Bernhard Wenger’s debut feature is a really strong first film, even if it never quite shakes off convention the way it would like. Matthias (Albrecht Schuch) is an actor. Sort of. He is, in effect, an actor for real life scenarios. Single but need a convincing boyfriend to get that couples-only flat? Hire Matthias. Need a pilot for a dad so you’ve got the most exciting parent at class career day? He’s right there.
film review
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The beauty of the short-form FF format is that there’s little time for exposition, something which can destroy both horror and SF when not done well. These aren’t Cixin Liu short stories, designed to make you think differently about the nature of the universe -- they’re V/H/S short stories, designed to be spooky, nasty, scary or some combination of the three.
What worked perfectly on a sketchy VHS at home suddenly seemed to fall flat on the big screen. It’s all about the suspension of disbelief -- being able to believe something you know intellectually is a fiction is real. Turns out it’s easier to do that when you’re not in a building whose very existence is predicated on showing people things that don’t exist, and when you’re not in the company of hundreds of people eating popcorn.
Initially conceived as a parody by feminist author and civil rights campaigner Rita Mae Brown, the film was ultimately financed by exploitation maestro Roger Corman, a man whose ‘bung some topless girls in it’ attitude to making his money back leads popular consensus to dismiss the film as the product of a bizarre marriage that ultimately serves to nullify the film’s best intentions.
101 Films' wonderful 4K UHD brings out all the fantastic lurid colours that the film possesses and gives a crystal-clear image to all of Pyun’s incredible set pieces. Joseph Mangine’s photography looks sublime and you can see that every dollar the film took to make is up there on screen.
...creatively, Jodorowsky has always embodied a near singular collision of European high art and Latin American magical (sur)realism. Despite having been born in 1929, and thus being over thirty before the Sixties even began, Jod’s unique and psychedelic approach to writing, art and film-making clicked into place during that decade like a machine-tooled piece of jigsaw, its liberated, vision-questing aesthetic perfectly in tune with the new age of Aquarius:...
Towards the end of FF’s reign came Ti West’s The Sacrament, which is definitely at the more awesome end of things, and is one of the few I’d save as an example of what CAN be done with the format. Nobody can accuse West of lacking ambition or creativity [...] and what The Sacrament lacks in budget it more than makes up for in sheer balls.
We meet our protagonist, the hulking mountain man Sensaku (played by legend of Japanese wrestling, Keiji Muto), as he reaches Tokyo from his home in Hokkaido, intent on finding his vanished fiancée who came to the city to study. Here he roams the junkyards and dive bars, finding himself stumbling into a subterranean world of modern-day gladiatorial combat that he must explore if he is to ever find his love. In amongst battling people to the death, he meets an opera singer no longer able to sing (Michiru Akiyoshi) and the two begin to roam the city together.
what these bright young directors did lead to was a further interest in the films that inspired them, largely the various European new waves of the late fifties and sixties. It seems to be the origin of this film, which liberally lifts from Georges Franju’s 1960 masterpiece Eyes Without A Face. Make no bones about it, it isn’t a nod, or an homage, it is a straight-up pinch of the whole plot. Well, it is not quite Eyes Without A Face; but it is Face Without The Eyes.
Ozu stands apart. There are few film-makers who command such unanimous acclaim, detractors few and far between, critics as one enraptured by his singular style of delicate, melancholy social satires. This acclaim largely sits upon his post-war films until his death in the early sixties, but his early films remain in need of being seen by a larger audience. It’s a task the BFI has set about with its ongoing blu-ray releases of early Ozu works, and they have chosen two more corkers to focus on this time around.
Well-regarded but under-seen on initial release a decade ago, The Borderlands has become something of a beloved cult favourite, one that along with Ben Wheatley’s early work was key with reviving folk at the centre of horror culture. On its tenth anniversary, this Second Sight re-release gives an opportunity to re-examine the film, and to find it even stronger than the first time round, standing head and shoulders above many of the films that have followed in its footsteps, whilst remaining kind of inimitable, a totally singular concoction.
A re-release of Abel Ferrara’s Fear City finds the cult classic as interesting in its flaws as ever. It’s the mid-'80s, New York is pre-clean up, still a landscape of neon, sex and hovering violence. Former Boxer Matt Rossi (Tom Berenger) and his business partner Nicky (Jack Scalia) run a management company for Manhattan’s best strip club dancers.
Nuri Bilge Ceylan maintains an eye for the sublime in hopelessness and vice versa in his latest epic.
I know it’s the oldest trick in the book for distributors to sell their films in as straightforward a way as possible, but Jesus Christ, trying to sell La Chimera as a taut heist film is doing no one any favours. Its only resemblance to The Italian Job is that there’s Italians, and well bugger me they’ve got a job to do. What there is instead, in typical Rohrwacher fashion, a film that defies categorisation, that hovers at the space where divinity meets the reality of a world where greed curdles all corners of life.
It does well to initially evoke its era. The film’s primary tones are garish neon and sweat on skin, like a grimy San Junipero, and the set design and cinematography do well to create sense of a place where macho sleaze permeates every nook and cranny of the town. The problem is the characters that inhabit it feel too archetypal, too lacking in the eccentricities and unpredictabilities that would make them believable.
Following up a breakout film is obviously a difficult position, a constant questioning of whether to continue doing what made you a success in the first place, or to experiment, to use the newfound resources that success affords to embrace grander visions. It’s a position that director Junta Yamaguchi and screenwriter Makoto Ueda find themselves in, and one in which they succeed and fail in equal measure.
This re-release of cult classic Alligator finds it in as joyous as ever; a fun, knowing creature feature wrapped in a lovingly extensive package of remasters and extras from the ever-reliable 101 Films.
The film takes this classic western trope, establishing a small band of characters and setting them off on an expedition, but foregrounds the violence and cruelty at the heart of their quest, with every encounter they stumble upon drawing more and more out of them, and further brutality into the story.