Anime Competition - Win Fate/Stay Night: Unlimited Blade Works Double Play

Fate/Stay Night:Unlimited Blade Works is coming to Double Play and DVD on 30th September. Courtesy of Manga Entertainment UK, we have Double Play copies to give away.

Spells and swords clash in deadly combat in Fate/Stay Night: Unlimited Blade Works, a feature-length adaptation of the hit television series that amps up the action and gives the popular tale plenty of new twists. Join teen mage Shirou and his companions, beautiful spirit knight Saber and powerful magic-wielding schoolgirl Rin, as they are plunged into an epic battle for the Holy Grail.

The Fifth Holy Grail War is upon us. Mighty magi contending for the wish-granting Grail summon the seven classes of Heroic Spirit - Saber, Archer, Lancer, Rider, Berserker, Caster and Assassin - to do battle on their behalf. However, a wand is thrown into the works when good-natured but untalented teenage mage Shirou Emiya stumbles upon Archer and Lancer fighting, and is himself attacked.

Saved from death by the beautiful, blonde-haired Heroic Spirit Saber, who adopts him as her Master, Shirou finds himself dragged into an all-out magical war for the Holy Grail. He also gains a human ally in the shape of his popular schoolmate - and heir to the powerful Tohsaka magus family - Rin, whose own Servant is the sarcastic Archer. Drawn into a web of shifting alliances, spell-slinging sorcerers and deadly spirits, Shirou is going to need all the friends he can get…

To Win Fate/Stay Night:Unlimited Blade Works please answer the following question:

Q.What classic UK comedy team (which included Terry Gilliam) went on the search for the Holy Grail in a 1975 film?

You must be 18 years or older to enter.
Deadline for this competition is Sunday 20th October 2013 (23:59pm)

If you haven’t done already Like us and stay with us at our Facebook page (if you are already liking us just share this post)

Terms&Conditions: You Must be a UK or Irish resident aged 18 or older to enter. If your successful and win the competition then you will be asked for Postal address to arrange deliver of the prize.The competition is not opened to employees, family, friends of The Peoples Movies, Cinehouse,Network Releasing  who have the right to alter, change or offer alternative prize without any notice. The Peoples Movies, Cinehouse takes no responsibility for delayed, lost, stolen prizes.Prizes may take from days to a few months for delivery which is out of our control so please do not complain, we will tell you when prizes are sent to us, mostly all cops prizes come directly from the PR company representing the film distributor. Deadline Sunday 13th October 2013(23:59pm)..

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TIFF 2013 Review - Gerontophilia

Rating:
15
Release Date:
9,11,13th September (TIFF)
Director:
Bruce Labruce
Cast:
Pier-Gabriel Lajoie, Walter Borden, Katie Boland, Marie-Hélène Thibault,

The Oxford dictionary of Psychology defines the rather ominous term Gerontophilia thus: ‘A paraphilia characterized by recurrent, intense sexual fantasies, urges, or behaviour involving sexual activity with old people’. Bruce La Bruce’s feature film makes certain attempts at uncovering the nature of this particular affliction and in-so-doing unveils a bizarre fusion of love, obsession, and impulse.

Lake (Pier-Gabriel Lajoie) is a young attractive man with a beautiful girlfriend. However, after taking a job at a nursing home, he develops a romantic and sexual attraction towards senior citizen Mr Peabody (Walter Borden), which soon sees him at ends with a society that frowns upon such controversial relations.

La Bruce is no stranger to the subject of transgression from accepted behaviours, his repertoire flaunts a keen interest in the subject and continual exploration. Gerontophilia, whilst still engaging with transgression, is La Bruce’s tamer more palatable attempt at addressing taboo. The key to his success here lies in the beautifully reserved performances of Lajoie and Borden, particularly Borden who exudes a kind of charisma and class that makes the film charismatic to say the least. Though Mr Peabody’s reasoning never quite gets addressed, Lake’s is chopped and mixed so that the line between obsession and love is truly blurred. You’re never sure whether this is a faulted love story in the vein of Lost in Translation/Harold and Maude, or a darker story of incontestable carnal desire.

La Bruce spends far too much time wandering around Lake’s life, letting us live his bizarre fantasies and see his disgust at the retirement home’s desire to keep patients consistently catatonic. Attention meanders until finally Lake makes a definitive decision that opens the door to a hasty third act. Its this last act which plots the difficult covert relationship between the Peabody and Lake.

The issue is that there is much to be explored, too many things to see and so many questions about how this coupling works in, not physical but, emotional terms. The answer is a book too-soon closed once it is opened.  The tender heartfelt chemistry between the two is laced with a wry sense of humour, but just as we get into it, the door is slammed in our faces. La Bruce has perhaps best encapsulated the heart of such a relationship in this simple structuring; either that or he rushed the most enjoyable part of his film.

Arguably La Bruce has forsaken his usual outré stunts to get a shot at the big audience, but I would probably put this down to a tasteful regard of a personal choice deserved of as much compassion as the usual boy meets girl tripe dragged out of mainstream cinema year after year. That’s another point in Gerontophilia’s favour: its unpredictable as a romance or drama because it simply isn’t like anything you’ve ever seen.

Brave in an entirely different way, but far from perfect. La Bruce may have ditched the shock tactics of sexual coercion in favour of a more subdued character study, but here is a film suffering from long stretches of tedium, bad acting, and dull dialogue until its last half hour. However, good sound-tracking, Nicolas Canniccioni’s passive shooting, and a great performance from Walter Borden make this an ultimately charming venture.

★★★☆☆

Scott Clark

Blu-Ray Review - Convoy 35th Anniversary Special Edition

Rating:
12
Distributor:
StudioCanal UK
DVD/BD Release Date:
30th September 2013 (UK)
Director:
Sam Peckinpah
Cast:
Kris Kristofferson, Ali MacGraw, Ernest Borgnine , Walter Kelley
Buy Convoy:
DVD
Convoy is in the surprisingly in the very long lineage of films based on songs which seem to go back almost as film itself. The film is based on the trucker anthem Convoy by C. W. McCall. It’s also directed by one of the finest directors of the 60s and 70s Sam Peckinpah but this is by far one of his worse films but that doesn’t mean it does have some merits.

The film is kinda like a tamer and cheesier version of Vanishing Point without the amphetamines or existentialism. It’s about a bunch of truck drivers led by Martin "Rubber Duck" Penwald (Kris Kristofferson) who are driving though Arizona. They group together in a many mile long convoy to protest police corruption (it also starts due to Duck and 2 truck driver friends who are forced to pay Sherriff Dirty Lyle) and shady political dealings. Duck is however adamant they are just driving and there is nothing more to it. Ali MacGraw rides along with The Duck after she flirts with him in the opening scene but her car breaks down and she needs a ride.

The film is a mildly funny comedic romp but the film is sadly really the film that ended the career of one of the great autuers Sam Peckinpah. He also had a serious drink and coke problem by this point, which didn’t help matters. The film was a surprise hit and was most the successful film of his career ironically. It was also clearly made so Peckinpah could have a hit. Despite it’s success Sam had became too much like Bennie in his masterpiece Bring Me the Head of Alfredo Garcia and would sabotage anything that came his way. It’s also rumoured that Sam’s old buddy James Coburn directed a bulk of him because Sam was too messed up on booze and coke.

