cread Reviews

Simon of the Desert (1965)

well-filmed Bunuel satire

[10 September 2000]

Whilst not ranking with some of Bunuel's better work (Exterminating Angel, Discrete Charm of the Beourgoisie, et al.), this rather short (due to under-funding), witty and dazzlingly surrealist production ultimately succeeds in attacking religion quite blatantly. The 'devil' appears to Bunuel in the form of a beautiful young girl, who tempts him and, in a head-scratching final scene, takes him on a plane to see a satanic ritual, or disco thing. Is Bunuel relating our youth culture to satanism in a vicious attack on modern disco culture? No, I think he's just having a laugh.

Made in Britain (1982 TV Movie)

one of the toughest films to come out of Britain

[9 September 2000]

The late great Alan Clarke (Scum) brings us Made in Britain, a tough and uncompromising (though not actually physically violent) character study of a bored and angry teenager, played by Tim Roth, one of 'Fatcher's' children. The films rather flat narrative follows (both in terms of plot and camera movement) him through his refusal to 'conform' to the authority. Contrary to what a previous reviewer has said, it was not the intention for us, the audience, to believe that he must be forced to conform. The key in the film is that he never does conform, and that for all his obvious faults (racism and rebellion, it seems, a product of a right-wing and suppressive society) he retains the courage to stick to what he believes in. Rather than an anti-hero, Tim Roth's character seems to be more of a anarchist anti-authoritarian (rather like Alan Clarke himself) who is locked away for admitting to what he believes in.

So if you're in the mood, settle back and watch a film that packs a powerful punch. Probably most enjoyable if you're a little bit of an anarchist yourself (everyone else will most likely just be offended by it). Damned authority.

Frenzy (1972)

one of Hitch's final films

[15 August 2000]

Frenzy is one of Hitchcock's final films, and a collector's item for this very reason. But it is a rather unsatisfying suspense thriller coming from the man who brought us Psycho, the Birds and others. But we cannot blame Hitchcock, whose desire for his features to become more 'dangerous' would force him to leave the glamour of Hollywood to make Frenzy on a low budget in Britain. He originally scripted a film called 'Kaliedoscope Frenzy' to be shot in America, but the studios refused to finance undeniably due to the film's preposed high nudity and violence quota. To be quite honest, the high (not especially by today's standards) levels of violence and sex (rape) don't really add to the film, and such areas had been explored far more subtly and more powerfully in Psycho. The acting varies from satisfactory to inept, and Hitch's cameo is far too easy to spot. ok, perhaps that last bit was nit-picking slightly. Anyone looking for a stylish, violent thriller should check out Dario Argento's 'Deep Red', a film that Hitchcock is known to have admired.

Fando and Lis (1968)

visionary, disjointed, profound

[5 July 2000]

Jodorowsky's first film has recently been released on DVD with director's commentary and documentary, and it is looking beautiful for a 'lost' low-budget film. A frequently disjointed film, although to be honest not as much as El Topo, Jodorowsky's adaption of a bizarre stage production (filmed from memory with a one-page outline script) creates some of his most affecting images despite the low-budget. The narrative, which may seem annoying for those unaccustomed to Jodorowsky's work, actually develops in quite a mature and artistic manner; Jodorowsky shows a great understanding of his art despite the fact this was his first feature. But, as Jodorowsky himself says about this film, it is a pure work of art - i.e. a film created without any thought going into what the audience will think about it, he was filming from the heart. So it does drag in places and the pacing prevents any but the most arty of us to be excited by it. But if you liked El Topo (etc.), give it a go.

Sweet Sweetback's Baadasssss Song (1971)

hmm . . .

[14 June 2000]

I saw this several years ago on late night TV, and it was just about interesting enough to keep me awake. Great title, some iconic and memorable moments but nothing to get too excited about. Seminal, but not great.

The Awful Dr. Orlof (1962)

Franco's most accessible film

[9 June 2000]

I saw this, one of Franco's first films, late at night and although it was creepy and at times rather surreal, there is little to approach the weirdness of Vampiros Lesbos et al. But instead we have a well-crafted gothic fantasy reminding one of Universal or Hammer horrors, but ultimately surpassing these in terms of suspense and scares. There is also very little of the violence or nudity that characterises his later work (although I did see a slightly trimmed version). This is probably Franco's most accessible film and, although he has himself remade it at least 4 times, this still remains the ultimate version. And unlike just about anything else by Franco, it stays the right side of cheese throughout, relying on Franco's skill as a director rather than cheap nudity thrills. Definitely recommended for fans of euro-gothic horror, although fans of Franco's later more whacked-out work would have to prepare themselves for something making a little more sense than normal.

