Slaughterhouse Rulez (2018)

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That hole is a gateway. And it leads, straight down, to hell. Now, who wants to buy some drugs? Yorkshire boy Don Wallace (Finn Cole) is sent to a strange public school by his concerned mother Kay (Isabella Laughland) where he has to share a room with the rather eccentric and bullied snuff-sniffing Willoughby (Asa Butterfield). He finds his predecessor hanged himself. He falls for ‘goddess’ Clemsie (Hermione Corfield) but is warned off and gets homesick in this weird institution run by The Bat (Michael Sheen) with a horrible house called Andromeda where students undergo strange rituals. Useless master Meredith (Simon Pegg) spends all of his downtime Skyping former love Audrey (Margot Robbie) who has clearly found a new romantic interest in South Sudan. When a company called Terrafrack run by Bat’s mate Lambert (Alex Macqueen) unearths a huge sinkhole emitting a terrible methane cloud it appears it has disturbed some strange subterranean creatures in the woods. And there’s an eco protest group nearby where Woody (Nick Frost) has a stash of drugs he wants to sell but there’s more to him than anyone suspects … We’re going to let them run our fucking country? From a screenplay by debut director Crispian Mills and Henry Fitzherbert, this is the latest Simon Pegg/Nick Frost collaboration, following their Cornetto Trilogy but they are minor characters, sidelined by attractive teens.  This is a story with the evils of fracking at its heart that traffics in charm rather than terror in episodic fashion. No more than Don’s mother, it has aspirations above its station in its references and a swipe at class difference, with a photo of Malcolm McDowell in the great If… on Willoughby’s wall. But it’s a schlock horror not a shock horror with lowbrow laughs, social commentary, some gore and a backstory that harks at myth. This may not be great but it is efficient genre cinema with oodles of good humour (and bad nature) and we might expect good things from the scion of Hayley Mills and Roy Boulting, never mind that he was also the frontman of Kula Shaker. The ecstasy of death

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Down and Out in Beverly Hills (1986)

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He’s gonna give the dog fleas. Unlucky homeless guy Dave (Nick Nolte) decides to call it quits, and so sneaks into a stranger’s backyard in the posh enclave of Beverly Hills and tries to drown himself in the pool. However, Jerry’s plans are stopped by the pool’s owner, white-collar businessman Dave (Richard Dreyfuss), who pulls the tramp out of the water and into the pool house. But Dave’s hospitality and his status-obsessed wife Barbara (Bette Midler), don’t impress Jerry, who ignores them and first makes their crazy dog Matisse (Mike!) take his instructions and then pursues the family’s maid, Carmen (Elizabeth Peña) who is Jerry’s lover. Then Barbara succumbs to him during a massage. As he insinuates himself into the family they each think he’s solely devoted to them. Things finally come to a head at the New Year’s party when Dave is trying to impress potential Chinese buyers and his anorexic daughter Jenny (Tracy Nelson) reveals the reason she’s eating again … I went shopping for gratification. But it was like sex without a climax. Paul Mazursky’s remake of the 1932 Renoir film Boudu Saved From Drowning (itself adapted from a French play) is a sprightly screwball farce with some very funny performances in this story of a one-man home invasion who seduces all before him, starting with the dog, who has his own psychiatrist. Taking potshots at midlife crises, below-stairs relationships, race relations, wellness fads, consciousness raising and silly people who have more money than sense, it might not be the vicious satire you expect from Mazursky but it’s hilarious from start to finish with some really smart verbal transitions from scene to scene. Co-written with Leon Capetanos. I knew that bum was trouble

Cold Sweat (1970)