The film’s crowning achievement is this wonderful slow-motion fight in a dinner that is in the higher thresholds of cinematic food fights. Kris Kristofferson tries his best with the poor script he was given and he is always watchable. Ernest Borgnine who is also a great psychopath plays the evil Sheriff Dirty Lyle. Ali MacGraw is wasted but she was never that good of an actress in the first place. Seymour Cassel pops up as a the slimy governor who is only interested in how the public support for the convoy can help his own political career.

Overall it’s sad Peckinpah scooped this low but it’s perfectly watchable and I’ve seen much worst films by noted directors. It’s a mildly entertaining romp with a great food fight and good performance from Kristofferson who tries his best. It does however have a wonderful blu-ray with a documentary on the film that is over an hour along with some other features.

★★1/2☆☆

Ian Schultz

TIFF 2013 Review - Under the Skin

Rating:
15
Release Date:
9,10&15th September 2013 (TIFF) 13, 14th October (LIFF)
Director:
Jonathan Grazer
Cast:
Scarlett Johansson, Paul Brannigan, Jessica Mance
Directed by Jonathan Glazer (Sexy Beast) and filmed entirely on location across Scotland Under the Skin is a film flaunting incredible cinematography strung together by a predominantly performance-orientated narrative. Based on the Novel by Michael Faber, Under the Skin follows Laura (Scarlett Johansson), an alien from another world, as she travels across Scotland kidnapping young men.

Glazer’s latest is a sci-fi film akin to 2001: A Space Odyssey in that one of the film’s main components is its striking tone and total control over the presented image. Daniel Landin’s exquisite palette of subdued tones creates a grim atmospheric back-drop for the film’s often macabre visual style. The same gorgeous control over image translates the Scottish landscape into a strange muggy alien territory, foreboding and stirring in equal measure. Hundreds of directors have only seen fit to make such land a charming tourist spot, whilst Glazer has here crafted an environment that is as much a character as Laura herself.

  Under the Skin is a road movie of sorts, shot in a near-documentary style of lingering shots and snappy disjointed editing, which again expand on the notions of “alien” culture. We are presented time and time again with bizarre social situations; the crowds of Glasgow’s Sauchiehall Street, Neds rampant in the night, masses of colour-coordinated football fans, all of them overpowering and vast, a sensory overload. But even these shots can tire on the viewer in a film with little dialogue and even less narrative explanation. As a companion to the novel, the film is possibly at its best, but still entirely able as a stand-alone project. For true intrigue: Glazer executes some of the most haunting, striking, and unsettling images of extra-terrestrial life ever put to film.

Glazer keeps the mystery of his alien culture tightly wrapped and that pays off big time, rewarding the audience with a kind of abstract macabre that strays into the realm of the horrific. The aesthetic of this alien technology is the definition of minimalism ensuring nothing can be deduced until the last moment, and though the use of contrast lighting is indeed perfect thinking , it at times crowds scenes with far too much shadow, erasing any finer details. In the same setting Mica Levi’s jarring and genius screech-synth scoring is at its best in Laura’s black widow sequences where it plays out like some bizarre striptease music done in pulse-like percussion. The young Londoner is proving a major talent in sound engineering and someone to keep your eye on.

Apart from the stunning cinematography, the most enrapturing thing about this film is Johansson’s turn as alien provocateur-cum-abductor. Relying less on her lines - which she drones in an awful regional accent - the starlet exhibits an accomplished and often intimidating portrayal of the alien amongst us. This is Johansson’s best performance to date. Johansson, as per, is stunning, and her beauty plays an important part in the alien’s role both during the alien’s predatory ventures, and in the film’s powerful lingering and poignant climax.

Incredibly beautiful piece of sci-fi horror with a stellar performance from Johansson and a soundtrack to compliment, Under the Skin is not the gripping sort of hunter/hunted thriller some may expect. If you can look past its relatively reserved lack of narrative you’ll find a powerful and considerate meander through the life of an alien in an alien land.

★★★★☆

Scott Clark

Martin Scorsese World Cinema Foundation Volume 1 To Get A Masters Of Cinema Release

Rating:
PG
DVD/BD Release Date:
25th November 2013 (UK)
Distributor:
Eureka! Entertainment
Pre-Order/Buy:
Martin Scorsese Presents: World Cinema Foundation: Volume One - Dual Format (Blu-ray & DVD) [Masters of Cinema]
Eureka! Entertainment have announced the release of MARTIN SCORSESE PRESENTS: WORLD CINEMA FOUNDATION: VOLUME ONE ( Three films preserved, restored, and re-presented by the efforts of the World Cinema Foundation: DRY SUMMER / TRANCES / REVENGE). This is the first release from the official partnership between Martin Scorsese's World Cinema Foundation and The Masters of Cinema Series, and will be released in a Dual Format (Blu-ray & DVD) box set edition on 25 November 2013.

Founded in 2007 and overseen by Martin Scorsese, the World Cinema Foundation (WCF) has spearheaded efforts to preserve, restore, and annually re-present neglected masterpieces of world cinema, particularly those from areas of the globe that have not traditionally been highlighted in prevailing evaluations of film, or which have lacked the financial, technical, or governmental infrastructure to ensure their preservation.

As the WCF's mission statement announces: "Cinema is an international language, an international art, but, above all, it is a source of enlightenment. There are wonderful, remarkable films, past and present, from Mexico, Eastern Europe, the Middle East, Latin America, and Central Asia that deserve to be known and seen. Composed of filmmakers from every continent, the World Cinema Foundation breathes life into the idea that when a cultural patrimony is lost, no matter how small or supposedly 'marginal' the country might be, we are all poorer for it."

The Masters of Cinema Series is proud to act as the official partner of the World Cinema Foundation for the UK region. In this first in a regular series of Blu-ray box sets, we present the WCF's restorations of masterpieces from Turkey (Erksan's Dry Summer), Morocco (El Maanouni's Trances), and Kazakhstan (Shinarbaev's Revenge), with exclusive introductions by Martin Scorsese for each film in this set.

DRY SUMMER [ SUSUZ YAZ ] | A film by Metin Erksan | 1964 | Turkey | 75 minutes | 1.37:1 original aspect ratio

A brutal naturalist melodrama, Metin Erksan's masterful Dry Summer [Susuz yaz], which won the Golden Bear at the 1964 Berlin Film Festival, returns to the spotlight in a new restoration after decades of suppression by Turkish authorities: an arid fate for one of the most exciting films of the 1960s. Viscerally tactile, unsparing, and even on occasion outright lurid, Dry Summer has been described by filmmaker Fatih Akin as "one of the most important legacies of Turkish cinema."

During a particularly dry rural Turkish summer, a group of local workers enter into a dispute with a landowner when he decides the construction of new irrigation infrastructure must first and foremost service his own property. Wholly rapacious, the landowner foments a private war with his own kin after the brother takes a bewitching young wife. The battle between the factions plays out in stunning set-pieces: a pursuit with pistols amidst grass-stalks and dam-water before the setting sun evokes elements of Renoir (Toni), Ford (The World Moves On), Bergman (The Virgin Spring), and Shindô (Onibaba), while a scene set in a brush thicket wherein the landowner and his aggressors fight it out hatchet-and-club provides drama at least as exciting and gasp-inducing as the climax of Seven Samurai.

