in places.
It's a different film for Chabrol, partly familiar, partly not (particularly the ending), and perhaps due to Gabrielle's modest circumstances. The agreeable Ludivigne Sagnier makes it most watchable, and there's some black humour in places.
Friday 24 August 2012
The Hitch-Hiker (US, 1953)
With Edmond O'Brien (cf DOA), in which a couple of buddies are forced to at gunpoint to transport a thoroughly nasty piece of work as he flees US police en route to Mexico.
A good noir-ish crime drama, once again courtesy of archive.org. Relatively conventional plot, noir photography/locales, including some desert settings.
A good noir-ish crime drama, once again courtesy of archive.org. Relatively conventional plot, noir photography/locales, including some desert settings.
Tuesday 21 August 2012
The Big Combo (US, 1955)
Well, what else to say but another very good noir crime drama, legally viewable online at archive.org.
Memorable main theme by David Raskin.
Monday 20 August 2012
Angels with Dirty Faces (US, 1938)
Starring the great James Cagney in a trademark wiseguy rôle. Humphrey Bogart's in there too, not a bad combo ya could say.
The story tells the tale of a priest (Pat O'Brien) and a career criminal; one could easily have taken the place of the other. Their younger protégés/parishioners (the young actors became known as the 'Dead End Kids') are faced with a similar, stark reality.
It's not a film noir, and not as good as The Roaring Twenties (also starring Cagney and Bogart) but a good movie all the same.
The story tells the tale of a priest (Pat O'Brien) and a career criminal; one could easily have taken the place of the other. Their younger protégés/parishioners (the young actors became known as the 'Dead End Kids') are faced with a similar, stark reality.
It's not a film noir, and not as good as The Roaring Twenties (also starring Cagney and Bogart) but a good movie all the same.
Saturday 18 August 2012
An American Werewolf in London (UK/US, 1981)
Two young American students begin a planned backpacking tour of England/Europe get a little more than they bargain for on the moors.
Good quality stuff: an entertaining, well made horror-drama and still lookin' good - echoes of Argento at his best here.
Much better than I expected it to be.
Good quality stuff: an entertaining, well made horror-drama and still lookin' good - echoes of Argento at his best here.
Much better than I expected it to be.
The Colour of Lies/Au coeur du mensonge (FR, 1999)
'Bout time for another Chabrol - it has, after all, been...almost 2 weeks?
This is late Chabrol on form, tracking the various intrigues in a small Breton village where everyone knows everyone else, who's doing what and who. A young girl is murdered and her art teacher becomes prime suspect; a no-nonsense police investigator arrives from Paris...
The film recalls a central theme of Bresson's L'Argent in that ...if you falsely accuse/suspect someone of a crime, this may compell them to commit an act they wouldn't normally have, thus doubly damning themselves.
Not everything is neatly resolved or connected however, but movies should (sometimes at least) be like real life, and not like life as portrayed in the movies.
This is late Chabrol on form, tracking the various intrigues in a small Breton village where everyone knows everyone else, who's doing what and who. A young girl is murdered and her art teacher becomes prime suspect; a no-nonsense police investigator arrives from Paris...
The film recalls a central theme of Bresson's L'Argent in that ...if you falsely accuse/suspect someone of a crime, this may compell them to commit an act they wouldn't normally have, thus doubly damning themselves.
Not everything is neatly resolved or connected however, but movies should (sometimes at least) be like real life, and not like life as portrayed in the movies.
Monday 13 August 2012
All the President's Men (US, 1976)
Well made, complex political drama in which 2 junior journalists scoop the Watergate scandal for the Washington Post. The pair doggedly pursue their quarry, and editor Bradlee takes several major gambles in publishing their stories.
The film touches on some themes more fully explored in the excellent Parallax View (1974), also directed by Pakula.
The film touches on some themes more fully explored in the excellent Parallax View (1974), also directed by Pakula.
Saturday 11 August 2012
Trans-Europ-Express (FR/BE, 1967)
The film with something of a reputation, because of its portrayals of, or rather, hints at, sadomasochistic sex, and for being one of the first films to contain them.
It's essentially a cock-and-bull story, involving a clean-cut, middle-class male transporting a quantity of cocaine between Paris and Antwerp. An aspect which some may note are the conversations, also aboard a train, in which the film's key staff discuss elements of the plot/screenplay, editing etc, thus introducing a 'meta' slant...
As with all European movies of the time, it still looks good, and there are some interesting cityscapes and shots of the port area of Antwerp. Anyone seeking genuine early examples of S&M in cinema should refer to Buñuel's finest moment The Phantom of Liberty (FR, 1974), or better still Barbet Schroeder's Maitresse (FR 1975/6).
The film's title and the former transnational rail service omit the second 'e' of "Europe". Kraftwerk's 1977 LP of the same name includes it. It was just my luck that the TEE café (Kraftwerk spelling & iconography) in Glasgow be closed when on holidays earlier this year.
It's essentially a cock-and-bull story, involving a clean-cut, middle-class male transporting a quantity of cocaine between Paris and Antwerp. An aspect which some may note are the conversations, also aboard a train, in which the film's key staff discuss elements of the plot/screenplay, editing etc, thus introducing a 'meta' slant...
As with all European movies of the time, it still looks good, and there are some interesting cityscapes and shots of the port area of Antwerp. Anyone seeking genuine early examples of S&M in cinema should refer to Buñuel's finest moment The Phantom of Liberty (FR, 1974), or better still Barbet Schroeder's Maitresse (FR 1975/6).
The film's title and the former transnational rail service omit the second 'e' of "Europe". Kraftwerk's 1977 LP of the same name includes it. It was just my luck that the TEE café (Kraftwerk spelling & iconography) in Glasgow be closed when on holidays earlier this year.
Friday 10 August 2012
Detour (US, 1945)
The lunchtime noir season continues apace courtesy once again of archive.org.