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Aka De la part des copains. Killing him wouldn’t be murder; it would be like cleaning a cesspool.  American ex-pat Joe Martin/Moran (Charles Bronson) finds out his old gang of US Army escapees has just been released from prison – and they kidnap his wife Fabienne (Liv Ullmann) and young daughter (Yannick de Lulle) in revenge for his betrayal when he abandoned a job after witnessing his accomplices murder a military policeman. The criminals are led by his former company commander Captain Ross (James Mason) and psychopath Katanga (Jean Topart) and they want Joe to transport drugs on a boat that’s part of his rental business as part of their vengeance… Adapted very loosely from a Richard Matheson novel (Ride the Nightmare) by director Terence Young’s wife, the Irish novelist Dorothea Bennett, and Jo Eisinger, Albert Simonin and Shimon Wincelberg, this is a picturesque outing shot mostly in Beaulieu-sur-Mer in the South of France – the location for one of our faves, Dirty Rotten Scoundrels, with Michael Caine, who starred in The Jigsaw Man, adapted by Eisinger from Bennett’s novel and directed by … Young! Aside from a humdinger of a car chase in the hills above the Med in an Opel Kadett, of all things, and the luminous settings, that’s probably the most interesting factoid about a production which was the first to render Bronson a major star. And he looks the part with a stolid performance that finally yields a smile in the concluding Bastille Day sequence. His wife Jill Ireland also has a role down the ensemble as a dippy hippie drug dealer although it’s the crims we enjoy more:  Topart and Mason are pleasantly sadistic, just the way we like them. A French-Italian co-production. Do you know how many pints of blood a man has? He has ten pints, and mine’s pumpin’ out, slowly but steadily, at an estimated rate of four pints per hour. Therefore, in another hour, I will have lost consciousness and finally “check out.”

 

Les Amants du Pont-Neuf (1991)

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Hello, dreamed of you. Love woke me. Artist Michèle (Juliette Binoche) who is losing her sight, encounters fire-eater Alex (Denis Lavant), a homeless guy with addiction problems.  They embark on an unlikely relationship at the Pont-Neuf in Paris, closed over the summer for repairs. They have to deal with a landlord of sorts (Klaus-Michael Grüber).  Leos Carax’s enervating romantic drama is beautifully shot by Jean-Yves Escoffier with a soundtrack featuring David Bowie, among others. Set during France’s 1989 Bicentennial celebrations this is a weirdly brutal, bewildering, compelling, rather magnificent oddity. Quite thrilling, like a nutty modern-day silent movie. Spot Edith Scob in the last scene, an homage to L’Atalante. Do you like it?/Yes./Yes yes or yes no?/Yes yes!

Saraband for Dead Lovers (1948)

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Aka SarabandNo one’s safe in love. In the 18th century, Sophie Dorothea (Joan Greenwood) is forced into marriage with Prince George Louis (Peter Bull), an aristocrat destined to inherit the British crown as George I. But when he becomes king, Sophie meets suave Swedish mercenary Count Philip Konigsmark (Stewart Granger) with whom she falls in love.  They decide to flee England together, abandoning her horrific marriage. Their scheme is discovered  however and the lovers must figure out a way to escape while Philip’s previous lover Countess Platen (Flora Robson) plots revenge … My sisters have been liberal with their favours in half the courts of Europe.  Doomed romance! Beautiful costumes! Colour cinematography! John Dighton and Alexander Mackendrick’s adaptation of Helen Simpson’s melodramatic novel about the Hanoverian claim to the British throne hit the ground running for Ealing with the man chat show host Michael Parkinson described as resembling a Maltese pimp setting hearts and more aflutter. Greenwood’s husky voice alone is worth the price of admission. This lavish post-war tale was just what the doctor ordered with the exigencies and privations the nation was suffering in the aftermath of combat. Françoise Rosay makes a wonderfully superior Electress Sophia while Anthony Quayle and Michael Gough line up among the ensemble and the score by Alan Rawsthorne is just swoonsome. Fabulously entertaining, overblown saucy fluff directed by Basil Dearden and produced by Michael Balcon and Michael Relph.  I hear she doesn’t want me for a husband. Well, I sympathise with her – I don’t want her for a wife

Out of Africa (1985)