Dry Summer's sweat-dappled tone and baked images of promenade and labour recall Mexican-period Buñuel as much as aspects of mid-'50s Italian commercial melodrama and, via the film's backdrop of agrarian agitation and its low angles – which effect a figural relief against blazing, albeit greyish mid-contrast summer skies – post-montage Soviet agitprop. The Masters of Cinema Series is proud to present the World Cinema Foundation's restoration of Metin Erksan's classic on Blu-ray for the first time in the UK.



TRANCES [ TRANSES ] | A film by Ahmed El Maanouni | 1981 | Morocco | 87 minutes | 1.85:1 original aspect ratio

The inaugural film of the World Cinema Foundation's efforts, Trances [Transes] is a picture unlike any other: a poetic, roving documentary-portrait performance-film based around the Moroccan band Nass El Ghiwane.

In this rare, transformational work, Nass El Ghiwane perform their music at concerts at once fervidly rally-like and suffused with the spontaneity of a mass happening; recount their time working alongside the great chaâbi musician Boudjemaâ El Ankis in the 1970s; and generally philosophise and reflect upon life. As Martin Scorsese expressed at the time of the film's re-presentation in 2007: "I became passionate about this music that I heard and I saw also the way the film was made, the concert that was photographed and the effect of the music on the audience at the concert. I tracked down the music and eventually it became my inspiration for many of the designs and construction of my film The Last Temptation of Christ. [...] And I think the group was singing damnation: their people, their beliefs, their sufferings, and their prayers all came through their singing. And I think the film is beautifully made by Ahmed El Maanouni; it's been an obsession of mine since 1981."

True to its title, Trances is an hypnotic, exhilarating masterwork. The Masters of Cinema Series is proud to present Ahmed El Maanouni's film, restored from the original 16mm camera and sound negatives, on Blu-ray for the first time in the UK.


REVENGE [ MEST' ] | A film by Ermek Shinarbaev | 1989 | Kazakhstan | 96 minutes | 1.37:1 original aspect ratio

Set largely in Korea and China, and spanning the 1910s to 1940s, Ermek Shinarbaev's epic masterpiece unites the resonant pictoriality of certain Far Eastern cinema with a mysticism rooted in the Russian tradition: a fitting and harmonic convergence for this collaboration (one of three) between the Kazakh director and Korean-Russian writer Anatoli Kim.

A rural schoolteacher, Jan, murders a pupil, the young daughter of a family under whom he had previously been a tenant. The father, Caj [pronounced "Tsaiya"], tracks him to China to exact revenge – but at at the moment of vengeance, Caj cannot act. He returns home only to take a concubine, who in turn bears him a son: Sungu, a prodigious composer of verse. At Caj's deathbed, the boy is informed he has been brought into the world purely for the sake of vengeance; he takes an oath to annihilate Jan.

Tonally, Revenge exhibits an extraordinary use of natural light that lends the figures an almost ethereal incandescence in the picture's first half; the second half of the film shifts into a no-less-impressive palate that is ally to late-Tarkovskyan naturalism. A narrative broken into seven chapters, and constructed in a full-circle that creates a visual and spoken summary of Sungu's poetic universe, Revenge is, to quote the critic Kent Jones, "a true odyssey, geographically and psychologically. One of the greatest films to emerge from the Kazakh New Wave, and also one of the toughest." The Masters of Cinema Series is proud to present Revenge, restored from the original camera negative with the involvement of Ermek Shinarbaev, on Blu-ray for the first time in the UK.


SPECIAL FEATURES:

• Glorious new restorations of three neglected masterworks of world cinema, all presented in 1080p HD
• Exclusive video introductions to each film by Martin Scorsese
• 80-page book featuring writing by Kent Jones on Revenge, Bilge Ebiri on Trances, archival documentation and imagery, and more to be announced
• Optional English subtitles on each film
• More features to be announced closer to release date

Supermensch: The Legend of Shep Gordon - TIFF 2013 Review

Rating:
15
Release Date:
7,8,14th September 2013 (TIFF)
Director:
Mike Myers
Cast:
Shep Gordon,Alice Cooper, Michael Douglas,Tom Arnold, Anne Murray, Sylvester Stallone
Mike Myers’ directorial debut is proof not only that he’s a skilled director and impressive documenter, but the subject of his film is probably one of the coolest men to ever live. Shep Gordon, manager extraordinaire, is a power house of productivity, a messiah of good times, and an all-round nice guy. He’s managed Alice Cooper since the beginning of his career, practically invented the concept of the celebrity chef, and has managed to intertwine his existence with the mint of Hollywood and rock royalty by being one of the world’s greatest hosts. So says Supermensch; The Legend of Shep Gordon.

The key to Myers’ film is that he has a genuine respect for Gordon, like the rest of the stars who pop up through this charming - often hilarious - exploration of Gordon’s career. Michael Douglas, Sylvester Stallone, Myers himself, Alice Cooper, Willie Nelson, to name a few, all jump at the opportunity to give candid tales of Gordon’s frankly mindboggling life. From his humble, drug fuelled beginnings hanging out with the likes of Hendrix and Joplin, onwards through his fast-paced career in music and film. His legendary appetite for good times and women are here exceeded only by his love for seemingly everyone he meets.

Myers is an incredibly gifted filmmaker, fusing his zany wit and comic timing with Gordon’s own barmy life. His editing is sharp and gripping; snippets from movies and a great soundtrack make Supermensch nothing short of fascinating viewing. Perhaps Myers gets a bit caught up in his own love for the father-figure, at points making his documentary a kind of advertisement, but a keen sense of ‘the man’ Gordon as opposed to just ‘the legend’ maintains a suitably grounded and heartfelt film. The Alice Cooper chapter goes on a bit but Gordon’s input into Cooper’s vaudevillian act is vast and thus arguably important. Sure, near-ridiculous amount of good praise for Gordon gets silly at points, but only a cynical kind of tabloid gossip-craving would render this an actual fault. Take a page out of Gordon’s book and cheer the hell up.

No matter where your interests lie, Gordon’s life is at worst intriguing and at best mad. This is a highly impressive debut and a thrilling story of a loving friend, hedonist, innovator, and showman. The fifteen year old me wants another Austin Powers, whilst now I can’t help but hope Myers has another go in the director’s chair.

Supermensch: The Legend of Shep Gordon is entirely watchable, vivid, and compulsive filmmaking punctuated by a host of celebrity guests, a great soundtrack, and some psychedelic editing. Myers’ debut film is an impressive exploration of a life well-lived: heart-warming, hilarious, but above all highly recommendable.

★★★★½

Scott Clark

TIFF 2013 Review - Thou Gild'st the Even

Rating:
12A
Release Date:
8th, 10th & 13th September 2013 (TIFF)
Director:
Onur Ünlü
Cast:
Derya Alabora, Ali Atay, Tansu Biçer

Undoubtedly one of the most bizarre features at the 2013 Toronto International Film Festival is Turkish oddball drama Thou Gild’st the Even: a film that may strain the patience of some viewers but captivate others with its casual absurdity.

Onur Unlu’s film explores sorrow, hope, and the insanity of human nature through the life of a bored and depressed barber shop worker in a small Turkish town with two suns and three full moons. The people there have inherited extraordinary abilities. Cemal (Ali Atay) wanders through life despondent and unfulfilled whilst surrounded by an invisible teacher, an immortal doctor, and a beautiful girl who can stop time with a clap of her hands.

