A descent into Hell is triggered when "Ex-Lord" Donald Brocklebank finds that he must leave Longleigh House for London to find a way to pay for the medical treatments for his wife Nancy. ... See full summary »
In 1943, group of Croatian soldiers overtake a strategically important point in western Bosnia with a goal to destroy a group of communist partisans. On the way they met some supernatural ... See full summary »
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An HIV positive woman's quest to infect as many men as possible has gruesome consequences after she attracts the attention of a psychotic former Army interrogator and an emotionally fragile young man caring for his ailing mother.
Jon Michael Davis
Greta Scacchi, plays a lonely spinster Julia Parchant living on her own on a secluded farm in the mid-west of the USA. Unable to keep the farm by herself she hires a drifter Caleb Tucker, ... See full summary »
A descent into Hell is triggered when "Ex-Lord" Donald Brocklebank finds that he must leave Longleigh House for London to find a way to pay for the medical treatments for his wife Nancy. Alone, his over-protected, delusional, adult son, James, fancies himself in charge of the manor house with his terminally ill mother, and barricades the two of them into the house for a series of ever more panicked home treatments, mistakenly protecting her from the arrival of Nurse Mary and any outside help. Written by
The film is dedicated to the memory of Sheila and David Rumley, parents of director Simon Rumley. Three months after his father had passed away from a heart attack, his mother was diagnosed with cancer. She died three months later. See more »
Hello? Hello? Yes, yes I know. No, I didn't know that. No, that's not good at all. No, she doesn't know. Hmm. Hmm. Exactly. Okay, goodbye.
They going to make it?
No, they're not.
Can I look after mummy this time.
I'm not going away.
But you always say that, you always do.
Some one's at the door!
Stop James, I said stop!
[...] See more »
Unique and Stunning Film Reminiscent of Unclassifiable 1970s Classic
Simon Rumley's "The Living and the Dead" is the kind of film I would not have expected to come out in 2006. While a drama at its core, the movie is constructed of so many other narrative and cinematic nuances and is so possessed by a kind of punk spirit that it looks and feels like it could have been one of the unclassifiable classics of the 1970s. Although only a few final episodes in the life of an aristocratic English family with a mentally ill son are illustrated, these scenes are enough through which to surrealistically distill the gradual and eventual disintegration of their lives into madness and tragedy. This portrayal of tragedy is one of the characteristics that particularly makes this film so interesting. That's not to say that there is not also the element of comedy in this film. The son's character is one that many would consider humorous, at least from a distance. But Rumley takes us deep enough into the life of the son--his private words and behavior, his relationship with his parents, his drug usage, even his dreams--until our laughter is long left behind for more serious thoughts of sympathy and fear. It is as easy to emotionally respond to this film as it is to think about it on an intellectual level, as the simple yet sophisticated dialogue is brilliantly executed and perfectly compliments the literary screenplay, professional directing, artful cinematography, and everything else that makes this film as worthy of viewing as many of the unique favorites of the past.
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