This underseen Elmore Leonard-penned project about a prominent LA industrialist blackmailed for his infidelity cruises through the seedy LA crime underworld in the same way Chinatown and other LA-based noir films before it. But as a time capsule of the decade, for better or worse, it’s also burdened with the vulgarities of 1980’s cinema.
Friday, 29 January 2016
Wednesday, 13 January 2016
Perhaps more admirable and commendable than moving or masterful, the large scale frontier adventure tale visualized with eye-popping wide angle realism doesn't quite to add up to something greater than the sum of its parts. This is the power of that indescribable piece of storytelling/cinematic magic which when missing can make even the boldest, visionary works of art feel strangely inert.
Friday, 8 January 2016
You don't have to be an Elvis fan to be thrilled by this treasure of a documentary depicting the elder Elvis, in the twilight of his career - the jumpsuit, the rhinestone belts, the rings, the cape, the sideburns, and the choral grandiosity of his performances - revving it up on the quintessential road trip rock doc.
Tuesday, 5 January 2016
IT FOLLOWS (dir. David Robert Mitchell)
David Robert Mitchell’s exercise in horror minimalism masterfully pulls off the best retro movie experience of the year. Much like the resurrection of Mad Max, and 70’s era Star Wars Mitchell deviously recreates the terror of the 70’s/80’s silent stalker character. Mitchell takes inspiration from the hypnotic Yul Bynner/Richard Benjamin walking foot chase in Westworld, Michael Myers' terrifying stalking of Jamie Lee Curtis in Halloween I and II and relentless onslaught of Arnold Schwarzenegger’s 1984 Terminator. Mitchell’s premise is deceptively simple and with nil backstory, his ghostly baddie simply exists without question. If Mitchell painted film with just this brush he’d still have a terrifying picture, but what elevates the film is his pitch perfect depiction of the millennial malaise. Mitchell manages to make the relationships of the four central youngsters as compelling as the genre components. Mitchell’s application of the melancholy tone from the his previous picture Myth of the American Sleepover to his ironclad horror premise is a sublime cinematic marriage.