Beautifully shot in black and white with a kind of nonchalant regard for its weird moments, Onur Unlu’s film is startling in its lack of pretention, events just occur and no particular weight is put on them. The film would make a dull little study into the mind of a loner if it were not for its touches of surrealism which lace the feature like finely warped filigree. This doesn’t just apply to the characters and their behaviours but the bizarre scenes that spring up around them: the pill-fuelled flight, the brazen assassination in the night, a disturbed serenade totally lacking in romantic endeavour, all these fall awkwardly into place like some ill-constructed child’s toy. However Unlu eventually pulls off a successful illustration of life in all its nuts and sometimes heart-breaking entirety.

When the film starts to strain patience with its casual non-committal kind of narrative, it draws the viewer in by presenting yet another strange character whose bizarre ability has taught them some life lesson they can impart to a man truly lost in his own mundane existence. Excellent casting, beautiful scoring, and a fine eye for humour in a black and white world, definitely ease the passing of this often slow venture.

That’s the key to the film’s success: under the humour and weirdness there’s a story about a man’s life being told, a man who- for all intents and purposes- is totally ordinary besides his strange power. It’s a small town romance, a love story that documents jealousy and passion, family and friends, relationships and ultimately regret. Though time and again it finds such weird ways of relaying such everyday situations, the message will often pass by, only to be picked up later.

Though intriguing Thou Gildst the Even is at many points tiresome and not an easy pill to swallow. However, maybe a little alienation is obligatory as part of an absurdist drama with a Twin Peaks kind of logic to it. For a film lacking in true drama, there’s a lot of heart and poignancy to this truly strange and comical vignette into extraordinary lives.

★★★★☆

Scott Clark

Man of Tai Chi - TIFF 2013 Review

Rating:
18
Release Date:
10th & 11th September 2013 (TIFF)
Director:
Keanu Reeves
Cast:
Keanu Reeves, Tiger Chen, Karen Mok, Simon Yam, Iko Uwais
At one point in time many of us owed our teenage years to Keanu Reeves. Not only did the guy become a global star overnight thanks to The Matrix but he also put Kung-Fu back in vogue. Perhaps because of his affinity with martial arts Reeves has decided to make his directorial debut in Man of Tai Chi; a film based on the life and exploits of Tiger Chen, his coach on The Matrix.

Chen stars as himself, a devout Tai Chi student struggling to make ends meet. His achievements at national championships attract the attentions of Dakata Mark (Reeves) a mysterious businessman who organises secret underground fights. Soon Chen’s control over his honourable craft gives way to a dark and violent nature, pushing him to the brink of self-control in Mark’s shadowy games.

Man of Tai Chi is a strange film. It dodges between great action adventure and corny throw-away trash with all the rapidity of its lead’s martial arts. At times the jet-setting and glorious backdrops look like Tekken cast-offs and at others it seems to be going for Fight Club by way of Fast and Furious. The inconsistency will be the most irritating feature for most people.

The fight sequences are great, well-shot and obviously well under Reeves’ control. But CGI effects and an unfortunate stroll into Kung-Fu magic really send the film wobbling on its axis. This is a shame when moments of dark genius punctuate this near-camp affair. The heart of a thriller erupts at moments to accentuate what the film could have been, leaving Reeve’s debut- for the most part- floating in anonymity

Chen makes a great leading man, mysterious and strong, wilful yet troubled, his drives and actions however get lost in translation leaving the audience bewildered at his often unfound actions. On the subject of unfound actions Reeves’ own performance is in keeping with his repertoire: a wee bit silly. Playing the omnipresent leader of the underground fight club, Dakata Mark, Reeves is partial to a bit of over-acting, under-acting, and utterly ludicrous dialogue. Most of the time you won’t know whether to laugh but there’s no denying the magnetism of his screen presence - in a Nicholas Cage way. That is in no way a negative comment by the way. There is however an unattractive masturbatory quality to his fast cars, big persona, and finely tailored suits. A kind of quality that salt-wraps his watchable manoeuvres.

For some people this could be the oddball-exploitation-action runaway of the year, for most it will be exploitation of the audience; a mess of different ideas with its head half screwed on. But there’s enough fun action to keep you distracted from the fact this is just a tad off-mark.

★★★☆☆

Scott Clark

John Wayne's Red River To Premier on Blu-Ray Via Masters of Cinema

Eureka! Entertainment have announced first UK Blu-ray appearance of the iconic classic Red River (1948). Voted the fifth greatest western of all time by the American Film Institute in June 2008, Red River was directed by the legendary Howard Hawks, one of the most influential American directors of all time, and stars John Wayne and Montgomery Clift in his debut film. Red River will be released in a Blu-ray edition on 28 October 2013 as part of Eureka! Entertainment’s award winning The Masters of Cinema Series.

“Immaculately shot by Russell Harlan, perfectly performed by a host of Hawks regulars, and shot through with dark comedy, it's probably the finest Western of the '40s." - Geoff Andrew, Time Out

One of Hollywood's most iconic westerns, Howard Hawks' Red River launches cinema's grandest cattle drive, and one of the screen's most powerful father-son dramas. One of John Wayne's most intense roles inspired one of his finest performances, and in his debut leading role, Montgomery Clift instantly leapt to the forefront of Hollywood's young actors.

After the Civil War, ranch owner Thomas Dunson (Wayne) leads a drive of ten thousand cattle out of an impoverished Texas to the richer markets of Missouri, alongside his adopted son Matthew Garth (Clift) and a team of ranch hands. As the conditions worsen, and Dunson's control over his cattlemen gets ever more merciless, a rebellion begins to grow within the travelling party.

Filmed among glorious expanses with no expense spared, and a roster of brilliant turns from greats including Joanne Dru, Walter Brennan, Harry Carey, John Ireland and Hank Worden, Red River is an all-American epic, a grand adventure yarn, and a profound psychological journey. The Masters of Cinema Series is proud to present its first UK release on Blu-ray.



SPECIAL FEATURES
- New high-definition 1080p presentation
- Original theatrical trailer
- Exclusive lengthy video conversation about Red River and Howard Hawks by filmmaker and critic Dan Sallitt, conducted by Jaime Christley, and shot by Dustin Guy Defa and James P. Gannon
- And more to be announced
- A booklet featuring the words of Howard Hawks, rare imagery, and more!

Buy Red River Starring JOHN WAYNE (Masters of Cinema) (Blu-ray)

Maurice Pialet's Van Gogh Masters Of Cinema Blu-Ray Review

Rating:
15
BD/DVD Release Date:
23rd September 2013 (UK)
Distributor:
Eureka! Video
Director:
Maurice Pialat
Cast:
Jacques Dutronc, Alexandra London, Bernard Le Coq
Buy:
2-Disc DVD or Blu-ray
Maurice Pialat’s Van Gogh is one of the reasons why I love Masters of Cinema. I was sort of dreading to watch a 2 hour and 40 minute French film on the last 60s days of the life of the artist Vincent Van Gogh but it was one of the most captivating films I’ve seen in a while. Pialet had been obsessed with Van Gogh for a very long time; he made a documentary about him in the 1966.

The film takes a very unsensationalistic take on Van Gogh’s last 60 days of his life till his inevitable suicide. The film for example doesn’t mention the fact he cut his ear off and in fact shows Van Gogh with two ears. It also doesn’t really go much into his art. Van Gogh does paint in the film naturally and you see him hand his physician Paul Gachet his famous portrait, which also happens to have the world record for most expensive painting at public auction in history. It most concerns his relationships with his physician and his daughter and his art dealer brother Theo, who disliked his brother’s paintings.