Detour is cited as a prime example of poverty row noir, that is, a low budget, 'B' movie from a 'second tier' Hollywood production house.
Short (67 mins) and by necessity minimalistic, the story is of a luckless pianist who leaves New York for L.A. to team up with his recently departed woman. Obliged to hitchhike it, a couple of rides and circumstances conspire to embroil him in a murky morass.
The classic noir features are all there (have a look at Tom Neal's bio - they're there as well), and Anne Savage is great as tough gal Vera.
Detour is cited as a prime example of poverty row noir, that is, a low budget, 'B' movie from a 'second tier' Hollywood production house.
Short (67 mins) and by necessity minimalistic, the story is of a luckless pianist who leaves New York for L.A. to team up with his recently departed woman. Obliged to hitchhike it, a couple of rides and circumstances conspire to embroil him in a murky morass.
The classic noir features are all there (have a look at Tom Neal's bio - they're there as well), and Anne Savage is great as tough gal Vera.
Tuesday 7 August 2012
Ted (US, 2012)
Uh, Summer's traditionally a lean time for decent cinema. Crude, unfunny, predictable and silly.
D.O.A (US, 1950)
Yet another fantastic noir, with an original take on the sequence of a murder. There's all the classic features of noir here - great one-liners, stark photography, a fast, nowhere plot. This viewed legally for free online at archive.org - only whinge is that the quality is poor.
It's interesting that the term film noir was applied retrospectively. In the same way that Nirvana or My Bloody Valentine "just made" their second albums, there was a time when Hollywood "just made" these movies. What a great period it was.
It's interesting that the term film noir was applied retrospectively. In the same way that Nirvana or My Bloody Valentine "just made" their second albums, there was a time when Hollywood "just made" these movies. What a great period it was.
Sunday 5 August 2012
À Double Tour (FR, 1959)
Anyone who reads this blog (no-one, apart from referral spambots in RU, judging by the logs) will be aware that peak-era Claude Chabrol is my all-time favourite director. This is one of his earlier works, and interestingly, it's in colour, while the excellent Les Bonnes Femmes which followed a year or so later is in B&W.
This however is not one of the French master's better works; the characters are unsympathetic and it's just not very convincing. While it's not in the disaster zone of La Route de Corinthe, La Décade Prodigieuse and Dr M, it is in the 6/10 territory, like Le Beau Serge - the overrated 'first movie of the new wave', and Les Noces Rouges. The rich technicolor vibes of the photography make it watchable, but overall, it's a disappointment.
This however is not one of the French master's better works; the characters are unsympathetic and it's just not very convincing. While it's not in the disaster zone of La Route de Corinthe, La Décade Prodigieuse and Dr M, it is in the 6/10 territory, like Le Beau Serge - the overrated 'first movie of the new wave', and Les Noces Rouges. The rich technicolor vibes of the photography make it watchable, but overall, it's a disappointment.
Saturday 4 August 2012
The Wizard of Oz (US, 1939)
Children's musical/fairy tale/movie, and a perennial favourite, well established in popular culture. It's imaginative and touching in places, and retains a kitschy, innocence-of-childhood appeal.
Monday 30 July 2012
Kansas City Confidential (US, 1952)
Yet another great noir crime thriller. It and many other noirs are available for viewing, legally and free of charge, here.
Sunday 29 July 2012
Blade Runner (US, 1982)
Atmospheric, visually inventive, dimly-lit and rainy dystopian urban sci-fi, with a distinctly Asian/Japanese look and feel and a marvellous soundtrack by Vangelis. There was a temptation to link the sax playing on the soundtrack with that of Gary Barnacle on "Seán Flynn", third song on side 2 of The Clash's Combat Rock, also released in 1982, but the album came before the film.
One can imagine The Clash on a day off while touring America going to see Blade Runner on its release 6 weeks later though...
One can imagine The Clash on a day off while touring America going to see Blade Runner on its release 6 weeks later though...
Saturday 28 July 2012
Bluebeard (1972, HU/DE/FR/IT)
Many's the gem that was shown late Fri night/early Sat morn after The Late Late Show on RTÉ1 back in the day. None more so than Bluebeard, which made quite an impression on this pubescent male adolescent, basking in the newly found freedom of staying up a bit later than normal at the weekend.
This film is a moderately faithful adaptation of the folktale, transposed to fascist-era central Europe, nominally Austria. There's every ingredient present in the film for a morbidly humourous, camp and kinky, sumptuous soft-porn melodrama-horror, but somehow it just doesn't happen. The performances are wooden (with the exception of Joey Hatherton as the proverbial ladykiller's latest conquest) and the whole thing falls a bit flat. Could it have been the oppressive hopelessness of a Summer shoot in/near Budapest?
The movie does retain a curios value, but this re-viewing has illustrated more than any other how one's impression of things changes and diminishes with age: what left me deeply awe-stricken, shocked, horrified, thrilled and titillated as a 14 year old in 1989 now seems slightly naff. CF my review of The Outsider. This viewing of Bluebeard also occurred on youtube, it has been up and down over the past while, probably owing to copyright infringements by the uploader(s). The limited DVD relase is available only as an expensive US or Spanish import. There's an interesting review of the DVD release by Paul Mavis.
The film theme/score is arguably one of Morricone's best and also one of his lesser known works. One of the variations is sampled on Grantby's excellent compilation CD of late 90's downtempo, Coffee Table Music.
This film is a moderately faithful adaptation of the folktale, transposed to fascist-era central Europe, nominally Austria. There's every ingredient present in the film for a morbidly humourous, camp and kinky, sumptuous soft-porn melodrama-horror, but somehow it just doesn't happen. The performances are wooden (with the exception of Joey Hatherton as the proverbial ladykiller's latest conquest) and the whole thing falls a bit flat. Could it have been the oppressive hopelessness of a Summer shoot in/near Budapest?
