SOMETHING FOR THE WEEKEND

Ah, Anti-Nowhere League! Saw this band on many occasions, ranging from small capacity sweaty clubs to London's Lyceum. This is the one they'll be remembered for so enjoy the show as Ralph McTell's song gets a serious kicking.

HANNIBAL TURNS BLU

Florence, Italy. Hannibal Lector, now masquerading as Dr. Fell, continues to haunt the dreams of Clarice Starling (beautifully played by Julianne Moore)and soon attracts the attention of local cop Pazzi who has an eye on the considerable reward being offered for Lector's capture.With a high maintenance wife in tow, Pazzi resolves to obtain the necessary fingerprint required to bag the cash, while deformed peadophile Mason Verger (the excellent Gary Oldman doing his best James Stewart impersonation) pulls the strings that he hopes will eventually ensnare his quarry.

For my money, HANNIBAL is easily the best of the Hopkins Lector flicks, and is pretty damn close to being Ridley Scott's best to date. Here, the beautiful city of Florence appears dark and menacing, stained by the presence of Lector who holds sway throughout the entire film, even though some 30 minutes elapse before we first set eyes on him. With a heady mixture of scholarly insight, gallows humour and a palpable sense of menace, Anthony Hopkins locks horns with his pursuers while any romantic aspect is delivered by "suggestion rather than assault".
Sad to say, HANNIBAL received pretty short shrift from many SILENCE OF THE LAMBS devotees; some of whom felt that HANNIBAL was worlds away from their expectation of a sequel, and Jodie Foster's absence may have been to big a pill to swallow for those who found a 'newcomer' too big a jump. Maybe those same people have now got a little more time for Moore as, like the film, her performance gains with age and moves like a symphony through the rich script.

The standard definition DVD - laden with extras - has long been an essential part of my collection, and another in a line of Scott on disc that really increases understanding and appreciation of the film in question. The release of HANNIBAL on Blu-ray seemed to good to turn down, so is the hi-def version a worthwhile upgrade?
This region-free Blu-ray is easily the best I've seen this film look, though the detail seems less than sharp in certain instances. Overall, it handles colours and black levels very well, enhancing Scott's painterly approach to this film.
Happily, most of the extras from the SD DVD have been ported over, though the multi-angle fish market shoot-out and title sequence design have gone missing, together with the marketing gallery and trailers. With Blu-ray boasting such impressive storage capacity, the inclusion of the aforementioned would not have hurt, so someone clearly dropped the ball on this occasion. Apart from that, HANNIBAL comes highly recommended.

SOMETHING FOR THE WEEKEND. PRIME TIME JAM

Lucky enough to see The Jam on many occasions, and never saw them deliver anything other than a great gig. They always used to close the show with this one, leaving us gasping for air before they came back on for the encores.
This, I believe, is very close to being their finest song and always reminds me of the hundreds of tube trains I've taken on London's famous underground network. Some of them at midnight.

LONDON FILM FESTIVAL 2009.

Just got word of the 2009 programme for the Times BFI 53rd London Film Festival and, as usual, it's a real corker.

Over 14 days, the festival will be screening 191 features and 113 shorts with the promise of many guests and special events. I've already mentioned the opening night film previously on this blog, but it's worth highlighting again. Wes Anderson's FANTASTIC MR. FOX will open the fest, and will be presented by cast members including Meryl Streep, George Clooney and Bill Murray. The closing night film will be Sam Taylor-Wood's NOWHERE BOY, which will certainly be a must-see for all you Beatles fans out there.

There's so much to look out for during the course of 14 frantic days, but here are a selection of films I'll certainly be interested in catching up with in the very near future.

A BFI restoration of Anthony Asquith's UNDERGROUND with live musical accompaniment.
Michael Haneke's Palme d'Or winner, THE WHITE RIBBON
Steven Soderbergh's THE INFORMANT
Gasper Noe's ENTER THE VOID
Ang Lee's TAKING WOODSTOCK
Jane Campion's BRIGHT STAR
Harmony Korine's TRASH HUMPERS
Julien Temple's OIL CITY CONFIDENTIAL
Claire Denis' WHITE MATERIAL
Todd Solondze's LIFE DURING WARTIME
Jim Jarmusch's THE LIMITS OF CONTROL
Joel & Ethan Coen's A SERIOUS MAN
Andre Techine's THE GIRL ON THE TRAIN
Patrice Chereau's PERSECUTION
Atom Egoyan's CHLOE

Festival-goers can also look forward to personal appearances from: Clive Owen; Julianne Moore; Ray Winstone; Aaron Johnson; Nick Park; Catherine Breillat; Carey Mulligan, Alfred Molina, Rosamund Pike, Emma Thompson, Matthew Beard, Olivia Williams, Dominic Cooper; Nick Hornby; Lu Chan; Juno Temple; Alex Etel; Eliza May Bennett; Hugh Bonneville; Pauline Collins; Kwyedza Kureya; Federico León; Anurag Kashyap; Tarik Saleh; Josh Harris and James Schamus with many more still to be confirmed.

Unfortunately, we're once again unable to afford to attend any of the screenings, but hope the festival is another resounding success. Look out for further updates before and during the festival.

You can check out further details by clicking HERE
The festival beings 14th October.

