ravers Reviews

Alice and Martin (1998)

Disappointing

[5 December 2001]

With Techine directing Binoche you would expect something special, something emotionally involving, something...good. But, sadly, this movie is, for the most part, disappointing. First of all we don't truly care about the characters, Loret, who plays Martin, is wooden and distant, and the blossoming relationship between the two leads is unconvincing. Binoche is on top form, a beauty to behold, but every time she's off the screen the film nosedives. Perhaps Alice's past should have been explored too. The psychological leash Victor has on Martin isn't tight enough to convincingly escalate into patricide. However, it isn't all bad. The cinematography is beautiful, in particular, when Martin opens his window, as a child, and is greeted by the snow falling. Golden Spain too. Alice Et Martin isn't diabolical, but with the talent involved, you would expect so much more. 6/10

Massacre at Central High (1976)

The worst film I have ever seen.

[22 June 2001]

I am a filmmaker and I have this film on video for pointers on how not to make a movie. Believe me, I've seen some stinkers in my time but this one really takes the biscuit. The plot isn't that bad. It raises some interesting questions: Do school bullies serve a useful purpose by keeping everyone in line? Without them would victims become bullies themselves? Okay, compared to the typical slasher movies of the period this film is coming from a different angle, but the plot is wasted completely. First of all, the acting is diobolical, even for a B movie. You'd be forgiven for thinking it was a zombie flick. The film is grainy and sometimes shot on different stocks. And the music, don't even get me started! The bullies are the only authority figures in the school - where are the teachers? The dialogue is so cheesy you can smell it. And ten murders are commited and there's not a policeman in sight. Spoiler. Here are some funny moments: The bullies , out of the blue, decide to go hand-gliding? One of them flies into a cable tower and electrocutes himself. It is clear, from long-shot, that it is a dummy. The director is trying too hard to create a classic movie moment. He does, but it's only memorable because of it's stupidity. Then there's the bully who uses the school pool in the middle of the night. He dives in, but there's no water. Splat! And a car crushes the protaginist's kneecaps. He's out of hospital the next day with a Robocop limp. But it's only a B-movie and I'm not going to disect it any longer, simply because I don't have the time. Despite my criticisms, urge you to get hold of this movie. I guarantee it will have you rolling around on the floor in stitches. It's on a par with Pearl Harbor.

Dancer in the Dark (2000)

Where is the justice in Hollywood?

[28 March 2001]

I first saw this film round about the same time that the 2001 oscar ceremony was broadcast. I was blown away completely. Infact, I even cried. Bjork's performance is mesmirizing, her child-like angelic persona wins us over within the first fifteen minutes and from then on Von Trier plays with our emotions like a puppeteer. Mixing documentary drama with musicals was always going to be a gamble, but luckily it paid off. The music is magical, probably Bjorks best work yet. I know that this film has been condemned by some as manipulative melodrama and not everyone liked it. But the haters are in the minority. This film will only appeal to an intelligent audience. If you don't like Bjork - don't watch. If you don't like heart-warming dramas - don't watch. If you don't appreciate gutsy European experimental movie-making - don't watch.

Dancer in the Dark was criminally ignored at the oscars. Maybe it had something to do with George W Bush's ancient capital punishment principles. The injustice that Selma faced in the film is similar to the injustice that DITD received at the Oscars. Erin Brokavich? Erin Smokavich! I'm not saying that Julia Roberts isn't a talented actress, but lets face it, Bjork makes her look like Liz Hurley. It's a shame that she said she'd never act again, it would be interesting to see if she could play someone different. I'm sure that Bob Dylan won best song simply because of his life-time achievement rather than the actual song in question. DITD wasn't even nominated for best foreign film! Thank God for Cannes, that's all I can say. I highly recommend this film and I hope that Von Trier keeps up the good work. 10/10.

Let Sleeping Corpses Lie (1974)

Zombie Classic.