The movie does retain a curios value, but this re-viewing has illustrated more than any other how one's impression of things changes and diminishes with age: what left me deeply awe-stricken, shocked, horrified, thrilled and titillated as a 14 year old in 1989 now seems slightly naff. CF my review of The Outsider. This viewing of Bluebeard also occurred on youtube, it has been up and down over the past while, probably owing to copyright infringements by the uploader(s). The limited DVD relase is available only as an expensive US or Spanish import. There's an interesting review of the DVD release by Paul Mavis.
The film theme/score is arguably one of Morricone's best and also one of his lesser known works. One of the variations is sampled on Grantby's excellent compilation CD of late 90's downtempo, Coffee Table Music.
Saturday 21 July 2012
Salò (IT, 1975)
Pasolini's last and most infamous film; frequently and deliberately excessive, horrific and disgusting, certainly, and never in a manner that can be reconciled as theatrical or humourous.
Conversely, the film, as all of PPP's do, exploits to the fullest Italy's abundant, unending surfeit of natural, geographical, architectural/interior and human beauty. In this respect, it's one of his finest, and, dare I say it, on a par with Kubrick's Barry Lyndon; this countered though by the negativity of the action. Like others of his work, there's some manner of intellectual allusion (Dante, de Sade) in the film's structure, but it "works" on its own too.
The late WWII circumstances are "present" but largely in the background, and, while the intention may have been to vilify the fascist regime, the trappings of same are largely absent. The impending demise of the RSI is not hinted at, save for the sound of remote bombers in the air.
It is thought that the depiction of regime associates in the film may have informed Pasolini's murder shortly before its release. Not surprisingly for Italy, there are no two concurring versions of the circumstances surrounding his death, and the matter remains ripe for picking by conspiracy theorists.
Conversely, the film, as all of PPP's do, exploits to the fullest Italy's abundant, unending surfeit of natural, geographical, architectural/interior and human beauty. In this respect, it's one of his finest, and, dare I say it, on a par with Kubrick's Barry Lyndon; this countered though by the negativity of the action. Like others of his work, there's some manner of intellectual allusion (Dante, de Sade) in the film's structure, but it "works" on its own too.
The late WWII circumstances are "present" but largely in the background, and, while the intention may have been to vilify the fascist regime, the trappings of same are largely absent. The impending demise of the RSI is not hinted at, save for the sound of remote bombers in the air.
It is thought that the depiction of regime associates in the film may have informed Pasolini's murder shortly before its release. Not surprisingly for Italy, there are no two concurring versions of the circumstances surrounding his death, and the matter remains ripe for picking by conspiracy theorists.
Monday 16 July 2012
Your Sister's Sister (US, 2011)
A fairly ordinary romantic/situation comedy, verging slightly towards the flat and formulaic. The film is neither great nor awful, male lead Mark Duplass (director of Jeff Who Lives at Home) impresses more than the rest.
Judging from the chat outside afterwards, it clearly went down well with a group of young students though. Might be an "age thing"...
Judging from the chat outside afterwards, it clearly went down well with a group of young students though. Might be an "age thing"...
Sunday 15 July 2012
Dark Horse (US, 2011)
I've long been a Todd Solondz fan, since seeing Storytelling in QFT on my first visit to Belfast in 2001, following a never-to-be-surpassed 6 weeks inter-railing around central Europe. In particular his daring black humour, and the fact I can frequently relate to the sometimes pathetic, edgy, marginalised misfits, misfortunates and minorites who populate his freaky shows.
Selma Blair reprises her role as Vi from the hilarious Storytelling 10 years later as an anomic, heavily medicated, still aspiring writer living at home with her folks. After a brief meeting with loser Richard, Vi/Miranda casually accepts an out-of-the-blue proposal of marriage. Their relationship becomes complicated through illness and accident, while Richard must negotiate difficulties at his job in his father's company. Christopher Walken plays a not very Walken-esque Richard's father, Mia Farrow's in there too, and Donna Murphy as Marie pretty much steals the show towards the end.
Unfortunately managed to miss this during last month's Belfast Film Festival. 'Misanthropic' is frequently used to describe Solondz's work, I would tend to view it more as articulate, dark humour. Dark Horse may not be Solondz's best film, but it's a good one and retains his trademark qualities.
Selma Blair reprises her role as Vi from the hilarious Storytelling 10 years later as an anomic, heavily medicated, still aspiring writer living at home with her folks. After a brief meeting with loser Richard, Vi/Miranda casually accepts an out-of-the-blue proposal of marriage. Their relationship becomes complicated through illness and accident, while Richard must negotiate difficulties at his job in his father's company. Christopher Walken plays a not very Walken-esque Richard's father, Mia Farrow's in there too, and Donna Murphy as Marie pretty much steals the show towards the end.
Unfortunately managed to miss this during last month's Belfast Film Festival. 'Misanthropic' is frequently used to describe Solondz's work, I would tend to view it more as articulate, dark humour. Dark Horse may not be Solondz's best film, but it's a good one and retains his trademark qualities.
Sunday 8 July 2012
Notes on a Scandal (UK, 2006)
I obtained Zoe Heller's novel from the wonderful Bookfinders of Belfast shortly after moving here in 2009. The shop is one of many gems peculiar to the city, and all too rare nowadays - a dusty, dark place where the charming owner serves coffee and plays old classical records, which in Dublin would've been converted into "apartments" long ago.
I eventually brought it with me on a pointless "must use leave up by a certain date" Winter trip to Stockholm, and was soon engaged with a morbidly absorbing, propulsive page turner, which treats a difficult topic 'factually' but sensitively. I'm not a great reader, but this is well up there among the best I have read
I eventually brought it with me on a pointless "must use leave up by a certain date" Winter trip to Stockholm, and was soon engaged with a morbidly absorbing, propulsive page turner, which treats a difficult topic 'factually' but sensitively. I'm not a great reader, but this is well up there among the best I have read
The Amazing Spider-Man (US, 2012)
It's far-fetched, sure, but a decent enough and entertaining movie. The first Spiderman I've ever seen and my first movie in 3D as well; some of the FX were really, really good.
