Friday, October 24, 2014

My Take on the 58th London Film Festival

It’s been a long time since the London Film Festival was my beat and I was a card-carrying member of the press corps. Back in those days, in the fortnight leading up to the LFF’s Opening Night, I’d gorge on three screenings a day, topped up with a stack of screeners for home consumption - and that was before the whole thing started and then there’d be even more daily showings to squeeze in. Movies all day. Booze well into the wee small hours. Cadging stray minutes throughout the day and night to actually write the whole thing up. It was a blast.

The highlight of that time was finding the things that you didn't know existed. Sitting and watching Mulholland Dr. or Punch-Drunk Love or Ichi the Killer for the first time.

Now, I cherry-pick from the programme, picking out the “I Hope That’s Great”s whilst navigating my own schedule and availability and finances to ensure that I have a Good Film Festival.

This year certainly qualified as a Very Good Film Festival. Here we go:


Pasolini
It took me a little while to warm to Abel Ferrara’s impressionistic portrait of the last day of Pier Paolo Pasolini, but I can remember the exact moment when I was completely sold. The Staple Singers’ "I’ll Take You There" swells on the soundtrack as the frame is filled with a close-up of Willem Dafoe’s troubled, bespectacled visage - the finest use of the Staple Singers since The Last Waltz. Maybe even since Let's Do It Again. Soon after, there’s a snippet of the Swamp Fox Tony Joe White’s “Polk Salad Annie” and a great segue from Dafoe announcing to the proprietor of a trattoria "I'm waiting for Ninetto" into a story-within-the-story featuring the real Ninetto Davoli himself, replete with a shock of thick white hair. He's aged very well. We also get glimpses of what would most likely have been Pasolini’s next feature project which, from the fragments we see, looked like it was intended to be somewhat in the spirit of Uccellacci e uccellini, as Pasolini’s last night moves inexorably towards its tragic end. The dialogue throughout flips between English and Italian in a way that, surprisingly, isn't jarring and Willem Dafoe’s subtle, thoughtful, mournful characterisation is superb. He really knows how to rock a pair of bell bottoms, too.


A Girl Walks Home Alone At Night
Ana Lily Amirpour’s skateboarding Iranian vampire Western (shot with the stark, striking crisp photography reminiscent of Robby Müller's work with Jim Jarmusch) does not wear its love of Lynch lightly. It is, after all, both wild at heart and weird on top. But I also thought it hit a vein of Michael Almereyda's Nadja too. Excellent sound design (particularly the sequence where a piece of music becomes suddenly overlaid with the gentle bumps of a heartbeat), and Sheila Vand is the spit of a slightly younger Asia Argento. Lots of fun.


It Follows
Shot in Detroit, Michigan (although I couldn't help thinking of it as Haddonfield, Illinois), It Follows is heavy on the Halloween, but is also an effective, genuinely disquieting chiller in its own right. Here. John Carpenter’s stolid, impassive Shape has transmuted into David Robert Mitchell's protean, relentless shapeshifter. It was almost enough to put me off sex for life. Almost…

Halloween’s subtext becomes It Follows’ supertext, in an environment where abstinence and celibacy can save your life and sex kills. Or, if you know how to play the game right, sex might just be the path to salvation. Along with the heavy notes of the Horror Master, there’s also a bouquet of John Landis (in particular the gimmick of having old public domain B-movies crackling away in the background, with their soundtracks doubling up to underscore this film’s action) and more than a little bit of Scooby-Doo. But I thought the biggest resonance here, intentional or otherwise, is Spielberg, echoing his early predilection for populating his worlds with absent or faceless parents. And I loved the Disasterpeace soundtrack. Whilst the central conceit is rich for mining in the future, I fervently hope this remains a one-off that doesn't succumb to sequelitis.


A Girl At My Door (Dohee-ya)
July Jung’s South Korean drama starts with the familiar set-up of stranger-in-a-strange-land, fish-out-of-water à la Hot Fuzz and Copland, but as it progresses it starts to go to some very dark and unexpected places. To say much more than that would spoil the skillfully calibrated run of reveals. I can say this much: Doona Bae (terrific in her brooding, understated central role) is a disgraced cop transferred to a small fishing village, where the old adage “no good deed goes unpunished” comes to pass as she comes to realise that her lack of understanding about local customs, culture and community results in a succession of unintended consequences, soaked in alcohol and steeped in violence.


No Man’s Land (Wu ren qu)
Bad people do bad things to bad people in a nasty, stylish and very, very funny Golden Harvest Spaghetti Western. (A Noodle Western?) Luxuriating in the Leone playbook, all the exterior scenes are hyper-stylised in a heavy orange wash. (So orange, you almost expect the Road Runner to go meep-meeping past with a smoldering coyote hurling Acme products in his direction). A scumbag lawyer finds that he has to Break Bad as he navigates a desolate Looney Tunes landscape populated with twisted oddballs redolent of Oliver Stone’s U-Turn. The lone bum note here is a final scene that somewhat undermines everything that came before it. Lop off the last five minutes and this is a scuzzy delight.


