Film
Lisa-Marie Ferla
According to US television anchor Stephen Colbert, there are only three ways to end your career as a rock star: overdose, overstay your welcome or write Spiderman: The Musical. Rockers, he says, during a televised interview with LCD Soundsystem frontman James Murphy, don’t get to walk away - certainly not at the peak of their careers, when every album they release is still greeted with critical adulation and they’re capable of selling out Madison Square Garden.And yet, in April 2011, that’s exactly what the then 41-year-old New York performer and DJ chose to do. The Colbert interview, clips Read more ...
emma.simmonds
Australian director John Hillcoat certainly knows what he likes, and what he likes is lawlessness. It’s the central focus of his brilliantly uncompromising film Ghosts… of the Civil Dead, which saw a high-security prison driven to bloody ruin, and of his scorching western The Proposition. And there it is again in the anarchic dystopia of The Road (less impressive because, despite Hillcoat’s flair for brutality, it perversely shied away from some of the key violence of the source novel). It therefore comes as no great surprise that Hillcoat’s Prohibition-era latest should be lawless not just Read more ...
igor.toronyilalic
Even though their names are bound together in the portmanteau title, the directors of the four short films that make up RoGoPaG - Rossellini, Godard, Pasolini and Gregoretti - don't go for any sort of narrative tie-ins. The only thing that links the films are the Sixties themes: nuclear annihilation, the shifting role of women and the rise of consumer capitalism. The largely unsatisfying results would only recommend themselves to the dedicated arthouse fan or movie historian were it not for Pasolini's inspired contribution, La Ricotta.The generosity of vision in Pasolini's La Ricotta Read more ...
Matt Wolf
Alfred Hitchcock famously loved his blondes, and they didn't come much more lovable than Barbara Harris. A Broadway star during the 1960s who later shifted her attentions towards film, Harris was at the peak of her talent in Family Plot, a delightful if minor Hitchcock entry distinguished by a fine quartet of American leads (Karen Black, William Devane and Bruce Dern are the others) among whom Harris stands apart. Indeed, by the time of the conspiratorial wink from Harris that closes the film, audiences will surely find themselves already grinning right back.As it happens, Family Plot was Read more ...
Karen Krizanovich
There’s no Mars or Arnie, but the new Total Recall has science fiction goodness running through it. A mile of Blade Runner, a yard of Fifth Element, a furlong of Star Wars and an inch of RoboCop make up the distances in Len Wiseman’s glossy, brooding take on Paul Verhoeven’s beloved Nineties hit. Production designer Patrick Tatopoulos must have been up for months watching the best science fiction films and deciding where their memorable bits would fit here. (He’s not left out I, Robot or Minority Report, in case you like those too.) As if to honour the story that inspires it, Total Recall Read more ...
alexandra.coghlan
Never one to underestimate the potency of a cameo (as evidenced by his own appearances in his films), Alfred Hitchcock had a particular genius with supporting roles – generating menace, intrigue or comedy with the fewest of brush strokes. Two of his earliest, and slightest, creations would also prove two of his most enduringly popular: cricket-obsessed duo Caldicott and Charters from 1938’s The Lady Vanishes.Played by Naunton Wayne (Caldicott) and Basil Radford (Charters), the two ex-Oxford men of sound character and indeterminate sexual preference all but transform a thriller into a social Read more ...
graham.rickson
Shadow of a Doubt was reputedly Hitchcock’s personal favourite among his films. Joseph Cotten was cast against type as the glamorous, homicidal uncle, fleeing from the police and pitching up unexpectedly in his sister’s household in a sleepy Californian town. Hitchcock’s decision to shoot Thornton Wilder's script largely on location gives the film a unique flavour.Hume Cronyn provides light relief as the shuffling Herb Hawkins, the crime-obsessed neighbour whose unwelcome intrusions punctuate the family gatherings. A maladroit, ageing manchild whose clothes never quite fit, he’s still living Read more ...
Karen Krizanovich
If you hate zombies and East End gangster movies, Cockneys vs Zombies will wreck those prejudices. Expect to have them turned topsy-turvy by this pocket-sized dynamo of horror comedy. Visually, it gets the simple things right straightaway. The blood looks real(ish). The London locations are cheerily drearily evocative. Then there's the unique opportunity of seeing Goldfinger Bond Girl and all-around heroine Honor Blackman fire a machine gun. Certainly as good as if not better than Shaun of the Dead, there is no doubt that Cockneys vs Zombies will be, in some Read more ...
graeme.thomson
It’s remarkable how many of the 20th century's most culturally significant popular musicians – from Louis Armstrong to John Lennon – emerged from a childhood defined by lack or absence. As Kevin MacDonald’s epic and enlightening documentary about the life of Robert Nesta Marley illustrates, much of his righteous anger, steely determination and elusive nature stemmed from the dubious legacy of a shady, philandering English father who was white, feckless and an almost entirely ghost-like figure in his son's life.This is a vivid and balanced portrait, neither hagiography nor hatchet job, which Read more ...
emma.simmonds
If in space no one can hear you scream, that’s certainly not a problem you’ll experience in a giallo sound studio. Known for their high anxiety and buckets of blood, the Italian giallos of the Sixties and Seventies gave us heinous horror, drenched in style. Directors such as Lucio Fulci, Mario Bava and Dario Argento enjoyed a reign of terror with their handsome barbarism benefitting from fantastically histrionic sounds and scores. In Berberian Sound Studio writer-director Peter Strickland takes this phenomenon as a mere starting point, following his self-financed debut Katalin Varga with Read more ...
Jasper Rees
Aside from the platinum hair and the porcelain beauty, there is no identikit Hitchcock blonde. She can be an ice-hearted femme fatale or a traumatised hysteric, or she can be Grace Kelly, a peachy embodiment of femininity whom the director enjoyed throwing in harm’s way. He would memorably do it in Rear Window, a film which he talked about to his leading lady throughout the making of Dial M for Murder.Hitchcock first saw Kelly in the same 1950 screen test which persuaded Fred Zinnemann to cast her in High Noon (1952). Whatever he saw, he deemed her ideal for Dial M for Murder (1954), a film Read more ...
Demetrios Matheou
Like his great contemporary Jimmy Stewart, Cary Grant not only gave some of his best performances for Hitchcock, he also grabbed the opportunity to darken his screen persona. It was never the case, with either of them, of simply playing “baddies”. Far more significantly, they revealed the dark psyches of average, even good men, in performances that leave the audience with the bitter aftertaste of familiarity.In Grant’s case, there is no better example of this than in Notorious. Released a year after World War II, on the surface the film is a spy yarn about Nazis conspiring against the US, Read more ...