Monday 2 July 2012
The Killing Fields (1984)
Much lauded and highly successful factual drama about American journalist Sydney Schanberg and his Cambodian interpreter, Dith Pran. Eventually, all westerners flee while Pran must face the ministrations of the incoming Khmer Rouge regime. Schanberg does his utmost to reunite Dith and his estranged family (now in America), but will he succeed?
None of the Cambodian dialogue is subtitled. A glimpse of the wikipedia article on the film is recommended to get an idea of the historical background. It's a good film, but Apocalype Now mk II it is not.
None of the Cambodian dialogue is subtitled. A glimpse of the wikipedia article on the film is recommended to get an idea of the historical background. It's a good film, but Apocalype Now mk II it is not.
Sunday 24 June 2012
Brute Force (1947)
An original take on the prison break drama, with a generally different tone and plan of action to similar movies, and noteworthy for its clearly anti-authoritarian stance. It's an earnest as always performance from a young Burt Lancaster (cf The Killers) and Ella Raines is truly gorgeous. Noir elements evident in some of the photography and just slightly uneven plot.
Sunday 17 June 2012
A Night to Remember (UK, 1958)
The original and best of the Titanic films and the major British ensemble production of the 50's.
The Turin Horse / A Torinói Ló (HU, 2011)
Those familiar with Bela Tarr's work won't witness any major change of course here.
The name comes from anecdotal incident in which Nietzsche hugs a maltreated horse on a Turin street, before collapsing into illness and silence for his remaining 10 years. While Nietzsche has always been the subject of much scholasticism, nothing is/was known of the horse.
The director licenses that horse to a desolate, windswept, remote rural stone home of grief in late 19th century HU. The 'action' (much of it repeated) involves a father and daughter and occurs over a period of 6 days; the film clocks in at close to 2.5 hours of minimal, well shot, suitably bleak and grim slow-burning B&W.
An imminent nearby (natural) cataclsym is hinted at but not explicitly identified. Those seeking a link with impossible Nietzschian philosophy might do well to dissect the neighbour's speech.
As cinema for doom lovers, it's entirely satisfactory.
The name comes from anecdotal incident in which Nietzsche hugs a maltreated horse on a Turin street, before collapsing into illness and silence for his remaining 10 years. While Nietzsche has always been the subject of much scholasticism, nothing is/was known of the horse.
The director licenses that horse to a desolate, windswept, remote rural stone home of grief in late 19th century HU. The 'action' (much of it repeated) involves a father and daughter and occurs over a period of 6 days; the film clocks in at close to 2.5 hours of minimal, well shot, suitably bleak and grim slow-burning B&W.
An imminent nearby (natural) cataclsym is hinted at but not explicitly identified. Those seeking a link with impossible Nietzschian philosophy might do well to dissect the neighbour's speech.
As cinema for doom lovers, it's entirely satisfactory.
Tuesday 12 June 2012
Atmen/Breathing (AT, 2011)
A slightly unlikely young offender lands a trainee job as a mortuary assistant (this element is not sensationalised), while remaining in detention by night. Facing an important hearing, certain small things on the outside could militate against him; he also briefly reunites up with his mother who gave him up for adoption at birth.
Directed by Karl Markovics, the lead actor in 2007's excellent The Counterfeiters (my film of the year that year), it's a believable, dispassionate observation of a young man with an uncertain future.
Directed by Karl Markovics, the lead actor in 2007's excellent The Counterfeiters (my film of the year that year), it's a believable, dispassionate observation of a young man with an uncertain future.
Moon (UK, 2009)
The future. From the moon comes a fair chunk of planet earth's energy needs, but what is the human cost to those who must harvest it? Yes, there's sci-fi going on here, but it's not of the 'hard' variety...
Dave Bowie's son Duncan Jones' directoral debut is good, and just made for the silver screen.
Dave Bowie's son Duncan Jones' directoral debut is good, and just made for the silver screen.
Wednesday 6 June 2012
Polisse (FR, 2011)
A photographer joins the Child Protection Unit (CPU) in North Paris, becoming exposed to some hard cases.
This more of a reference point than a central character (no pics are ever seen), she's just one in a cast of tens,
of whose professional and domestic/love lives we attain some glimpses.
A solid, realistic, policier drama (reminiscent in tone perhaps of Le Petit Lieutenant) with a frequently difficult subject matter. The ending is a little sudden and puzzling. A significantly better outing than Maiwenn's cringeworthy Pardonnez-moi, and... another good French film.
A solid, realistic, policier drama (reminiscent in tone perhaps of Le Petit Lieutenant) with a frequently difficult subject matter. The ending is a little sudden and puzzling. A significantly better outing than Maiwenn's cringeworthy Pardonnez-moi, and... another good French film.
Tuesday 5 June 2012
Le Orme / Footprints on the Moon (IT, 1975)
Uhm, a vague mystery story/mentalist drama where little is certain, with a space-age subplot....Could you be bothered poring over the bits to try and make some sense out of it? Me neither.
Echoes of Last Year at Marienbad here perhaps, but in Turkey not Austria-Hungary, and in post-hippy colourfulness rather than sombre B&W. The reasonably nice photography and settings make it watchable.
Echoes of Last Year at Marienbad here perhaps, but in Turkey not Austria-Hungary, and in post-hippy colourfulness rather than sombre B&W. The reasonably nice photography and settings make it watchable.
Monday 4 June 2012
Martha (DE, 1974)
Have usually - but not always - been disappointed by Fassbinder, and plant his work firmly in the overrated category. His unassailable critical rep is such that ordinary film fans/reviewers feel obliged to sycophantically toe the line, even if they don't really like it. The films I've often found to be of the "what the hell is so good about this"? variety. Cases in point: The Marriage of Eva Braun, Berlin Alexanderplatz. Slightly better: The Bitter Tears of Petra von Kant, Effi Brest. The best of what I've seen thus far: Fear Eats the Soul, quite a daring film in its day, perhaps a precursor to politically-correct film-making before it ever became obligatory, hackneyed and ineffective. Likeable nonetheless for its simplicity and accessibility.