When Animals Dream (Når dyrene drømmer)
Like a Danish Ginger Snaps shot through with the staid, sterile provincial ambiance and tempo of Les Revenants. Confidently paced for most of its running time, its easy to forgive a final act that accelerates into bloody, full-throated genre conventions. It’s also worth singling out Lars Mikkelsen as the star player here, shouldering the weighty responsibility of devotion, sacrifice and dark secrets with quiet stoicism. A smart and genuinely quite moving take on love and lycanthropy.


Cub (Welp)
There's something in the woods! A grisly, inventive Belgian slasher that validates my lifelong antipathy to camping. Jonas Govaerts cites John Carpenter’s influence on the film’s visual grammar and narrative propulsion, and he also copped to the fact that he kind of wanted to answer the question Who Can Kill A Child? Lean, efficient and the exposition is sliced right down to the bone, Welp is a splattery joy.

Monday, September 08, 2014

Anamnesis

I frequently trawl through Google Image Search and save pictures for No Purpose Whatsoever. And then I end up with a folder full of pictures loitering on my hard drive just waiting to be consigned to the Recycle Bin awaiting permanent deresolution.

Not today! Today, I'm going to sling them all up here. No explanation, no context, nothing. And then I'm going to send them to the Recycle Bin. But for one, brief shining moment, they will have their moment on the screen.

Initiating image dump now.
















Saturday, August 30, 2014

Deuces

Here are a couple of quotes that have have been rattling around in my head recently. I'm sticking them here for safe-keeping. Keep an eye on them for me, will you? Thanks.

“Writing is like driving at night in the fog. You can only see as far as your headlights, but you can make the whole trip that way.” - E.L. Doctorow, Writers At Work: The Paris Review Interviews


“One day, someone showed me a glass of water that was half full. And he said, "Is it half full or half empty?" So I drank the water. No more problem.” - Alejandro Jodorowsky

Tuesday, August 05, 2014

True Detective


Still mourning...

"This is Jim Rockford. At the tone, leave your name and message. I'll get back to you." *beep*
"$200 a day, plus expenses..."



And this is how I fly a flag at half-mast...

Farewell, Jim Rockford. Rest in Peace, James Garner.

Tuesday, July 22, 2014

It Came From The Archives! - Seijun Suzuki’s Branded To Kill

One of my favourite films Of All Time arrives as an Arrow Films Dual Format Blu-ray and DVD from Monday 28th July.

Excited? You should be. Once upon a long ago, I wrote 4,000 words on Seijun Suzuki's Branded to Kill for the Wallflower Press book 24 Frames - The Cinema of Japan and Korea. Would you like to read it? I've got you covered. Steam up some rice, find a comfy chair and get reading.

If this embedding business works like I hope it will, you will be able to find that essay below (along with many others worthy of your time) courtesy of Google Books webmagic. (Click and scroll to Chapter 9).



Want some more? You may have noticed that the other chapter I contributed to that volume on Kinji Fukasaku's Battle Royale is not available via Google Books. But you can find that right here.

Thursday, July 10, 2014

Obsessive Compulsions: Who's on First?

Bud Abbott and Lou Costello are responsible for at least three "Firsts" in my life that I can recall. They were the first comedians that I can remember laughing at as a child, and they were the stars of the first horror movie I ever saw - Abbott & Costello Meet Frankenstein.

My first memorable laughs and my first memorable scares. That ain't bad.

I loved Abbott & Costello Meet Frankenstein. Still do. And I was thrilled when I discovered that Abbott and Costello had their own show and I could watch repeats of it Every Single Day. Which is where I discovered my third "First".

"Who's on First?"

It's a great bit. I'm still in awe of it. I almost forget that these were two seasoned pros that had honed and polished the skit for years on the vaudeville and burlesque circuit before it got anywhere near me.

Here it is in all it's punning glory.


It's such a strong bit that it's been borrowed and tinkered with, ripped apart and put back together again differently so many times over the years. And even when I hear a lesser riff, I still laugh.

Here's Morris Day and Jerome Benton in Purple Rain. Say the password, onionhead!

EDIT 22/07/14: And that clip from Purple Rain has already been removed from YouTube. So here is the scene in question from an undated draft of the script by Albert Magnoli and William Blinn. (Sadly, it lacks the glorious usage of the insult "onionhead" and instead has something quite...different.)


Morris: ...we ought to have like, a signal.