Jacques Dutronc is cast as the title character. Dutronc was one of the biggest French “Chanson” singers of the 1960s. His music dabbled in garage rock and psychedelic rock. Dutronc began acting in the mid 1970s but it wasn’t till his role in Jean Luc-Godard’s Slow Motion people really took him seriously as a real dramatic actor. Dutronc won a César (the French equivalent to the Oscars or Baftas) for his performance and rightfully so. Dutronc inhabits the role with his gaunt performance that is a transformation to behold.

The film is a naturalistic take on quite an extraordinary life and was real pleasure for beginning to end. The blu-ray release characteristically of Masters of Cinema includes over 2 hours of interviews, over half an hour of deleted scenes and Pialet’s original 60s documentary on Van Gogh. It’s a highly recommended release which should be added to any cinema lover’s collection.

★★★★1/2

Ian Schultz

A Time to Love and a Time to Die (1958) Masters Of Cinema Blu-Ray Review

Rating:
PG
BD Release Date:
23rd September 2013 (UK)
Distributor:
Eureka Video
Director:
Douglas Sirk
Cast:
John Gavin, Liselotte Pulver, Jock Mahoney
Buy:
A Time To Love And A Time To Die (Masters of Cinema) (Blu-ray)
A Time to Love and a Time to Die was previously released by Masters of Cinema on dvd but it’s a welcome blu-ray upgrade. That master of melodrama Douglas Sirk directs it and as far as I know Masters of Cinema are the only company to have released any of his films on blu-ray. The other film they released is The Tarnished Angels and both films give 2 different sides to Sirk. A Time to Love… is firstly in colour and his colour films have a very expressionistic use of colour. The Tarnished Angels on the other hand is black and white and is to an extent an even more pessimistic film, which is the norm with his black and white films.

A Time to Love… is firstly a surprising sympathetic film about a Nazi officer. The thing, which is most surprising, is Sirk who of course is German and Jewish himself and who also fled in the 1930s became of his political leanings and ethnicity would make such a sympathetic film about a Nazi officer. The film however is about an apolitical soldier who was literally just a hired hand, which was often the case at the time.

The film is a classic piece of Sirkian melodrama; the plot is basically the Nazi soldier who is stationed out on the Eastern Front finally gets his first furlough in 2 years. He arrives home and Allied bombing has destroyed his hometown and his parents are missing. He meets a girl who is the daughter of his family’s doctor but the Gestapo is holding him. They two of them fall in love and marry but in typical Sirkian style everything ends in tragedy.

The film was made near the end of his career in Hollywood he would later move back to his Native Germany to teach films. His last film was a collaborative short film with his greatest admirer Rainer Werner Fassbinder (who wrote extensively on Sirk and was one of the 1st to revaluate his films). It was the last film he made before his much-revered Imitation of Life (recently voted one of the 100 best films ever made in the Sight and Sound poll). It’s one of the first post-war films I can think of that doesn’t paint all Nazis are evil bastards which is why it’s so fascinating.

John Gavin stars as the Nazi soldier and in many ways he is Rock Hudson’s replacement (who Sirk cast in the majority of his key films). He is a handsome black haired masculine actor very much in the build of Hudson and was groomed to be like him by Universal Studios so the similarity obviously appealed to Sirk who also casted him in Imitation of Life. However interestingly is actually of Latin descent and not gay. Hudson’s closeted homosexuality always brought interested subtext to many of his roles especially his work with Sirk and Seconds. John Gavin would later star in Spartacus, Psycho and was even cast as James Bond before Roger Moore. The film also features a absurdly young Klaus Kinski in a small role.

The film is very typical of Sirk with its lush CinemaScope photography and Sirk’s films were certainly made for that format. It also has that characteristic irony that runs though all his work especially with the film’s ending. It’s not his greatest film but it’s a fascinating one.

★★★★☆

Ian Schultz

La Notte (The Night) Masters Of Cinema Blu-Ray Review (1961)

Rating:
12
BD/DVD Release Date:
23rd September 2013 (UK)
Distributor:
Eureka Video
Director:
Michelangelo Antonioni
Cast:
Jeanne Moreau, Marcello Mastroianni, Monica Vitti
Buy La Notte:
(Blu-ray) / [DVD]

La Notte is a classic slice of Antonioni. It was made in his native Italy before he later came west and made films such as Blow-Up, Zabriskie Point and The Passenger. It was made at the height of the Italian art films of the early with other films such 8 ½, The Leopard and Accattone. These filmmakers were influenced by or either had their start in the Italian neo-realist movement of the 40s and early 50s. The films instead being about social issues become increasing more internalised and dealt with much more existential themes about alienation and men’s role in modern society.

The film is set during the course of one day not unlike Antonioni’s Blow-Up. La Notte is about a upper middle class married couple, the man Giovanni Pontano (Marcello Mastroianni) and his wife Lidia (Jeanne Moreau). Giovanni is a writer and his latest book La stagine (The Season) has been recently published. They film starts with them visiting a friend in hospital who is terminally ill. Lidia is so upset by the state of her friend she leaves early but Giovanni stays on. On his way out he is almost seduced by a crazy young woman but the nurses pull them apart.

During the course of the day the couple head off to the writer’s book launch party. His wife wonders off from the party but they meet up again in their old neighbourhood, they lived there when they were newly wed. They decide to go to a nightclub and later a party. Over the course of the day their marriage and communication is tested to its limits.

The film is noted for its use of landscape that is empty and barren much like the film’s main protagonists. The film’s credits are over an astonishing shot of city of the Milan from a skyscraper as the camera slowing descends. The film is deliberately made so it bores you at times just like how the married couple is bored of each other.

The film boosts 2 outstanding performances from Mastroianni and Moreau who were really at the top of their game. The character Giovanni is too involved in his narcissistic and needs to plan things. Lidia is the opposite she is too involved in the real word cause she just wonders and distracted by things in the sky and so on.

La Notte is well remembered for it’s stunning cinematography by Gianni Di Venanzo who also shoot 8 ½ starring Mastroianni. Gianni shot the majority of Antonioni’s Italian films. La Notte uses lots of high contrast black and white photography especially at the party segment of the film that is simply breaktaking as is the lighting.

The film was a favourite of Stanley Kubrick, Ingmar Bergman and Andrei Tarkovsky. All these filmmakers had a similar detached view or even cold aesthetic so it’s no surprise that they found a kindred spirit in Antonioni even though Bergman did have a real love/hate thing with his films. It’s a fascinating film with gorgeous cinematography, great performances and a perfect blend of a passion, emotion but also emotional coldness.

★★★★1/2

Ian Schultz

TIFF 2013 Review - Devil's Knot

Rating:
15
Release Date (TIFF):
8th & 9th September 2013
Director:
Atom Eyogan
Cast:
Colin Firth, Reese Witherspoon, Dane DeHaan, Mireille Enos, Bruce Greenwood, Elias Koteas, Stephen Moyer,
Back in 1993, 3 boys wandered into the woods of a small Arkansas town and never came out alive, their bodies were found hog-tied and dumped in the river, apparent victims to a satanic murder. Quickly, but with little actual evidence, the crimes were pinned on three teens aptly labelled ‘The West Memphis Three’.  The media circus that erupted around this small-town murder escalated to a witch hunt which called for the boys to be charged and punished as quickly as possible. Suitable doubt has been raised in recent years as to the validity of the prosecution and a frankly unsettling question as to who the real murderers are. The case has been the subject of numerous documentaries and novels, Atom Egoyan’s feature Devil's Knot  is in fact based on one such novel of the same title by Mara Leveritt and partly adapted by Scott Derrickson (Sinister) and Paul Harris Boardman (The Exorcism of Emily Rose).

