Occasional film writer for Sight & Sound, BFI, Dazed & Confused, Media Magazine, Leamington Underground Cinema Journal, and Second Run DVD.
The drama begins in media res – Anders Breivik's car bomb has detonated at Regjeringskvartalet in Oslo, and the AUF campers on Utøya are debating its origin (“I just hope it wasn’t a Muslim group”) over waffles. Their argument continues until a faint bang is heard in the middle-distance, and then more bangs, closer, and screaming kids rushing from the woods toward a communal Portakabin. The next 72 minutes simulate Breivik's massacre of the camp in a single take, following…
"... if Man in the Well was the voice of a suicidal man screaming out from the dark, I confess that I couldn't hear him - and that may be the film's most shattering effect."
Like The Master, this is a ghost story and a love story, about a woman and a man, and two men. The relationship between Doc and Bigfoot is incredibly sweet and sad; the latter is just a lonely guy too bigoted to let his guard down and accept that he enjoys Doc's company, and his lonely night calls to our heroic stoner (they hate each other but have each other's home lines?) are a desperate plea for an…
With more farts than Blazing Saddles and enough vomit to rival Bad Taste, Aleksej German's final film is so vivid that you'd think it had revived smell-o-vision.
Like František Vláčil's Marketa Lazarová, this medievil epic - set on the planet Arkanar, which in its 13th Century is experiencing its Renaissance - is influenced little by plot, and instead cocoons the viewer into its primitive speck of the macrocosm. The idea is time travel - not so much evoking a period…