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I had a farm in Africa, at the foot of the Ngong Hills. After a failed love affair in Denmark the aristocrat Karen Blixen (Meryl Streep) sets out for the white highlands of Kenya where she marries her lover’s brother Bror (Klaus Maria Brandauer).  She is intent on dairy farming, Bror instead spends their money on a coffee plantation. After discovering Bror is unfaithful when she contracts syphilis, Karen develops feelings for British hunter Denys Finch Hatton (Robert Redford) but he prefers a simple lifestyle compared to her upper class affectations. She separates from Bror and sets about remaking her home to his taste. The two continue their relationship until a series of events force Karen to choose between her love life and her personal growth as an individual … Like a lot of people, I imagine, I first heard of Isak Dinesen (or Karen Blixen) courtesy of The Catcher in the Rye. If it was good enough for Holden Caulfield, I figured, I’ve got to check it out. And that was my introduction to a great writer whose life is immortalised here in the form of La Streep while the less than glamorous Finch Hatton is personified by Redford. History is rewritten right there! But their chemistry is so right. Streep is wonderful as the woman who finally finds herself, Redford is great as a hunter who simultaneously deplores environmental destruction – these are fantastic star performances.  So the school, the farm, that’s what I am now Director Sydney Pollack later regretted that he didn’t shoot this in widescreen and you can see why. This is a film of big emotions in a breathtaking landscape that dwarfs the concerns of the little people, aristos or not. There are fabulous, memorable scenes:  when Denys shampoos Karen’s hair; when they play Mozart on the gramophone to monkeys and Denys remarks that it’s their first exposure to humans; when he takes her flying; when she begs for land for the Kikuyu. And when she leaves.  If you like me at all, don’t ask me to do this Altering the focus of Dinesen’s writing somewhat to the personalities rather than the issues that actually drove Dinesen and the contradictions within Finch Hatton, it’s a glorious, epic and tragic romance sensitively performed, with a meticulous score by John Barry. Kurt Luedtke’s screenplay was adapted from three sources:  Dinesen’s Out of Africa;  Judith Thurman’s biography Isak Dinesen:  The Life of a Story Teller;  and Silence Will Speak by Errol Trzebinski. He prayeth well that loveth well both man and bird and beast

 

The Leopard (1963)

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We were the leopards, the lions, those who take our place will be jackals and sheep, and the whole lot of us – leopards, lions, jackals and sheep – will continue to think ourselves the salt of the earth. As Garibaldi’s troops begin the unification of Italy in the 1860s, an aristocratic Sicilian family grudgingly adapts to the sweeping social changes undermining their way of life. The proud but pragmatic (yet feline) Don Fabrizio Corbera, Prince of Salina (Burt Lancaster) allows his fickle war hero (who changes sides) nephew, Tancredi (Alain Delon), to marry Angelica (Claudia Cardinale), the beautiful daughter of gauche, bourgeois Don Calogero Sedara (Paolo Stoppa) in order to maintain the family’s accustomed level of comfort and political clout when the fighting approaches their summer home in Sicily but the Prince is himself enchanted with her …  Adapted from Giuseppe Tomasi Di Lampedusa’s masterful novel by director Luchino Visconti and Suso Cecchi d’Amico, Enrico Mediloi, Pasquale Festa Campanile and Massimo Franciosa, rarely have the obsessions of a novelist coincided so fortuitously with those of a filmmaker. The Marxist aristocrat Visconti had an intimate acquaintance with the notion of a society in transition and the magnificent central performance by Lancaster anchors the affect in nuance and specificity as he questions his identity and relevance.  The battle scenes that open the film are sunny, stunning and violent, shot almost entirely wide which gives them an appropriately epic quality. The final forty-five minute ball sequence during which the Prince dances with Angelica and Tancredi and the Prince’s daughters look on in variously anguished forms is tantalising:  there are shot choices that make you squeal with delight, almost as gloriously as Cardinale’s devastating laughter at the dinner table. Was there ever a more beautiful or seductive couple than Delon and Cardinale, reunited after Rocco and His Brothers? Not a lot happens:  the Prince realises his way of life (‘leopards and lions’) is changing and he is experiencing history as it unfolds. He discusses his ridiculous marriage with his priest Father Pirrone (Romolo Valli);  he observes a rigged plebiscite;  goes on holiday and a picnic;  hunts;  arranges Tancredi’s marriage to Angelica; walks home from the ball in the early hours of the morning and recognises the shabbiness of the decaying district over which he presides. The novel is wonderful and it is shocking to realise Di Lampedusa died before he could see it become a phenomenon in 1958. A magnificent, bewitching, bittersweet film adaptation made when cinema was great with an immersive score by Nino Rota that perfectly encapsulates a world in love with death. For the ages. We’re just human beings in a changing world.