Martin (1977)

George Romero's Greatest Film!

[21 May 2000]

Night of the Living Dead took some beating, but Romero did it. This intelligent, seminal thriller cum horror movie is a modern updating of vampire myths, with John Amplas as the disturbed teenager who may or may not be an 84 year old vampire. The combination of Tom Savini's stunning early gore effects (not overdone in this movie like they were in the slightly silly comic-book-style Dawn of the Dead) and the fast-editing and surreal quality that can be seen in many early Romero (especially the under-rated Season of the Witch and the Crazies) lead to a slow-moving, disturbing movie that, more so than any other vampire movie, maintains its believability right up to the killer twist of an ending. Add to this confusing, at times beautiful camera-work, surreal black & white photography during short flash-back sequences that may or may not just be Martin's fantasy, and a perfectly paced soundtrack. Romero said once that he thought this was his greatest film, and he gets no argument from me.

Behind Convent Walls (1978)

artistic, erotic, tragic

[20 May 2000]

Borowsky's artistic, distinctively edgy pseudo-art erotic movie will appeal to all familiar with his work. The over-exposed light pours in through the windows and light up the stark, angular corridors, perfectly off-setting the naked female bodies on display. The plot is pretty mundane stuff - a mother superior has trouble keeping her naughty nuns from sins of the flesh (that's pretty much it). Although the weird subplots about stigmata and a nun who seems to believe Jesus slept with her in her sleep will please art-house fans like me. The film is set against a loud organ score (reminiscent of the art-house classic Last Year at Marienbad) and of course it all ends pretty tragically. This is a great little art-house film, although the acting is at times a little hokey (not helped by terrible dubbing) and it isn't exactly the biggest budget in the world. Ironically, given the film's exploitionist title, there isn't much here for softcore porn fans (a little female masterbation and 2 or 3 short (heterosexual) sex scenes) but fans of this kind of european arthouse should be more than happy.

The Stendhal Syndrome (1996)

underrated intelligant thriller

[18 April 2000]

La Syndrome di Stendahl has met cruel critical comments on its initial release but although it is not at all like his earlier work, it is in fact a far more intelligent and mature affair. Anna Manni, the character played by Asia Argento, has more compassion than any other character in an Argento film, quite unlike the carelessly created cartoon-like characters of his other work. It is true, however that the film drags slightly in the middle, although picks up the pace again for a surprising and beautifully directed finale; and although the film is not as bloody as tenebrae, the violence on display is brutal and sexual (leading to it being cut for release in Britain) and genuinely disturbing. Perhaps not as good as Deep Red or Suspiria, but definitely one of this unusual director's better efforts.

Clerks (1994)

hmmm . . .

[20 February 2000]

I enjoyed it, but I didn't find it funny. In a way I did feel it was trying too hard to be a 'cult' movie - but I'm glad it has been so successful and I look forward to seeing what other bizarre movies Kevin Smith can come up with. I didn't have a problem with either the acting or directing - although I don't think any oscars are in order - and the script was very witty with bizarre observations to leave you looking very confused. Actually this film is probably best enjoyed if you're drunk. or on drugs.

Last Year at Marienbad (1961)

a work of art by a master

[19 February 2000]

Last Year at Marienbad, Resnais' ambiguous, surreal and beautiful arthouse classic will either irritate or mesmerise, depending on patience. The 'plot' involves an affair between two anonymous people, the female seemingly having no memory of their relationship last year. Was she killed by her jealous husband? Has she lost her memory, or did nothing happen at all? Well, nobody seems to have a clue, but that doesn't alter the fact that the combination of seemless direction, cinematography, deadpan acting, award-winning scripting and a strange church organ soundtrack makes for a fine cinematic experience.

Star Wars: Episode IV - A New Hope (1977)

THE WORST FILM OF THE 20TH CENTURY

[17 November 1999]

Absolute rubbish. Dreadful. Boring. Trash. Pants. 'nuff said.

I realise that this review may cause some controversy. Yes, I realise that there are people out there, somewhere in the information highway that rate this film as slightly better than average. A classic even. But in this day and age it can only be seen as rather dated trash, a dull reminder of a forgotten age. If you want to see a good Sci-fi movie, see 'Metropolis' or 'La Jetee'. Only children will appreciate this.

Night of the Living Dead (1968)

Romero's best, with the power to shock after all these years . . .

