Tag Archives: 2000s

MASS CATCH UP #1: THE EYES HAVE IT!

The eyes have it: Stills from Village of the Damned, Passport to Pimlico and The First Movie

In order to stem the tide of my perpetual catch-up in this (often) ill-conceived attempt to write about every film I watch, I present this mass posting, where I write a brief something about some of the British titles I have caught over the last couple of months but have neither the time nor inclination to expand upon further.

Here goes nothing…

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MIDNIGHT MOVIE

Midnight Movie
d. Jack Messit / 2008 / USA / 82 mins

Still from Midnight Movie

Low budget, independent genre pics are a notoriously difficult thing to get right. Midnight Movie doesn’t quite achieve that winning formula, but it is a valiant enough effort.

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A TOWN CALLED PANIC

A Town Called Panic / Panique au village
d.  Stéphane Aubier & Vincent Patar / 2009 / Belgium-Luxembourg-France / 85 mins
Downstairs @ Prince Charles Cinema (London, UK)

Still from A Town Called Panic

Ahhh…the surreal silliness that is A Town Called Panic!

I love the television series – hell, I even love Aubier and Patar’s Cravendale milk ads. And I’d been waiting to see the film since it premiered at Cannes in 2009, but I couldn’t help but think that there was a distinct possibility that what worked for short-format television wouldn’t necessarily translate to a feature film, even one as fleeting as Horse, Indian and Cowboy’s first, brief foray onto the big screen. After all, I couldn’t shake the notion that such relentless surreality is vastly better experienced in short, tempered bursts, particularly when it is delivered via intentionally jerky stop-motion animation.

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ENTER THE VOID

Enter the Void
d. Gasper Noé /2009 / France / 137 mins
Downstairs @ Prince Charles Cinema (London, UK)

Still from Enter the Void

What can you say about a film like this? Really?

Noé’s fluid/florid style absolutely dominates every one of your aural and visual senses, to the point that its hard to gauge the quality of its performances or the strength of its narrative, making it even harder to adequately describe. Enter the Void is undoubtedly stunning visually – certainly like nothing I have ever seen before – but is that really enough?

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LET (THE RIGHT ONE / ME) IN

Let The Right One In / Låt den rätte komma in
d. Tomas Alfredson / 2008 / Sweden / 115 mins

Let Me In
d. Matt Reeves / 2010 / USA-UK / 116 mins
Screen 2 @ Cineworld West India Quay (London, UK)

Stills from Let The Right One In and Let Me In

A little while back – having watched the films almost back to back – I wrote about the similarities between two English-set 1940s classics, Hitchcock’s adaptation of Daphne du Maurier’s Rebecca and the Robert Stevenson-helmed Orson Welles-led version of Charlotte Brontë’s Jane Eyre. And then, in a post about Ernst Lubitsch’s The Shop Around the Corner, I was rather disparaging about the very concept of a Hollywood remake, particularly the way that a dire, saccharine-drenched film such as You’ve Got Mail could suck all the life and energy out of one of the all-time classics of romantic comedy.

Before the firing squad this time around is another remake – albeit from an entirely different genre – and the tale of two films much closer together (temporally, but also in form and intent): Tomas Alfredson’s original Swedish adaptation of Låt den rätte komma in (2008) – better know to fanboys around the world as Let the Right One In – and it’s recent Hollywood revision as Let Me In.

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