Tag Archives: George Romero

A Week In Film #043: Time on my hands

The Crazies
George Romero’s pre-Dawn zombie-style horror – where lots of the elements that later defined his Dead films can be seen being tried out, not always succesfully – about a military bioweapon accidentally dropped on a nondescript northeastern American town. Acting is generally not award-winning, but the story shifts at a lick, there’s some interesting storytelling, and it’s enjoyably downbeat.

Napoli Spara title screen

Napoli Spara
A Mario Caiano-directed poliziotteschi which Nigel put me onto. A decent, fast-paced story of brutal robbers against a Neapolitan backdrop. Leonard Mann and Henry Silva face off against each other as hard-as-nails cop and bloodthirsty gangster respectively, whilst in the background unfold numerous seemingly random, unrelated incidents, all of which connect together by the end.

Bandits title screen

Bandits
Bank robbers Bruce Willis and Billy Bob Thornton steal their way across the States, pick up a hostage-cum-hanger-on (Cate Blanchett), and much fun is had by all. Barry Levinson directs with charm.

2019 - Dopo La Caduta Di New York title screen

2019 – Dopo La Caduta Di New York
Silly, camp Italian nonsense, ripping off *takes breath* Escape From New York, Mad Max 2, Escape From Thunderdome, Planet Of The Apes and a whole lot more.

Shinchinin No Samurai title screen

Shichinin No Samurai
Some days you just want to kick back with an old friend, so, Kurosawa and Seven Samurai here I come.

(500) Days Of Summer
The LLF fancied seeing summat at the De Luxe, and this was what she wanted to see. And it was pretty good. Joseph Gordon-Levitt (the kid from Third Rock) is Tom, a slightly gawky, underachieving architect who’s ended up grinding out greetings card messages for a living. He falls for Summer (Zooey Deschanel, in less k-fuelled mode than in The Happening), and the film tells the story of the birth, death and all points in between of their relationship, in disjointed and reflective style. Marc Webb directs with some interesting, just-this-side-of-flashy stylistic effects thrown in to keep things moving along.

A Week In Film #042: Big plans

Strange Days title screen

Strange Days
Kathryn Bigelow’s back in favour at the moment, with lots of hubbub over The Hurt Locker. For me this is her best work – fin de si├Ęcle near future cyber-gubbins, with Ralph FIennes as a sleazy purveyor of illegal memory videos getting caught up in seven shades of badness. Angela Bassett is aces as his best bud, an asskicking chauffeuse, and there’s an excellent supporting cast – Michael Wincott, Tom Sizemore, William Fichtner and Vincent D’Onofrio as rogue cops, Richard Edson, Nicky Katt, even Juliette Lewis gives a good performance.

Stander title screen

Stander
One of my favourite movies of recent years, based on a real-life tale of an Apartheid era South African cop-turned-bank robber, Andre Stander.

The central cast – Thomas Jane, Dexter Fletcher and David O’ Hara – is splendid, and director Bronwen Hughes balances light and shade well. The action scenes are magnificent. Deborah Kara Unger gives perhaps the strongest performance in the film as Bekkie, Stander’s wife.

Cashback title screen

Cashback
A fine little film, imaginative in its approach, ambitious in its style. is a young student whose heart has been broken and struck down with some serious insomnia; to try and help him get through the long sleepless nights, he takes on a job at the local supermarket working the graveyard shift.

Sean Ellis writes and directs, and there’s a good cast working together – Emilia Fox, Sean Bickerstaff, Stuart Goodwin, Michelle Ryan, Shaun Evans, Michael Dixon, Michael Lambourne and Marc Pickering. Definitely worth your time.

Land Of The Dead title screen

Land Of The Dead
George Romero returns to his zombie world, and it’s not great – just that little bit too much money, and definitely too many recognisable faces. Supposedly it’s a satire on The War Against Terror.

On the plus side: Asia Argento. On the negative side: pedestrian blocking/editing/photography/whatever means that you never get any sense of scale or geography – it just always looks like a cheesy soundstage.