[19 October 1999]

George Romero made his directorial debut with this film, a low-budget B-movie that would go on to become a classic, hailed by all connaisseurs of horror. Although famous for its gore and ruthlessness, this is far more accessible than Romero's later films of the seventies such as Martin and Dawn of the Dead. That said, the rapid editing and early gore effects are combined to give a claustrophobic and unrelenting portrait of seven survivor's attempts to escape the clutches of seemingly endless crowds of the undead. Romero's greatest film (closely followed by the masterpiece Martin) and highly influencial, partlicularly amoungst cult horror, Romero's work was to influence many other horror directors including Italian directors and other cult icons such as John Carpenter. For what is essentially an independant film, the acting is not too bad and the script is superb - both believable and endlessly quotable. Scenes to look out for include a scene where a zombie is set on fire (done without protection of course), and a scene where dozens of zombie hands break through a window and grab out at our heros. Actually, the entire end sequence is utterly terrifying. For the first time, a horror movie was set in reality (relatively speaking). Utterly unrelenting and totally compelling, this cult masterpiece is an absolute must-see for all horror-buffs, even if you don't like the later work of the great Romero.

Deep Red (1975)

An incredible cinematic experience

[13 October 1999]

Argento, as anyone familiar with his work will know, has a talent for creating this kind of surreal chiller. This is one of his greatest works, despite being relatively unknown and very difficult to locate. Carpenter once wrote 'Argento is a director that takes note of his dreams and includes them in his movies' and having experienced this wonderful movie; second only to his classic Suspiria in terms of style; it is easy to see that this is the case. David Hemmings plays a musician who witnesses the brutal killing of a psychic. This, like all the death scenes in the movie, is as intense and as brilliant as anything the director has ever created - and of course, Argento himself played the gloved hands of the killer. Within the rest of the movie, a complex riddle is created including bizarre frescos depicting brutal murders, surreal dream-like imagery and a thrilling, unrelenting atmosphere with a very satisfying conclusion. Ouch. All fans of the master should watch this, one of his greatest films. Mainstream fans may not enjoy it, but it is far more accessible in terms of plot than many later films, and has a roving camera technique that cannot fail to impress. And the colour scheme, of course, is beautifully intense - setting off perfectly the bizarre, graceful yet repulsive images on display. This is considered by fans to be his breakthrough feature - for the first time including music by the acclaimed band Goblin - a pulsing score that is one of the greatest of any horror film with the possible exception of Halloween. If you are lucky enough, then the full 120 minute Italian version is well worth seeing. Although Suspiria is slightly more stylish and brutal, Deep Red has a better plot and some beautiful sequences. Watch it.

A Summer's Tale (1996)

a charming, funny and ultimately rather pointless French film.

[8 October 1999]

The 'miniaturist' style of this director is a taste well worth acquiring. The story begins very simply, with a lone young man having a holiday and a sort of friendship begins between him and a waitress. Things start to get more complicated as another girl comes into the picture, then his old girlfriend turns up as well. There is a rather pointless feel after the film is over, since nothing much has happened at all, but it is ultimately very satisfying and charming as well as very funny. I don't know anything about the other 3 'tales of the 4 seasons', but if they are anything like as good as this then they are well worth checking out.

Kitchin (1989)

a visual delight

[2 October 1999]

Kitchen, a rather obscure-looking Japanese/Hong-Kong film, was a movie I had previously heard little about. However, I was surprised by the beauty of the filming and the quality of the acting. The plot was nothing too original - a boy-meets-girl tale given interest by the fact that they have character and speak a language I don't understand - but the technique was in places stunning - the opening sequence, for instance, a close up of rain beating down on a puddle when slowly a human face emerges - Aggie, as she is called. Not perhaps what many 'foreign' film fans may be looking for, but this undeniably has an exquisite quality that I have not encountered this side of Casablanca. If you are lucky enough to be able to watch this, then do so.

Providence (1977)

A true artistic masterpiece, by a true master of the art

[2 October 1999]

A dying artist, beautifully acted by Fainsilber, struggles to complete one last book before he dies - the plot of which becomes confused with his own troubled life as he thinks and dreams his way through the night. This was the first film in English for master film-maker Alain Resnais, and also happens to be one of his best. Using a variety of surreal cinematic techniques, Resnais is able to capture the characters of everyone in the film perfectly and his style - combined with excellent scripting - makes for an experience that will not be forgotten. Although the first half of the film will probably be spent in confusion, before you actually realise what is going on - I had to see this film several times before I was satisfied - it is worth struggling to understand this complex and thoroughly entertaining artistic movie.