A Quiet Place (2018)

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Who are we if we can’t protect them? We have to protect them.  Over three months in 2020, most of the Earth’s human population has been wiped out by sightless creatures with hypersensitive hearing and a seemingly impenetrable armored shell that attack anything that makes noise. The Abbott family — engineer husband Lee (John Krasinski), wife Evelyn (Emily Blunt), congenitally deaf daughter Regan (Millicent Simonds), and sons Marcus (Noah Jupe) and Beau (Cade Woodward) — silently scavenge for supplies in a deserted town. Though skilled in sign language the family must nonetheless be vigilant in case they make accidental noise. Four-year-old Beau is drawn to a battery-operated space shuttle toy, but his father takes it away. Regan returns the toy to Beau, who unbeknownst to her takes the batteries their father removed. Beau activates the shuttle when the family is walking home through the woods, near a bridge. Its noise makes him an instant target for a nearby creature, and he is swiftly killed. A year later Evelyn is pregnant, Regan is plagued with guilt and convinced her father doesn’t love her (despite working on a cochlear implant for her) and he takes Marcus out on survival training just as the creatures are circling the farm and weeks before Evelyn is due to give birth … A canny blend of horror, sci fi and maternal melodrama, the fact that this has a somewhat unclear endpoint doesn’t necessarily ruin its affect. Third-time director and star John Krasinski contributed to the rewriting of the screenplay by Scott Beck and Bryan Woods (which had just one line of dialogue) and it’s a testament to the construction that the hook gets a great payoff but still sacrifices a major character. The thrills mount as the tension grinds on, the family treading barefoot everywhere as the slightest noise could bring these aliens swooping down on them.  The elements – air, water, fire – are put to deft use in this clever narrative which tests the audience and not just because a lot of the diegetic atmosphere consists of … silence.  Mercifully short (at 90 minutes) this has all the best elements of 70s horror and a cliffhanger of an ending which means you just know there will be a sequel.

 

Psycho IV: The Beginning (1990) (TVM)

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Get off of me! You are going to forget once and for all about that filthy thing of yours! You’ll forget that you even have one of those things! Do you understand me, boy? Released from a mental institution once again, Norman Bates (Anthony Perkins) calls in to tell his life story to a radio host (CCH Pounder). Norman recalls his days as a young boy living with his schizophrenic mother (Olivia Hussey), and the jealous rage that inspired her murder. In the present, Norman lives with his pregnant wife psychiatrist Connie (Donna Mitchell), fearing that his child will inherit his split personality disorder, and Mother will return to kill again… Both a prequel and a sequel, this made for TV entry in the series has the original writer Joseph Stefano (never mind Alma Hitchcock’s contribution!) and a whole heap of interest to anyone who either visited the Universal FLA lot where it was shot (I have the shower curtain!) or was addicted to Bates Motel (to which it bears no relation, but you know what I mean).  Apparently Perkins wanted to have his Pretty Poison director Noel Black direct it from a screenplay by III scripter Charles Edward Poague but that film’s commercial failure meant a change in talent and Mick Garris was brought in to direct. Stefano didn’t like the violence in the preceding two films and ignored the backstory about Mrs Bates in II and the aunt in III.  Now, Norman Bates is married. Whatchootalkinabout?! Yup, they go there. Literally the unthinkable. And having a child. With a psychiatrist. Gulp … Pushing Freudian and schizoid buttons galore, Henry Thomas plays the young Norman in out of order flashbacks that clarify the events triggering the break in his personality with a path straight up to the first film.  Ironically this is probably the weakest of the sequels despite Stefano’s desire to have a psychologically accurate portrait of a cross-dressing mother-loving voyeuristic serial killer. But you just have to watch. Don’t you?! A  must for completionists.