[28 February 2001]

This movie has many alternative titles: Living Dead At Manchester Morgue, Let Sleeping Corpses Lie, Don't Open The Window (possibly the worst). I expected this film to be another Romero re-tread, how wrong I was. Next to DAWN OF THE DEAD, Manchester Morgue is easily the best zombie flick EVER made. Yes, it's another one of those hidden gems that will never receive the commercial success that it so rightfully deserves. Jorge Grau paints a haunting picture of the Peak District, making the most out of the isolated countryside. The zombies are almost indestructable: mechanical, menacing and truly creepy. But it's the soundtrack that really stands out, proving that music is one of the most important ingredients in a horror movie.

Negative points: the English dubbing. The main character sounds too much like Jasper Carrot. Also, the script was written by several different writers and, quite frankly, it shows. Some dialogue is witty while some dialogue is bad. However, these are just minor glitches that horror movies can get away with. Manchester, monsters and a mini - what else can you ask for in a film?! Zombie classic. 9/10

I Stand Alone (1998)

Extremely Powerful.

[11 February 2001]

I Stand Alone is an intense, disturbing story that will stay with you long after the film has finished. Brilliant? Yes. Enjoyable? Certainly not. Like TAXI DRIVER, the film follows an anti-hero, a tortured soul unable to function in modern society. The portrayal of Paris tears up every luxury holiday brochure received in the mail (you won't want to go there in a hurry). The protagonist's life story so far is crammed into the first five minutes, so by the time the film has actually started we feel like we know him and can identify with him. The film is driven by vile voice-over: home truths, racist, facist opinions. But, unlike Travis Bickle, this geezer is not likeable. The reason being that we identify with him too much, it's painful to see ourselves on the screen. The acts of violence are disturbingly realistic and the gun-shot zooms are very effective. The movie deals with a multitude of controversial themes: unemployment, racism, domestic violence, incest and paedophilia. Be warned, I Stand Alone is an uncomfortable viewing experience and anyone who is easily offended should steer well clear.

After Hours (I) (1985)

One of the best black comedies ever made!

[31 January 2001]

Scorsese doing comedy is a rare treat. Let's face it, we've all had nights like this. No money, no ride home, no idea of what we're getting ourselves into. Like THE WIZARD OF OZ and THE WARRIORS, After Hours is about finding your way home. It's hard to imagine anyone other than Griffin Dunne playing Paul, the word-processor looking for some excitement in his life. The rest of the cast are equally excellent(look out for Scorsese in the Mohawk club). Hilariously disturbing, After Hours is an under-rated classic that gets better every time you watch it.

The Last House on the Left (1972)

What was all the fuss about?

[21 January 2001]

I recently got hold of an uncut copy of Wes Craven's controversial video nasty LHOTL. I must say I was very disappointed. I had the sick bucket and the psychiatrist ready but, luckily, I didn't need them. I might give a few things away so if you haven't seen the film skip this review.

It is clearly evident that Craven was still learning his craft when this film was made. Firstly, I didn't care about the girls. Anyone who runs away from dangerous serial killers at one mile an hour deserves to be caught. David Hess' performance as the gang-leader Krug is brutal but limited (towards the end of the film it becomes clear that he is only capable of one expression). The bumbling cops are supposed to provide some comic relief. But they are about as funny as the Police Academy movies. When they are on the screen, subconsciously we want to get back to killings. The killers, who recently escaped from prison, were mentioned on the radio. Are we really supposed to believe that only two officers would show up at the scene? When the gang conveniently show up at the house of one of their victims, it is ridiculous to think that the parents, who are worrying about their missing daughter, would invite them in to stay. When the parents find out what happened they are about as emotional as Arnold Schwarzenegger.

However, the film isn't all bad. There are a few promising moments. Craven experiments with dream sequences (Nightmare on Elm Street anyone?). The murders in the woods are powerful simply because they are shot in such a cold, flat syle. But Craven spoils this intensity with a light-hearted hillbilly soundtrack. The end credits show the actors smiling happily, reminding us that it is only a movie, and reducing the impact of it's powerful punch. Last House On The Left fails to live up to it's notorious reputation. If you want to be scared watch THE TEXAS CHAINSAW MASSACRE. If you want an ironic tale of twisting fate watch Bergman's THE VIRGIN SPRING, the film that Craven's debut was based on. The film is worth seeing simply because it contains one of the most realistic murder scenes ever put to celluloid. Ahead of it's time, but pretty tame by todays standards.