Martha then is a familial/marital melodrama, with as its centre the curiously beautiful strawberry blonde Martha and the relationship with her abusive husband, Helmut. It's a sad film but not without humour; visually, a feast, with rich saturated hues throughout, good props and nice trans-European settings (Rome and Konstanz). Surprisingly, this was 'only' a TV movie.
Glad I gave this one the benefit of the doubt. Showing as part of the 'Twisted Cornea' program of the Belfast Film Festival, in the small 'beanbag cinema' venue: an original, low-key cinematic experience, and one of the many natural incidentals which contribute to the city's unassuming cool.
Martha then is a familial/marital melodrama, with as its centre the curiously beautiful strawberry blonde Martha and the relationship with her abusive husband, Helmut. It's a sad film but not without humour; visually, a feast, with rich saturated hues throughout, good props and nice trans-European settings (Rome and Konstanz). Surprisingly, this was 'only' a TV movie.
Glad I gave this one the benefit of the doubt. Showing as part of the 'Twisted Cornea' program of the Belfast Film Festival, in the small 'beanbag cinema' venue: an original, low-key cinematic experience, and one of the many natural incidentals which contribute to the city's unassuming cool.
Friday 1 June 2012
Jeff, Who Lives at Home (US, 2011)
Thirtysomething slacker\stoner Jeff, inspired by the awful Signs (yes, the one starring Mel Gibson), treats chance happenings as...signs...of, erm, deeper cosmic significance. His seemingly successful brother begins to doubt his wife's fidelity, while their mom fields a secret admirer in the workplace. Their collective exodus may seem a little convenient, but Jeff's leap into 'significant' doings is attained when he eventually abandons the search for same.
While the focus is primarily on Jeff and his brother, there are memorable performances from Linda (the sincere and striking Judy Greer) and particularly Mom (Sigourney Weaver). Mentioned in respect of the mumblecore subgenre of American indie cinema, it's a light yet articulate, enjoyable, throwaway kind of film.
While the focus is primarily on Jeff and his brother, there are memorable performances from Linda (the sincere and striking Judy Greer) and particularly Mom (Sigourney Weaver). Mentioned in respect of the mumblecore subgenre of American indie cinema, it's a light yet articulate, enjoyable, throwaway kind of film.
Wednesday 16 May 2012
She Monkeys (SE, 2011)
Unaware that this was a one-off, and having simply asked for 'one for the 18:40 show', soon realised that this wasn't the film I thought I had gotten a ticket for. It was well worth staying for though, and it's great when that happens.
She Monkeys is a reasonably stated, in places quite nicely shot, low-key 'slice of life' in a small nondescript Swedish town, centering around the attraction/rivalry between Emma and Cassandra, 2 teenage equine gymnasts. Evidence here of a new, original vision, and definitely deserving of a higher rating on IMDB.
She Monkeys is a reasonably stated, in places quite nicely shot, low-key 'slice of life' in a small nondescript Swedish town, centering around the attraction/rivalry between Emma and Cassandra, 2 teenage equine gymnasts. Evidence here of a new, original vision, and definitely deserving of a higher rating on IMDB.
Elles (FR, 2011)
A journalist (Juliette Binoche) reports on 2 young students who turn tricks to make ends meet, starts to lose the run of herself. Several sex acts are depicted, and from one of the girls there is the impression that she relishes her work, but nothing is ever presented in a lurid or judgmental fashion. The cool and inscrutable Binoche's descent into
niggly malaise doesn't 'link' all that well with her professional subject however, perhaps they were coincidental....
Showing as part of QFT's 'Talking Movies' slot, it's a serious film, and judging by the academic introduction, will have provided ample ammunition for the debate scheduled to follow it. Not that that makes a great film. 6/10.
Showing as part of QFT's 'Talking Movies' slot, it's a serious film, and judging by the academic introduction, will have provided ample ammunition for the debate scheduled to follow it. Not that that makes a great film. 6/10.
Sunday 29 April 2012
Les Enfants Terribles (FR, 1950)
I read Les Enfants Terribles some time in the mid 90's, probably thinking myself quite the clever boy for buying it...(in my defence, it had an attractively aged and dried monochrome cover). A difficult 'literary' read it was however; arty, overly mannered, figurative, and centered around the claustrophobic carry-on between a brother and sister.
Notwithstanding this, I came to the film primarily as a fan of JP Melville, whose work is often cited as a precursor to, and influence on, the nouvelle vague, arguably outdoing some of its directors, particularly the grossly overrated and achingly pretentious JL Godard.
Although somewhat 'easier' than the book, the film remains faithful to it in its difficultness, presenting it with what are probably very French emoting and melodramatics.
There's some vaguely interesting photography (the seaside shot, and towards the end) but the film does not stand up to Melville's later, far superior work.
Editor's Note: Another worthless, gonzoid review...which no-one's gonna be reading anyway.
Notwithstanding this, I came to the film primarily as a fan of JP Melville, whose work is often cited as a precursor to, and influence on, the nouvelle vague, arguably outdoing some of its directors, particularly the grossly overrated and achingly pretentious JL Godard.
Although somewhat 'easier' than the book, the film remains faithful to it in its difficultness, presenting it with what are probably very French emoting and melodramatics.
There's some vaguely interesting photography (the seaside shot, and towards the end) but the film does not stand up to Melville's later, far superior work.
Editor's Note: Another worthless, gonzoid review...which no-one's gonna be reading anyway.
Sunday 22 April 2012
Le Trou (FR, 1960)
Lengthy, fascinating prison drama, which begins with a 'fourth wall' intro from one of the real-life prisoners who took part in events which inspired the novel and its eventual filming.