The story itself is compelling in the most disturbing way, so the film has a great base to work from; a haunting tale of savage murder and hysteria shrouded in a dense mystery wrapped in incompetence and small-town politics. Egoyan has a keen eye for tone and mood, setting both with a masterful control over colour, image, and creeping camera movements. But under its pretty thriller façade, there’s not a huge amount to bolster this as anything more than a visual representation of a well-written book.

Reece Witherspoon stars as one of the murdered boys mothers and spends all of her time doing just that; sobbing and looking panicked, whilst Colin Firth is perhaps a little more grabbing as the inquisitive George Lux, but not much more. There’s a superb supporting cast here, but not enough solid story to work from. Sure the courtroom sequences are great in their totally maddening lack of reason; the hysteria of a community demanding blood over-takes the true desire for justice. And there are a few scenes that are truly distressing, but again that’s down to the subject matter and rarely the way it’s relayed, bar a grim and cruel first twenty minutes that are deeply upsetting. The strongest element of Egoyan’s feature is its ability to present a mystery without spoon-feeding, thus allowing the audience to do a bit of the work and realise just how shoddily the case was handled.

Devil’s Knot is grim and torturous, dark and cynical. It skips the happy ending, start and middle, instead grappling with concrete mystery. At its heart it’s a court drama thriller, but the story surpasses the execution rendering this a dubious venture. If you've read the book or seen one of the documentaries, there’s little need to watch the film.

★★★☆☆

Scott Clark

TIFF 2013 Review - Cold Eyes (Gam si ja deul)

Rating:
15
Release Date:
13th, 14th, 15th September 2013 (TIFF)
Director:
Ui-seok Jo, Byung-seo Kim
Cast:
Hyo-ju Han, Woo-sung Jung, Jun-Ho Lee

One of the most accomplished and stand-out features at Toronto International Film festival this year is the slick, fierce, and ingenious Korean thriller

A bank robbery and the induction of a fresh faced operative to a shadowy police surveillance team, I’m a sucker for a concise, fast-paced opening and Cold Eyes has a great one in the vein of Heat and The Dark Knight... Actually Cold Eyes emulates a hundred films like these in its consistently thrilling flow of events, its use of characters who are at the top of their game, and its beautifully shot sprawling urban space. The film flits from point to point pulling at the quickly unravelling thread of a ensemble of bank robbers until things explode with dangerous enthusiasm. This is a crime film with a difference though, it’s all told from the point of view of an elite surveillance squad whose sole purpose is to track and remain covert. Considering the film’s head villain is just as desperate to remain behind the scenes, this makes for tense viewing.

One of the most striking features of the film is the Holmes/Moriarty relationship that plays out between Sol Kyung-gu’s seasoned Chief Detective Wang and Jung Woo-sung’s James, the shadowy leader of the criminal gang. Whilst Wang’s powers of deduction set him in a race against time to halt the next theft, James’ meticulous planning and dangerously efficient lack of empathy keep him a step ahead of the police. Its’ a pleasure to watch two fantastic actors settle so well into two wonderfully written parts. Woo-sung makes an absorbing and unstoppable force of nature in his turn as a genuinely fantastic villain; cold, calculating, and highly dangerous- as he proves on many occasions. On the other hand, Kyung-gu displays perfect comic timing, a fierce and fascinating intellect, and a fatherly kind of support for his group of young surveillance experts, ensuring that the good guys don’t become an irritating distraction from those blessed scenes where we see the inner workings of James’ plans.

Not an out –and- out action film, Cold Eyes favours use of action only when it is required, directors Jo Ui-seok and Kim Byung-seo are as apt at relaying fight sequences as they are with the often complex workings of criminal gangs and police squads. A lesson could be learnt here in regards to action in thrillers: less is more. A Bourne-type brutality surprises and shocks in its pace and edge, ensuring violence doesn’t become filler.

With an impeccable control over pace and action, Cold Eyes is a highly impressive thriller from its explosive start to epic finale. Here is gipping viewing that’s entirely worth your time.

★★★★★

Scott Clark

From Up on Poppy Hill Double Play Review

Distributor:
Studiocanal UK
Rating:
U
DVD/BD Release Date:
23rd September 2013 (UK)
Director:
Goro Miyazaki
Cast:
Jun'ichi Okada,Masami Nagasawa,Keiko Takeshita, Sarah Bolger, Chris Noth, Anton Yelchin
Buy From Upon Poppy Hill:
[Blu-ray]


Teenagers in love Post World War Japan is the setting for the latest  Studio Ghibli home release. With Hayao Miyazaki-San ready to handover the reigns of Japan's greatest ever to younger hands is Goro Miyazaki's From Upon Poppy Hill a worthy application for his fathers crown?

Set in 1963 Yokohama, From Upon Poppy Hill is an coming of age story that centre's around Umi and Shun a friendship that's blossoming into young love. As Tokyo starts to prepare for Olympics the young lovebirds are brought together to save their schools old ramshackle clubhouse from demolition to make way for the upcoming games.

From Upon Poppy Hill is a far superior film from Miyazaki Jnr's  debut Tales From The Earthsea which I'll be honest wasn't as bad as some critics made it out to be. Poppy Hill is evidence he has made progress but enough to call it a vintage Studio Ghibli.This film is not set in the fantasy realms of such Ghibli greats as Spirited Away but more at home with Whisper of The Heart grounded in reality. The film captures the post World War 2 era perfectly capturing a nation rebuilding as old traditions clash with the young. You get glimpses into the clashes from the village Umi & Shun live in from the quaint traditional houses to the small dirty roads and vibrant, colourful but simple lifestyles. Compared to Tokyo's sprawling crowed metropolis, with its new skyscraper buildings and a lifestyle that gives you no time to saviour anything. If there was ever going to be an animated version of Ozu film, Poppy Hill could give some indication what it may look like . Tonally as well as the narrative is rich in homage to one of Japan's true masters of cinema.

At times the film lets itself down by descending into melodramatics even suggesting the film even delves into some dark provocative sub text you wouldn't expect from the studio, convulsing into a  tragic  romance of incest. Thankfully at the last minute things are saved but it could have been helped by a back story that hasn't been constructed with great thought.

From Upon Poppy Hill may not be in the mould of the studios classic but there's enough in the film for Ghibli purists to enjoy immensely, so if your looking for great creatures or mythical spirit you'll a tad bored of this.The craftmanship, the visual storytelling is essential Ghibli but what this film does do is remind us all that the traditional hand drawn methods of animation are still alive and well been used in one of the world's greatest animation studios. The attention to detail is sublime rendered masterfully  which you can see in the scenes in the school clubhouse (which deliver some of the best scenes as well as keep a balance in the plot too) to preparing a mealat Umi's house. Even the smallest of details are given the respect they deserve.

From Upon Poppy Hill maybe lightweight for some folks but life is one big fantasy, an adventure of discovery we all must take. A slice of life delivered in a warm, charming and intimate way that only Ghibli know how to do with great precision.