Jerome: A password.

Morris: Okay. What's the password?

Jerome: You got it.

Morris: Got what?

Jerome: The password.

Morris: The password is what?

Jerome: Exactly.

Morris: The password is exactly?

Jerome: No, it's--

Morris: -- Hold it now.  Slow down. The babe walks in and you see her.

Jerome: I see her.

Morris: You come get me.

Jerome: I come get you.

Morris: And I'll probably have a couple little sexies on the stand-by, and we don't want to upset them, do we? So you just glide by me and say...what?

Jerome: Okay.

Morris: The password is okay?

Jerome: Far as I'm concerned.

Morris: Dammit!  Say the password.

Jerome: What.

Morris: Say the password, sperm breath!

Jerome: The password is what.

Morris: (frustrated) That's what I'm asking you!

Jerome: (more frustrated) It's the password!

Morris: The password is it?

Jerome: (exasperated) Ahhhhh! The password is what!

Morris: It!  You just said so!

Jerome: The password isn't it!  The password is--

Morris: -- What?

Jerome: Got it!

Morris: I got it?

Jerome: Right.

Morris: It or right?
               
Jerome: (perplexed) What??


And here's Chris Tucker having a crack at it in Rush Hour 3:


Friday, June 13, 2014

Chewing Gum For The Ears

This is my goddamn jam.

Mike Paradinas of Planet Mu mixes up over a hundred theme tunes and sound bites from the vast wasteland of 70s and 80s British television. There's more about it here. So Damn Good.



Thursday, May 29, 2014

Come What May

Stray Bullets proudly (and shamelessly) presents... "Shards of AKA At Large over the last month". Aaaaaand...Action!







Tuesday, April 22, 2014

Greatest Clicks


To commemorate a decade of this blog, here’s a Top Ten rundown of the most clicked-upon posts Of..All...Time! I‘m loathe to call them “the most read”, because it may be more accurate to say these are things people clicked on, stared at for ten seconds and clicked away again in abject boredom. Who knows? Nevertheless, I’m doing it anyway. Here we go...

10. Black as Midnight on a Moonless Night

In which I rhapsodise about the Tao of Special Agent Dale Cooper and his eternally wise words on the finest beverage of all - a damn fine cup of black coffee.

9. Quid Pro Quo, Douchebags
I hate The Hangover with a vengeance. Even more than The Hangover hates you (and believe me, it does). So I decided to articulate my enmity here at some length. It warms the cockles of my blackened heart when people tell me how much they agree with me. Since I wrote this post, I found out that Mel Brooks is a big fan of The Hangover. This makes me ineffably sad.

8. Justice Is What I Seek - Avenging The Lone Ranger

My vigorous defence of Gore Verbinski’s unfairly-maligned future-classic The Lone Ranger, my favourite film of 2013.

7. Spring Break Forever, Bitches
My look at Harmony Korine’s Spring Breakers refracted through the lenses of Joseph Campbell’s monomyth and Dorothy Gale’s Technicolor trip to the merry ol’ land of Oz.

6. Too Weird To Live, Too Rare To Die

Some thoughts on one of my literary heroes, Dr. Hunter S. Thompson, after sitting through the somewhat dissatisfying Alex Gibney documentary Gonzo: The Life and Work of Dr. Hunter S. Thompson. When the going gets weird, the weird turn to blogging.

5. Kentucky Fried Friedkin
Following a screening of his blistering southern fried noir Killer Joe at London's BFI Southbank in 2012, William Friedkin took to the stage for a Q&A with Mark Kermode. I captured the best bits here.

4. Unhappy Campers - Kirkman, Moore & Adlard's The Walking Dead

Once upon a time, The Walking Dead was only a hugely popular ongoing black-and-white comic series and I loved it. I still love it and this is where I wrote about why.

3. Peeking under the hood of Nicolas Winding Refn’s Drive
I am eternally conflicted about both Nicolas Winding Refn and his film Drive. For all the things I like about both, I am convinced he’s just a trickster plagiarist who pilfers bits from his favourite movies and then bolts them together into sleek, shiny Frankenstein monsters. After watching Drive, I tried to unpick Refn’s myriad influences and wrote about them here.

2. It Came From The Archives! - Kinji Fukasaku’s Battle Royale

This one is super lucky! I first wrote about Battle Royale back in 2003 for a book. Then the book went out of print. So I took those words and put them here for the world to enjoy anew.

1. Living In A Box - Paul King's Bunny & The Bull
I can’t account for the popularity of this post on the little-seen and largely-forgotten 2009 film Bunny and the Bull. Either hardly anyone has ever written about it or (more likely), people are actually Googling for the 1953 Warner Brothers Looney Tunes short Bully for Bugs and are landing here instead...