Saturday 21 April 2012
Le Havre (2011, FR/FI)
An aging shoe-shining gentleman takes a young male refugee under his wing in the port town of Le Havre.
Every inch the bourgeois marxist romance: inter-ethnic proletarian unity against the faceless, aggressive "system", our shoe-shiner's past as a successful artist in bohemian Paris - and guess what? His name is Marcel Marx!
Despite the predictable, politically-correct storyline, the film does impress; lead actor André Wilm's quiet earnestness is endearing, and the director's instinctive eye for characterful downbeat locales is undiminished. Above all it's the the clear and distinctive kitschy tone-poem photography which wins the day here.
Every inch the bourgeois marxist romance: inter-ethnic proletarian unity against the faceless, aggressive "system", our shoe-shiner's past as a successful artist in bohemian Paris - and guess what? His name is Marcel Marx!
Despite the predictable, politically-correct storyline, the film does impress; lead actor André Wilm's quiet earnestness is endearing, and the director's instinctive eye for characterful downbeat locales is undiminished. Above all it's the the clear and distinctive kitschy tone-poem photography which wins the day here.
Wednesday 18 April 2012
Headhunters / Hodejegerne (NO, 2011)
Unprepossessing recruitment whiz "Roger Brown" funds his lavish lifestyle with a bit o' the ol' art-theft on the side, but soon meets his match in a Norwegian-Dutch nemesis...
The various subplots soon spiral but are ultimately controlled. Entertaining enough, but not to be taken too seriously.
The various subplots soon spiral but are ultimately controlled. Entertaining enough, but not to be taken too seriously.
Sunday 15 April 2012
Drive (US, 2011)
Excellently photographed, atmospheric and, in places, the trigger for hysterically shrieking laughter.
Probably this year's best DVD rental so far - just wish I'd seen it at the cinema last year...
The first film I've ever seen that's deserving of the description neo-noir.
Probably this year's best DVD rental so far - just wish I'd seen it at the cinema last year...
The first film I've ever seen that's deserving of the description neo-noir.
Sunday 8 April 2012
Enter the Void (FR/JP, 2009)
Con-tro-ver-sial French-based Argentine director Gasper Noé's most recent feature is largely related "as seen from above" through an omniscient "spirit out of body" which surveys the past and growing present misfortunes of brother Oscar and his attractive sister Linda who soon hooks up with him in Tokyo. The already unlikely premise of middle-class Anglophone gaijin living, using and dealing in JP is compounded by a fluid, gloomy storyline and some squeamish, screamy moments, all of which could/did isolate older, non-adapted audiences.
The film and the action isn't bad; the camerawork is experimental without being pretentious; where it succeeds most is in its often stylish capturing of the lurid hues of a nocturnal Tokyo netherworld.
The film and the action isn't bad; the camerawork is experimental without being pretentious; where it succeeds most is in its often stylish capturing of the lurid hues of a nocturnal Tokyo netherworld.
Friday 30 March 2012
Sleep (JP, 2011)
A young masseuse mother, her disabled father and teenage daughter live together in a van underneath a railway bridge somewhere in urban Japan.
Just when you thought it couldn't get more miserable, it does, and something doesn't quite add up in the story here.. A brave effort nonetheless.
Just when you thought it couldn't get more miserable, it does, and something doesn't quite add up in the story here.. A brave effort nonetheless.
21 Jump Street (US, 2012)
Vaguely entertaining, fairly farcical and mostly forgettable; based on a series by the same name it seems.
Kudos though to Cameo Cinema Edinburgh, which has existed in one form or another since 1914; the building retains much of its old-style character and it puts on an otherwise decent programme.
Kudos though to Cameo Cinema Edinburgh, which has existed in one form or another since 1914; the building retains much of its old-style character and it puts on an otherwise decent programme.
The Kid with a Bike/Le Gamin au Velo (BE/FR, 2011)
The brothers Dardenne return to familiar territory (and at least one actor) here; Cyril, a troubled orphan, is partially adopted by the kindly hairdresser Samantha. Cyril's father wants nothing to do with him, and, his tenacity observed, he's soon taken under the wing of a local undesirable.
Ordinary people and ordinary lives then, it's a humane, believable, naturalistic and ultimately likeable film.
Ordinary people and ordinary lives then, it's a humane, believable, naturalistic and ultimately likeable film.
Goodbye First Love/Un Amour de Jeunesse (FR, 2011)
Solid performance from lead Lola Créton as the pretty, earnest and thoughtful girl, obsessed with her absent boyfriend. The action occurs over an approx. 8 year period; Camille studies architecture, a new relationship develops, yet always in the the background remains her first love, Sullivan. Will she ever succeed in breaking adrift?
Showing as an part of a series of 3 or 4 French previews (it'd be inacurate to call it a mini-festival) at Edinburgh's Filmhouse Cinema, this is a good example of a nicely stated, serious and likeable French film. Again, it deserves a higher rating on IMDB - it would be horrible to think of a potential viewer skipping it on this basis, or indeed of a talented young director getting discouraged.
One of the year's better films.
Showing as an part of a series of 3 or 4 French previews (it'd be inacurate to call it a mini-festival) at Edinburgh's Filmhouse Cinema, this is a good example of a nicely stated, serious and likeable French film. Again, it deserves a higher rating on IMDB - it would be horrible to think of a potential viewer skipping it on this basis, or indeed of a talented young director getting discouraged.
One of the year's better films.
Saturday 17 March 2012
In Darkness (PL, 2011)
WWII, Polish Lviv. Factual adaptation of the story of Leopold Socha a Polish sewer worker/petty criminal
and his endeavour to protect hidden Jews at enormous personal risk. Socha would later be honoured for his role.
Largely filmed undergound, it is therefore, a dark movie - and a reasonably good historical thriller.