★★★★☆

Paul Devine

TIFF 2013 Review - The Sacrament

Rating:
15
Directed By:
Ti West
Cast:
Joe Swanberg, Amy Seimetz, AJ Bowen
Release Date:
8th, 10th & 13th September (TIFF)

New Splat Pack maestro Ti West wowed us back in 2009 with House of the Devil then again last year with Innkeepers. Whilst House of the Devil was a slow burning kind of 70’s hark-back, Innkeepers was very much a modern horror.  His latest feature, The Sacrament, played at Toronto’s International Film Festival, but is it any good?

Unfortunately West goes for the slow burning thing again and it doesn’t pull off. Any slower and you’d be catatonic. The Sacrament is a film in the spirit of The Wicker Man but way less spooky. Two reporters ( AJ Bowen and Joe Swanberg) venture into South America after a friend receives a summons from his estranged sister. The trio arrive to discover the sister is living in an idyllic but secluded religious convent lorded over by the mysterious ‘Father’ (Gene Jones). About half way through you’re going to start wondering what the point of the film is, because it certainly isn’t to scare or entertain. Sure there’s an interesting concept here, but when the final act kicks off you realise that this has been a one trick pony: a script formulated around its ending, and no film should merely be a means to its own end.

Step away from the lack of substance and look at it from a different angle, then you can see that there are plenty of great components at work. The set for one is fantastic, no arguments there. But where Eli Roth’s The Green Inferno managed to successfully convey hell in a South American paradise, West squanders a set on an uneventful plotline and flopped mounting tension. By this I mean that West orchestrates his characters into position, presents us with the stage, but then it doesn’t really go anywhere bar its predictable finale. Actually, there’s one sequence of particular merit that ignites interest in the long shadowy boredom of the feature.

The performance of Gene Jones (the only man to win a coin toss in No Country for Old Men) is a carrot on a stick, enticing us through the film. Like Michael parks in Red State, there’s something utterly watchable about religious zealots, and they have the followers to prove it. Jones’s interview sequence with AJ Bowen, is one of the few really great moments in the film, its more intense than most of the film, and shows how much shit the three guys are in. Jones is masterful in his execution of dangerous hospitality and manipulation, as is Amy Seimetz as religious nut Caroline.

Bar a few great performances, West disappoints here with a predictable escapade into religious mania, perhaps faulted by its positioning as a post-Red State feature. Even then it’s still dull as dishwater, void of previously flaunted visual flare, and lacking any real drive to develop its characters. When the inevitable set piece kicks off, you really won’t care who survives.


★½☆☆☆

Scott Clark

Blu-Ray Review - The Kings Of Summer

Rating:
15
DVD/BD Release Date:
30th September 2013 (UK)
Director:
Jordan Vogt-Roberts
cast:
Nick Robinson, Gabriel Basso, Moises Arias, Nick Offerman
Buy:
The Kings of Summer [Blu-ray]

Kings of Summer has became the surprise critics darling of the 2013 summer period. It premiered at this year’s Sundance film festival under its original name “Toy’s House”. Britain’s best film critic Mark Kermode made a video blog about how it caught him by surprise when he attended a screening. It actually got pushed back a couple weeks because the critics responded so well to it.

The story is a pretty simple story a teenager called Joe Toy who doesn’t really get on with his dad and him and 2 other friends decide to build a house to live in the woods. They don’t tell their respective parents where they are going and it’s becomes a media sensation in the town. It’s a coming of age story with a real heart and at times darkness which is extremely rare.

It’s reminiscent of films like Stand by Me, Breaking Away and even to an extent the much-underrated Youth in Revolt from a few years ago. It mixes comedy and drama and in this case quite broad comedy, which isn’t always successful but it does have a handful of laughs. It does however work it’s charm on you and you do really care about the boys. It’s not quite as good as those other films but it’s a remarkable little gem.

It’s got a interesting use of music, it starts with the Thin Lizzy song “Cowboy Song” and also used MGMT and somehow it works. Kings of Summer is beautifully filmed by Ross Reige who is definitely a cinematographer to look out for. It has great use of slow-mo and not as cliché that is very refreshing. It’s the director, writer and cinematographer’s first film that is astonishing cause it’s such a self assured piece of work.

It got a limited release in August but it’s out on Blu-ray and Dvd at the tail end of September and it’s really worth checking out.

★★★★☆

Ian Schultz

LIFF 2013 - Watch The New Trailer For Blue Is The Warmest Colour (La vie d'Adèle)

It shocked many when it won this year's Palme d'Or at Cannes leaving Steven Spielberg awe struck in praise this Autumn Abdel Kechiche's Blue Is The Warmest Colour (La vie d'Adèle)will arrive in UK cinemas let have a look at the American trailer.

Based on Julie Maroh’s graphic novel Blue Is The Warmest Colour follows

TIFF 2013 Review - The Green Inferno

Rating:
18
Release Date:
7th & 9th September (TIFF)
Director:
Eli Roth
Cast:
Lorenza Izzo, Ariel Levy, Daryl Sabara, Kirby Bliss Blanton, Sky Ferreira,
I've said it before and I’ll say it again: I have a love/hate relationship with horror. I love its ingenuity and its ability to ponder the greater mysteries from behind a gory veil, but I’m realistic, I can enjoy entertainment horror when it comes pounding my way, and yet, I have little place in my heart for lazy horror. And that’s just what Eli Roth’s The Green inferno is.

A group of do-gooders rush to the amazon rainforest in order to disrupt forestry that will destroy a rarely seen tribe of natives. After a series of mishaps and an unfortunate mix-up, the group find themselves at the mercy of a vicious tribe of cannibals. This squandered ode to classic 70’s cannibal films like Cannibal Holocaust is the horror auteur’s latest and perhaps most disappointing feature to date. Taking the tried and tested formula of group of twenty-something’s + adventure = terror and brutal dispatch, Roth seems shamelessly at ease with letting his feature trundle along on the road to mediocrity.

My main issue with the film lies in the fact it seems like a glorified excuse to let legendary gore craftsmen Howard Berger and Gregory Nicotero off the leash in a gleefully gory escapade. Make no doubt about it; there are some genius moments of brutality and sedition that will turn the stomachs of the most weathered horror fans. And the scarlet-skinned cannibals of Roth’s jungle nightmare are something to behold- chilling and brutal. But that’s just the problem. Roth makes minimal attempts at backing up his visuals with narrative, style, or substance - which are all forsaken in exchange for what can only be referred to as a gore-coaster.

Saying that there’s an upsetting kind of irony and humour (of the blackest kind) at work here.  There are moments, as with all Roth’s films, that will have you staggered on the peak between laughing and grimacing and that’s something few directors can orchestrate: panic-stricken girls having bouts of explosive diarrhoea in cages with their friends, hordes of cannibals with Emo Philips hair doos racing through the jungle. Tension erupts in moments when we think the more likable individuals of the bunch will be fucked up beyond all recognition, but generally dissipates in a cloud of guts and (dare I say) glory. Like Hostel Part 2 this feels like more of the same, and raises a certain question as to Roth’s actual legitimacy as a horror icon. The Green Inferno does however sport one of the most ludicrous yet hilarious and enjoyable cannabis extravaganzas committed to horror, I won’t say anything because I don’t want to ruin one of the more enjoyable aspects of the film, but its shamelessly ridiculously stupid and kind of lovable simply for that.

Maybe I’ve touched on Roth’s particular brand of genius there. Maybe if you ignore the silliness of it all, the black humour and lack of likable character, there’s a fun way to spend an hour and a bit. Then again, maybe not.

