Edgar Wright's adaptation of Bryan Lee O’Malley’s comic-book series exudes the energy of a watershed moment in cinema. In this electric explosion of videogame imagery, the PlayStation Generation came of age. Scott Pilgrim is a psychedelic 8-bit trip through the mind of a gamer, forged by Streetfighter 2 and Sonic the Hedgehog, a daydream where love is something that must literally be fought for. It declares that junk culture is culture And as it does so, Wright dresses the film in the visuals of both games and comics: power meters, one-ups and action based sound effects. Niche hit or game-changing classic? Time will tell, but I know which side I'm on.
Despite being based on my all time favourite comic, I was far from alone in having low expectations for Dredd. The previous attempt at adapting the source material, 1995's Stallone starring abomination, missed the mark by a country mile, but at least it had major studio backing and a decent budget. This had neither, and yet it used these handicaps to its advantage, as this time it was crewed by proper devotees with a genuine love and understanding for the property. And what a result - one of the great b-movies, the best 18 rated sci fi film since the Alien saga was at its peak, and the best film John Carpenter never made. It is criminal that so few people have been willing to see it, but those that have will rarely speak ill of it.
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It does what it says on the tin: it gets under your skin. This electrifying sci-fi masterpiece from Glazer starred Scarlett Johannson as the alien invader in Glasgow, preying on credulous horny males. Scary, sexy, unforgettable.
With Moonrise Kingdom, Wes Anderson made a film about youth that felt like it was ripped from the overactive imagination of a 12-year-old. Very funny and very sweet, but also – and this one has often eluded Anderson – sincere also.
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Inside Llewyn Davis is not the first time that the Coen brothers have portrayed a period of distinctly American music, but beyond that the film holds little in common with O Brother, Where Art Thou? While music plays a crucial role in their latest work—in fact entire scenes are devoted to the performance of songs—for the Coens the point seems to be less about the music and more about documenting a particular moment in American history and specifically American themes. Whether it’s small-town murder, drug violence along the southern border, CIA paranoia, and now early ’60s folk music, the Coens have always masters of casting, plot and atmosphere.
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Submarine wears it's influences on it's sleeve and is proud to show them off. The obvious one is of course Wes Anderson but also there are plenty of nods to the French New Wave films of the 60's - and as Wes Anderson and French New Wave films are two great passions of mine, how could I resist.? He films Yasmin Paige like Godard filmed Anna Karina, and it's beautiful to watch. Another huge telling of Ayoade's influences include the Le Samourai and Passion Of Joan Of Arc posters seen in the background of some scenes. The acting and dialogue was top notch throughout, and the direction and art style is stunning for the majority. It's touching and funny, and I loved it.
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Balancing big laughs and big shocks, Attack the Block is a brilliant first film by anybody’s standards.
Almost all of this vampire drama is set in the dead of night, and Jarmusch and cinematographer Yorick Le Saux vary the tone of their nocturnal scenes. Sometimes, the nights feel menacing. Other times, they recall the sleepless evenings left staring at the ceiling, wondering what happened to your life. And then on other occasions, the movie has a seductive, romantic spirit. The stakes may not be particularly high in Only Lovers Left Alive, but that’s part of Jarmusch’s point. When immortality is a given and your only concern is finding fresh blood, your life in some ways loses its urgency. And so like the movie they’re in, Adam and Eve drift and drift, finding their amusements where they can.
Stockholm, 1982. Best friends Bobo and Klara are surrounded by very annoying people: girls with princess-y hair and sharp tongues, teachers who make them do sport, parents who have drunken parties and play the clarinet in their underpants. So they react like any spirited, alt-culture-embracing 13-year-olds would and form a punk band. It doesn’t matter that neither of them can play an instrument. It’s more punk to start with nothing.
Surrealist shenanigans are what we’ve come to expect from Welsh gonzo journalist and screenwriter Jon Ronson, but he surpasses all expectation with this charmingly off-kilter resurrection of cult TV and stand-up persona, Frank Sidebottom, who was brought to life by musician and comedian Chris Sievey for over two decades.
Does for caravanning what Deliverance did for canoeing.
A sensual and psychedelic riff on the Italian giallo films of the 1970s.
Bubbling under: Drive, Toy Story 3, Four Lions
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