Opening QFT's Kinoteka mini-festival of Polish movies, In Darkness drew a large crowd of Poles and non-Poles to Screen 1. There was immediately before the film a brief clip of director Agnieszka Holland apologising that she could not be there in person to present the film owing to current work commitments.
Largely filmed undergound, it is therefore, a dark movie - and a reasonably good historical thriller.
Opening QFT's Kinoteka mini-festival of Polish movies, In Darkness drew a large crowd of Poles and non-Poles to Screen 1. There was immediately before the film a brief clip of director Agnieszka Holland apologising that she could not be there in person to present the film owing to current work commitments.
Les Amants Réguliers (FR, 2005)
Can't say I've seen a whole lot of Garrell's, but what I've seen I've liked: Le Révélateur (1968) one cold, Spring afternoon in 2004 at the Centre Georges Pompidou in Paris, and Sauvage Innocence (2001) one equally lonely weekend at a rather pointless Winter film fest in Bergamo, 2003.
Les Amants Réguliers presents a collection of twenty-somethings: a draft-dodging poet, students, artists, the well-heeled idle rich and would-be political activists, some (but by no means all) fine young things, who spend their time hanging out, chatting, dancing, shagging and smoking illicit substances (opium, not hashish it seems), in their palatial apartments in the historical centre of Paris.
The 1968 disturbances are touched upon - there is a lengthy barricade scene at the beginning where we wait about 20 minutes for anything to actually happen - but they are not the centrepoint of the film. And neither is anything else really, a romance develops, people come and go...
There was a time in my late teens/early 20's when this kind of bored romanticism would've been appealing, but it now seems rather casual, and, well,...boring. An unexceptional film nicely photographed however, again in black and white.
Les Amants Réguliers presents a collection of twenty-somethings: a draft-dodging poet, students, artists, the well-heeled idle rich and would-be political activists, some (but by no means all) fine young things, who spend their time hanging out, chatting, dancing, shagging and smoking illicit substances (opium, not hashish it seems), in their palatial apartments in the historical centre of Paris.
The 1968 disturbances are touched upon - there is a lengthy barricade scene at the beginning where we wait about 20 minutes for anything to actually happen - but they are not the centrepoint of the film. And neither is anything else really, a romance develops, people come and go...
There was a time in my late teens/early 20's when this kind of bored romanticism would've been appealing, but it now seems rather casual, and, well,...boring. An unexceptional film nicely photographed however, again in black and white.
Thursday 15 March 2012
Carancho (AR, 2010)
I've been a big fan of recent-ish Argentinian movies, becoming as they have something akin to a mini-French cinema, bringing us such simple, credible, excellent films as Tan de Repente, Bombon El Perro and others as well as the more involved Nine Queens.
Starring the ace face of Argentine drama, Ricardo Darín, Carancho charts a motor insurance attorney (read: "fixer") and the shady doings which he and others are embroiled in. Kind-of smelt a rat from the academic introduction before the movie which risked straying into film theory, but that's an easy swipe in retrospect. The film is OK, but lacking "something" and veering into 6-out-of-10 territory.
It is exceedingly well photographed though.
Starring the ace face of Argentine drama, Ricardo Darín, Carancho charts a motor insurance attorney (read: "fixer") and the shady doings which he and others are embroiled in. Kind-of smelt a rat from the academic introduction before the movie which risked straying into film theory, but that's an easy swipe in retrospect. The film is OK, but lacking "something" and veering into 6-out-of-10 territory.
It is exceedingly well photographed though.
Martha Marcy May Marlene (US, 2011)
Martha, a mid-late teenage girl is taken in by a cult-cum-commune in rural America. Obliged to flee after things go too far, she hooks up with her rich, estranged sister in the Catskills. It soon becomes clear that all is not well with Martha.
This quality, credible and thought-provoking film succeeds in alternating seamlessly between "before and after" and is very well photographed,with excellent, naturalistic performances - fully deserving of its Sundance 2011 award for best drama. The ambiguous ending may initially grate but improves on further reflection.
Not expecting much on the basis of the trailer, MMMM has proven to be film of the year thus far.
This quality, credible and thought-provoking film succeeds in alternating seamlessly between "before and after" and is very well photographed,with excellent, naturalistic performances - fully deserving of its Sundance 2011 award for best drama. The ambiguous ending may initially grate but improves on further reflection.
Not expecting much on the basis of the trailer, MMMM has proven to be film of the year thus far.
Saturday 10 March 2012
The Shore (NI, 2011)
An American immigrant returns home with his daughter to Northern Ireland for the first time since leaving 25 years previously. The troubles are briefly alluded to but not dwelt upon.
Looking like it was shot on DV, it's a nice, homely tale and clearly struck a chord with some in the QFT audience. Can't say I've ever been aware of an Oscar for short films up til seeing this, but one thinks that that award may have been given in order to tie in with the NI2012 events (Titanic, Derry European City of Culturte 2012 etc) more so than its own merits.
Looking like it was shot on DV, it's a nice, homely tale and clearly struck a chord with some in the QFT audience. Can't say I've ever been aware of an Oscar for short films up til seeing this, but one thinks that that award may have been given in order to tie in with the NI2012 events (Titanic, Derry European City of Culturte 2012 etc) more so than its own merits.
Sideways (2004, US)
Like others I've seen by Alexander Payne, this is a light, enjoyable, entertaining and inherently good-quality film.
Sunday 4 March 2012
Dancer in the Dark (ES/DK/DE/UK/AR/NL/IT/SE/FI/NO/IS/US, 2000)
Possibly the first major arthouse film production of the new millenium, set in smalltown post-war USA, charts the travails of near-blind Czechoslovak immigrant and her son, who will in time suffer from the same congenital condition.
Kooky Björk and her character's mannerisms and flights of fancy can be irritating at times, and I've never seen a musical that I've liked - there are some such elements here, which are, admittedly well choreographed. The slightly washed, subdued-tone photography is impressive, as are the props and costumes.
