Ghost Stories as a movie finds itself in a sticky predicament. The play, also written and directed by Jeremy Dyson & Andy Nyman is presented as an investigation, partly this paranormal investigator looking over the most mysterious cases of his life, but also an investigation into horror tropes. It’s particularly concerning older horror flicks I guess, those from the sixties and seventies, the B movies and the things that calcified into tropes over that period say about us as a people.
I’ll admit I’ve never been super into the whole masc side of the gay scene. It’s like, what you get if you take all the liberating aspects of queerness and infect that with the worst parts of toxic masculinity.
Seems like Chris Nolan been listening to his critics. They say he struggles to build compelling and emotionally nuanced characters, he goes and creates a film without any. They say that his plots are tightly wound but don’t hold up under scrutiny, Dunkirk is virtually plotless. They say he mixes dialogue waaaaaaaaay too fucking low in the edit and he makes a whole film where his approach actually make sense. If it weren’t for the fact that this a full on onslaught of an action film it’d probably be unrecognisable.
Y’all know, when I was in the screening for Hampstead, maybe around 20 minutes in I was ready to be hating it. Like, it falls into this trap that so many cosy movies do of creating this aesthetic representation of ideal poorness.
The Levelling was shot on location in Somerset, which comes with the opportunity for me to swell up with pride. There ain’t too many films that explore our part of the world. Usually we’re just shipped to other places to ham up our accents and play the British equivalent of the yokel.
It’s weird seeing the title cards in independent movies that were never supposed to be on the big screen. At the opening of Mindhorn Isle of Man Film’s logo looks like a shitty jpeg, stretched out awkwardly to fill the screen. There’s been some talk, a surprising amount of films shoot on the Isle but… Continue reading Mindhorn: These fair Isles
I’m sure The Sense of an Ending is a very accomplished film. It looks pretty and has a bunch of good performances. Jim Broadbent, looking more Jeremy Corbyn than ever, is more than believable in his role, a creaking aging man wiling away his retirement in a specialist camera shop which keeps its Yale lock… Continue reading The Sense of an Ending: This fucking guy