The Green Inferno is as dumb as its characters and irritating in its lack of flare. What it surrenders in story it attempts to reclaim in sheer break-neck gore-splattered tension. Though it works to some degree this is an ultimately lackluster project.

★★ 1/2☆☆

Scott Clark

Win No To Pinochet The Pablo Larrain Collection on DVD

In 2013, acclaimed Chilean director Pablo Larraín’s ‘Pinochet trilogy’ reached its pinnacle when NO was nominated for an Academy Award. Larraín has vowed never to make another film on Chile’s darkest days but now, for the first time, all three acclaimed films will be released as part of one set. Released this week (16th September) in UK on DVD we have joined forces with our friends at Network Releasing we have 2
copies of the box set to give away tcoinciding with the 40th anniversary of the coup that brought him to power.

This definitive set includes films charting life in Chile at various stages of the Pinochet regime. TONY MANERO is the tale of a Saturday Night Fever obsessed psychopath living under the regime at the height of its power. POST MORTEM is set amidst the backdrop of the 1973 coup, NO stars Gael García Bernal. In the arthouse hit of 2013 about the true story of the election campaign that brought democracy to Chile.

To win this fantastic box set please answer the following question...

Q.Who played the character Tony Manero in the cult 1977 Hollywood hit film?

You must be 18 years or older to enter.
Deadline for this competition is Sunday 13th October 2013 (23:59pm)(anyone who includes telephone number entry will be deleted automatically for security reasons)

If you haven’t done already Like us and stay with us at our Facebook page (if you are already liking us just share this post)

Terms&Conditions: You Must be a UK or Irish resident aged 18 or older to enter. If your successful and win the competition then you will be asked for Postal address to arrange deliver of the prize.The competition is not opened to employees, family, friends of The Peoples Movies, Cinehouse,Network Releasing  who have the right to alter, change or offer alternative prize without any notice. The Peoples Movies, Cinehouse takes no responsibility for delayed, lost, stolen prizes.Prizes may take from days to a few months for delivery which is out of our control so please do not complain, we will tell you when prizes are sent to us, mostly all cops prizes come directly from the PR company representing the film distributor. Deadline Sunday 13th October 2013(23:59pm)..

UK Competitions and Prize Draws at UKwins
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The Invisible Woman - TIFF 2013

Rating:
15
Release Date:
9,10th September (TIFF) 17th& 19th October (LIFF)
Director:
Ralph Fiennes
Cast:
Ralph Fiennes, Felicity Jones, Kristin Scott Thomas, Tom Hollander,
In 2011 Ralph Fiennes made his brutally impressive directorial debut with Coriolanus, a raw back-to-basics modern retelling of the lesser known Shakespeare play. Fiennes second feature is a brave departure from this, a perfect opposite to Coriolanus. Essentially a love story, The Invisible Woman follows the relationship between Charles Dickens (Fiennes) and his young lover Nelly Ternan (Felicity Jones), the pair had a controversial extra-marital affair that surpassed Dickens own marriage and continued on until his death at the age of 58.

Fiennes pays close attention to the roles of men and woman at the time in this, his carefully crafted essay on Victorian relationships and –more subtly- fame. The doomed role of the lover in a male writer’s life is perhaps the most heart wrenching aspect of the piece, carefully relayed in the fantastic performances of Jones and Joanna Scanlan- who personifies Victorian reserve in her often tragic portrayal of Dickens’ wife. As Nelly and Dickens draw closer and closer to the inevitable affair, the world around them sniffs scandal and forces them to take a more covert approach. Even if Dickens’ London is a man’s world, it is no place for divorce.

Fiennes is as magnetic as ever as the larger-than-life author at the height of his career. Tom Hollander deserves note for an energetic performance as the mischievous Wilkie Collins, the only grievance regarding Hollander would be his lack of screen time. The wonderful rapport between Fiennes and Hollander is electric and constitutes a large portion of the truly enjoyable scenes of the film. Bring on ‘Wilkie and Dickens: the college years’.

Here I have perhaps touched on the problem with Fiennes’ second feature: it is a period drama, and thus flirts consistently with surrendering to a certain brand of tedium. Aside from fantastic performance and Maria Djurkovic’s impressive production design-which ensures Fiennes’ Victorian London is realistic and aesthetically gorgeous, the film does lack that fine daring edge that might maintain the viewer’s absolute attention. Technicality, Fiennes is a good director, but merely good. His keen ear for diegetic sound helps pull the viewer into the world, but an as-of-yet unfound style leaves some of his frames wandering, left to be gathered by his actors. This leads us to another issue: particular scenes of magnetic performance, those between lovers and family, break the softly-spoken jib to deliver moments that surpass a large portion of the film.

The Invisible Woman is unfortunately a meandering film, beautifully realised but lacking in truly riveting subject matter. There are moments of startling clarity and splendour, a stand out performance from Felicity Jones, but by the end a point could be raised that there’s more beauty than brawn at work here.

★★★☆☆

Scott Clark

TIFF 2013 Review - Horns

Rating:
15
TIFF Release Date:
6th & 8th September
Director:
Alexandre Aja
Cast:
Juno Temple, Max Minghella, Joe Anderson, Heather Graham, David Morse
Based on the bestselling novel by Joe Hill (that’s horror maestro Stephen King’s son), Horns is a spellbinding gothic fairy tale that tackles lost love and the pits of human nature to deliver one of the most enjoyable horror flicks in some time. This was one of the highlights of this year's Toronto International Film Festival.

Ig Perrish (Daniel Radcliffe) wakes up one day to find he has grown a set of horns that grant him strange abilities. Haunted by the brutal murder of his girlfriend (Juno temple) and hounded by the people of his town who blame him, he decides to use those abilities to help exact his brtal revenge on the true killer.

As Ig quickly unravels the conspiracy, people can’t help confiding in him- and more often than not acting out- their most primal desires. So matter where he goes he leaves a trail of destruction, at times shamelessly depraved (see Heather Graham’s role as a sadistic waitress) at others touching. The humour is transferred seamlessly from book to screen, encapsulating the most realistic aspects of Ig’s condition and wrapping them with such charm and glee that there are more than just a few laugh-out-loud moments.

It’s not all black comedy though; Alexandre Aja (Switchblade Romance, The Hills Have Eyes 2006) understands the most important aspect of this story: at its heart, under the sharp, devilish humour and zany plot points, Horns is a romance. His attentions towards Ig and Merrin’s relationship, the heart-breaking fate of it and the superb casting of Radcliffe-Temple provides a believable base from which all other facets of the plot can grow from. Radcliffe has here stepped into full fruition as an actor, removing doubts of his post-Potter significance by seizing the down-and-out lover and relaying him with such torment and tenderness that the film often pulls at heartstrings whilst making you laugh and cower at the brutality of its more visceral scenes.

One of the few gripes with the film would be its bombastic and- at points -choppy music choice and editing which shake you out of Aja’s near-masterpiece. When the rest of the film has such a unity of vision, it’s a shame some of those soundtrack choices hit a gimmicky note, but it’s a small gripe in the face of such an enjoyable film. Similarly, the finale gets a bit stretched, but it’s difficult to talk realism on the subject of the Devil.

Consistently brilliant, horrific, and hilarious, Horns flaunts Radcliffe’s best performance to date and the claim to be one of the most touching horror films of recent years. This is a fantastic piece of filmmaking and a great addition to Aja’s repertoire.

★★★★☆

Scott Clark