While the story is inconsistent in places, the ending is not entirely unmoving. Overall though, it is hard to see why this movie is so highly thought of.
Kooky Björk and her character's mannerisms and flights of fancy can be irritating at times, and I've never seen a musical that I've liked - there are some such elements here, which are, admittedly well choreographed. The slightly washed, subdued-tone photography is impressive, as are the props and costumes.
While the story is inconsistent in places, the ending is not entirely unmoving. Overall though, it is hard to see why this movie is so highly thought of.
Tuesday 28 February 2012
Rampart (US, 2011)
Woody Harrelson as an old-style hard man LAPD cop cut adrift by family and colleagues after dishing out one savage beating too many.
There are too many pots on the boil here and the overall sensation is one of indifference, which in itself tends to weigh more towards negative than positive.
There are too many pots on the boil here and the overall sensation is one of indifference, which in itself tends to weigh more towards negative than positive.
Monday 27 February 2012
The Woman in the Fifth/La Femme du Vème (FR, UK, 2011)
An American writer arrives in Paris in a bid to take custody of his estranged daughter. So begins a series of episodes, with several borderline-deranged "who did what - and did it actually happen?" moments.
Kirstin Scott Thomas is, as ever, very watchable, and the director admirably captures something of the atmosphere of an ordinary, downbeat Paris.
While it's not in the same league as The Double Life of Veronique (which it vaguely reprises thematically), it is a good film and another example of an undeservedly low rating on IMDB which merits being bumped up.
Kirstin Scott Thomas is, as ever, very watchable, and the director admirably captures something of the atmosphere of an ordinary, downbeat Paris.
While it's not in the same league as The Double Life of Veronique (which it vaguely reprises thematically), it is a good film and another example of an undeservedly low rating on IMDB which merits being bumped up.
Saturday 25 February 2012
Romanzo Criminale (IT, 2005)
Lengthy, credible, interesting, well-made account of the Banda della Magliana grip on Rome's criminal underworld for over a decade.
Flashes of key contemporary strategy of tension events - Aldo Moro's assassination, the 1980 bombing of Bologna rail station, assassination attempt on Pope John II - do not serve a needless "meaningful" "historical context", but rather hint at the Banda's possible/likely involvement in them, peripheral or otherwise.
A worthy, substance-over-style Italian export.
Flashes of key contemporary strategy of tension events - Aldo Moro's assassination, the 1980 bombing of Bologna rail station, assassination attempt on Pope John II - do not serve a needless "meaningful" "historical context", but rather hint at the Banda's possible/likely involvement in them, peripheral or otherwise.
A worthy, substance-over-style Italian export.
Friday 24 February 2012
Coriolanus (2011, UK)
Overall, it works and doesn't work; while the action is good in places, the dialogue can be difficult to absorb, and it's not as entertaining as other faithful Shakespearean film adaptations (Romeo & Juliet, Titus) which also utilise modern props and/or costumes and settings.
Wednesday 15 February 2012
Carnage (DE/ES/FR/PL, 2011)
An altercation between 2 schoolboys leads to both sets of parents meeting to discuss compensation and punitive/reconciliatory measures. It starts off almost amicably but soon becomes niggling, tetchy and narky. The action takes place almost entirely in an apartment. Will the 2 boys ever make up?
It's a light film with some funny moments, and good performances, particularly from Jodie Foster and Kate Winslet.
It's a light film with some funny moments, and good performances, particularly from Jodie Foster and Kate Winslet.
Thursday 9 February 2012
Edmond (US, 2005)
An account of one ordinary middle-aged American man's seedy existential crisis and another movie with a well-engineered trailer. Some of the set-pieces may seem a little sudden, facile or swervy, but it's well filmed with a few "I know I shouldn't be laughing at this but I can't help it" moments and extraordinary enough to make it likeable in its own right.
Saturday 4 February 2012
The Descendents (US, 2011)
It's a good film - as one would expect from Alexander Payne - but not not earth-shatteringly brilliant.
Sunday 29 January 2012
The Wrestler (US, 2008)
Realistic, gritty portrayal of ageing trailer-dwelling wrestler Randy "Ram Jam" Robinson, his exploits inside and outside the ring and the interaction with the women of his life. It's a good movie, but not as good as the high ratings would indicate.
Thursday 26 January 2012
The Artist (FR/BE, 2011)
The silent film that doesn't feel like a silent film. It looks good, is worth seeing and has some nice moments, but doesn't live up to the hype.
Monday 9 January 2012
50/50 (US, 2011)
Adam (Joseph Gordon-Levitt) is (apparently) a 20-something part-time radio presenter in Seattle who unexpectedly learns he has cancer. Its slightly unlikely premise is mirrored to some extent in the action, before progressing to a slightly moving conclusion.
Sunday 8 January 2012
The Killers (US, 1946)
Another great noir, told largely in flashback, partially based on Hemmingway's short story of the same name, with John Houston uncredited as screenplay writer.
Monday 2 January 2012
About Schmidt (US, 2002)
First film of the year, and it's a 10 year old! One of my colleagues is particularly interested in modern (like, now) film; I'm not so focused though, and will watch anything 'good'. This DVD one of a trailer-load acquired from the late lamented Shantalla Movie House in Galway when it closed in Summer 2009 and sold off its stock. It was in its day the best DVD rental in Ireland (outside of Dublin) and the source of many, many gems.
Jack Nicholson plays the titular rôle as a recent retiree, there's some humour (cf Mr Schmidt's facial expressions) as his retirement takes a few slightly unexpected turns. It's a likeable, funny, articulate film with strong performances, and a good start to the new season.
Jack Nicholson plays the titular rôle as a recent retiree, there's some humour (cf Mr Schmidt's facial expressions) as his retirement takes a few slightly unexpected turns. It's a likeable, funny, articulate film with strong performances, and a good start to the new season.
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