 

 

Jasper Jones (2017)

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It’s not my brand. It’s the late 1960s in the small town of Corrigan in Western Australia.  14 year old Charlie Bucktin (Levi Miller) is the son of writer Wes (Dan Wyllie) whose frustrated wife (Toni Colette) is a restless soul. Wannabe writer Charlie spends his days with his best friend Jeffrey Lu (Kevin Lu), a Vietnamese boy daily confronted with race hate in a place where young men are being sent to Vietnam. Eliza Wishart (Angourie Rice) daughter of the President of the town hall becomes more and more endeared towards Charlie and they bond over their mutual love of books. On Christmas Eve Charlie is unexpectedly visited by Jasper Jones (Aaron L. McGrath) an outcast due to his mixed White-Aboriginal heritage and rebellious lifestyle. Jasper begs for Charlie’s help, and leads him to his private glade where Charlies is horrified to see Jasper’s girlfriend Laura Wishart, battered and hanging from a tree. Jasper, aware that he is likely to be blamed for Laura’s murder, convinces Charlie that they should hide the body, so they throw it into a nearby pond, weighted by a large rock. Jeffrey is passionate about cricket, but his attempts to join the Corrigan team are thwarted by the racism of the coach and other players. Eventually he finds himself batting in a game against a rival town, watched by Charlie, who has befriended Eliza, Laura’s younger sister. As Jeffrey wins the game on the last ball, Charlie and Eliza hold hands and embrace. A search for the missing girl is soon organised, focused on the idea that she may have run away. Jasper is interrogated roughly by the local police, but he soon escapes. Meanwhile tension builds in the town, as parents fear more disappearances, and townspeople search for someone to blame. The tension is funneled into strict curfews for the children as well as racial attacks on Jeffrey’s family. It is revealed that Charlie’s mother, increasingly disillusioned with life in Corrigan and her marriage, is having an affair with the Sarge involved with the investigation into Laura’s disappearance. Jasper believes that Laura’s murderer is Mad Jack Lionel (Hugo Weaving) an old recluse rumored to have done terrible things in the past. Jasper determines to confront Lionel on New Year’s Eve, and together with Charlie, goes to his house. Lionel manages to defuse Jasper’s aggression, and the truth comes out: Lionel is actually Jasper’s grandfather who had ostracised his son’s family knowing that he had married with an Aboriginal woman when Jasper was a baby. His daughter-in-law then took care of him, spurring a change of heart towards her. One night, she needed medical attention, and Lionel had attempted to race her to hospital. In his haste, however, he accidentally crashed his car, causing her death. The incident has left him guilty, broken, and ostracized by the townspeople. Ever since, Lionel has been trying to reach out to Jasper and apologise for his actions. On the same night, Charlie comes to Eliza’s window. They go to Jasper’s glade. Here Eliza tells Charlie that she knows everything about Laura’s death and hands him Laura’s suicide note which explains the incestuous rapes to which their father had subjected her and left her pregnant. Eliza witnessed her sister’s suicide by hanging and then Charlie admits to her that he and Jasper got rid of her body. After exacting a revenge on her father the secret remains with Charlie and Eliza and her mother, who destroys the note but Charlie’s own family is broken up when his mother leaves the small town which cannot contain her … Craig Silvey adapted his own novel with Shaun Grant.  Director Rachel Perkins sustains an admirable atmosphere and sympathy in what is essentially a family drama enlivened by what Freud ironically termed ‘romance’ with a supposed murder mystery at its centre. The playing is excellent by actors both young and old with a canny sense of what it is to be young and trying to figure out how adults inflict damage on everyone around them – this is practically a thesis on different models of fatherhood, but it’s so well constructed you don’t understand until the final shot. The mystery isn’t really the point either although there is a deal of suspense. It’s a film that perfectly captures what it is to be young, to love books and to be loyal to your friends and the myriad ways that kids find to survive their parents.  There are echoes of To Kill a Mockingbird and Stand By Me in the themes rendered here but it exists on its own merits as a complex coming of age drama with its distinctive setting and concerns.