Director: Simon Curtis Starring: Domhnall Gleeson, Margot Robbie, Kelly Macdonald. UK. 1h 47m
For years people had been probing for Winnie the Pooh, the character holds a lot of sentimental charm for so many generations, the profitability of this really came to be noticed, not after the museum was set up but when Disney basically bought it. For a long while I just assumed this was going to be a mushy Hollywood rendition of the creation story pasted with a rose tint and lateyed in the good times Disney branded family fun, but it couldn’t be further from what was magically achieved in this heartbreaking, thought provoking biopic.
Christopher Robin is the boy who, we all seem to know and love and yet no one really knows at all, well I’m sure the die hard fans weren’t shocked about any ot the revelations within Curti’s period piece but I did have my eyes opened to a life that seemed so charming, and yet through the creation of a cult classic book, part of what should have been a charmed childhood was ruined and all for the success of a book that reminds us all to care and take our time with life.
In a heated conversation between a couple of shabby fellows after a night of debauchery, a poignant line is shouted, the definition of the film title and ethos of what you have spend an hour watching… it goes something along the lines of “meeting someone fucking their brains out and when you get bored you move on”. This dry argument is a key to Penny Woolcock’s vibrantly disturbing drama surrounding the most powerful bouts of writer’s block that Paul might ever have in one lifetime.
Director: James McTeigue Starring: John Cusack, Alice Eve, Luke Evans, Brendan Gleeson,Oliver Jackson-Cohen, Sam Hazeldine, Dave Legeno. USA. 1h 51m
Journalism and celebrity are the subjects of this Victorian clad detective story. Fictionalising the final days of Edgar Allen Poe, giving him some majesty while being down and out in Baltimore 1849. No one wants to publish his iconic flavour of the macabre anymore and his life is in tatters.
Director: Mark Gill. Starring. Jack Lowden, Jessica Brown Findlay, Simone King. UK. 1h 34m.
I never really planned on watching this biopic as I have no interest in Morrissey and only casually listen to the Smiths from time to time, obviously like most people born in the 80s and 90s at least, I’m aware of “that song” but overall I spend more time watching Morrissey’s own fans cringe whenever he opens his mouth about topical issues, and if they are cringey about it I am sure I don’t really want to get involved. Eventually I did, through more curiosity about the film than the man, and I am forever pleasantly surprised as the film distances itself Morrissey the man and somehow manages to find a modest insight into any misunderstood awkward Manchurian. This modest approach to such a controversial figure is both clever and has resulted in a poetically beautiful film. Continue reading England is Mine (2017)→
(a.k.a. Zombies, Zombie Bloodbath and Voodoo Blood Bath)
Director: Del Tenny Starring: William Joyce, Heather Hewitt, Betty HyattLinton, Dan Stapleton .USA. 1h 25m
There’s a kitchy comic wanderlust feeling about this movie which is what makes it so memorable, no matter how cheesy or racist it ends up, it’s from the mid 60’s it’s going to be questionable by todays standards but it had a great vibe, a goofball story and possibly the first suicide bomber zombie?
Written, Produced and Directed by Del Tenny in the mid 60’s there wasn’t much scope for getting the movie released until 1971 when it was unshelved and became a drive in legend with a similar named production called I Drink Your Blood (1970) and as off key freaky duo they work together however with the addition of savage natives, zombies and evil scientist neither are really all that scary. Tenny’s other swinging flicks include The Horror of Party Beach and The Curse of the Living Corpse both from 1964 and share all the psychobilly themes of any halloween tiki party. Continue reading I Eat Your Skin (1964/1971)→
AKA: Demons III Director: Lumberto Bava Starring: Virginia Bryant, Sabrina Ferilli, Paolo Malco, Patrizio Vinci. Italy. 1h 34m
So many classic horror novels are produced from the bizarre dream of the writer, Frankenstein was a fever dream so powerful that Mary Shelly had to get the essence down on paper in a male dominated world, going against the grain she knew that her unique mix of man playing god and the promise of some dark everlasting life was literary gold. Other writers have often marveled how they bring their nightmares and dreams to live in their writing and films, which is the premise of this scrawny horror. Made for TV in the mid 80’s there’s a lot of 70’s backlash in this Bava effort, which made up a trilogy of direct to video/tv film series.
Director: Pascal Laugier. Starring: Taylor Hickson, Anastasia Philips, Kevin Power, Rob Archer, Mylene Farmer, Crystal Reed, Emilia Jones, USA. 1h 31m.
Pascals past record, in my opinion is chequered, in his early career he assisted on one of the most perfect films ever made, Le Pacte Des Loups (2001) he broke the mold and may stomachs with the New French Extreme visceral classic, Martyrs (2008) then let me down with the confusing and long winding, No Slender Man tale of the Tall Man (2012), but he’s come back swinging with a perfect blend of all the best psychological and physical horror from his past, with a sublime film that gives the creeps and will rattle a few cages along the way. His approach to this twisting tale is unique in that it plays on a strange story this is presented from different perspectives each slipping in and out of each other seamlessly but the dynamics are hauntingly beautiful and yet covered in as much nostalgic creepiness as the house it’s set in.
The two young sisters at the centre of this film, couldn’t be more different, Beth (Reed/Jones) is a sensitive horror writer, always lost in her thoughts about Lovecraft inspired texts but faints at the sight of blood, her ballsy sister is pretty awesome, hot tempered and ready for a fight but they are sisters, just so different the fiery Vera (Philips/Hickson) is a delight. Continue reading Ghostland (2018)→