SOMETHIN FOR THE WEEKEND: MAGAZINE

It's a great pleasure to include a clip from Magazine on this blog.
The band have started touring again and, according to a friend via Twitter, are on great form.
Sit back and watch and listen to this classic, and lament the fact that the late, great John McGeoch is no longer with us.
You can read my tribute to John by clicking HERE

SPOTLIGHT ON THE BLOGS

Check out this really nice piece on David Lynch's WILD AT HEART, over at RADIATOR HEAVEN.

Just click here

DEATH OF A GHOST HUNTER

I've always been a sucker for haunted house movies. THE STONE TAPE, THE HAUNTING,THE INNOCENTS, THE CHANGELING... golden oldies that have been joined by more recent fare such as THE OTHERS and THE ORPHANAGE. Sad to say, those good old fashioned spookers have always been a bit thin on the ground, perhaps relegated to also-ran status by populist box office hits that go for the jugular rather than subtle chills.
So, the release of a relatively recent film bearing the title DEATH OF A GHOST HUNTER immediately made me sit up and take notice.

Shot in 2007, Sean Tretter's second directorial project appeared on a UK DVD rental site with the minimum of fanfare, and it was available for free streaming as part of my rental package.
The film concerns a renowned ghost hunter named Carter Simms (Patti Tindall)who will be paid $5,000 to investigate a house that once played host to murder and suicide. Simms is contractually obliged to share house space with a cameraman and a reporter, who will attempt to bring balance and accuracy to any manifestations that may occur.
The trio are soon joined by a bible-thumping young woman, who turns out to have a vested interest in the house and its bloody history.

For most of its running time, DEATH OF A GHOST HUNTER does a more than reasonable job of detailing the science of paranormal investigation, with a clutch of believable characters staying well in tune with the script. Taking into account the nine day $10,000 shoot, the end product is a credit to all involved, though some aspects of the production fall a little bit short a little too often.
While some of the ghostly effects certainly convey the necessary chills for this genre, there are a number of instances where the supernatural imagery is anything but scary and this does impact on proceedings.
There's also a key scene early on that may render the finale less-than surprising, although the last 10 minutes are still a powerful experience, even if you got the 'twist' way ahead of time.

With nods to THE AMITYVILLE HORROR, THE EXORCIST and a cringe-inducing BLAIR WITCH piss take, DEATH OF A GHOST HUNTER is a mostly absorbing low-budget entry in the haunted house stakes, and its 'true story' tag did (I'll admit)compel me to search online for further details.

Tretta's film can be found to view online at http://www.lovefilm.com/welcome/beta.html and has just been released on DVD in the UK for just £2.99. Also available on Netflix.

NOWAYSIS: BAD NEWS FOR FANS

Just learned that Noel Gallagher has quit Oasis, declaring he's unable to continue working with his brother, Liam. It remains to be seen whether this really is the end, so we'll just have to hope that things work out.
Here's a clip of classic Oasis, as a small tribute to a band who consistently delivered.

SOMETHING FOR THE WEEKEND: THE REZILLOS

Prime-time Rezillos, from 1978.

ONE FOR YOU BEATLES FANS

Recently received an email revealing the choice of the closing night film at this year's London Film Festival.

The Closing Night Gala of The Times BFI 53rd London Film Festival will be the World Premiere of Ecosse Films' Nowhere Boy, the highly anticipated debut feature from British artist Sam Taylor-Wood.

Imagine John Lennon's childhood... Liverpool 1955: a smart and troubled fifteen year-old is hungry for experience. In a family full of secrets, two incredible women clash over John. Mimi, the buttoned-up aunt who raised him and Julia, the prodigal mother. Yearning for a normal family, John escapes into rock n' roll. His fledgling genius finds a kindred spirit in the teenage Paul McCartney. Just as John begins his new life, tragedy strikes. But a resilient young man finds his voice - and an icon explodes into the world.

Nowhere Boy is written by Matt Greenhalgh (Control) and stars newcomer Aaron Johnson as John Lennon, Kristin Scott Thomas as Lennon's Aunt Mimi, and Anne-Marie Duff as his mother Julia. They are joined by Thomas Brodie Sangster playing the young Paul McCartney and newcomer Sam Bell as George Harrison alongside a strong supporting cast that includes David Morrissey and David Threlfall. The film was produced by Robert Bernstein and Douglas Rae for Ecosse Films and Kevin Loader, with cinematography from Seamus McGarvey.

Nowhere Boy is an Ecosse Films production in association with Film4, the UK Film Council's Premiere Fund, NorthWest Vision and Media, Lip Sync Productions and Aver Media. The script was developed with the support of the UK Film Council's Development Fund and Icon Film Distribution will release the film in the UK on 26 December 2009. HanWay Films are selling international rights and The Weinstein Company have US rights.

Sandra Hebron, the Festival's Artistic Director comments: "We're delighted to be closing our festival with the world premiere of this first feature by Sam Taylor Wood, who brings her customary sensitivity and visual flair to this story of the formative years of one of the UK's cultural icons. Less a biopic and more a love-story, Nowhere Boy is as accomplished as it is moving, and will ensure the festival ends on a high note."

On having her film invited to close the London Film Festival, Sam Taylor-Wood comments: "For the past year I have lived and breathed this film. It's been one of the most transforming experiences of my life. For Nowhere Boy to chosen to close the London Film Festival, in a city I grew up in and which continues to inspire me is truly amazing."

The full programme for The Times BFI 53rd London Film Festival will be announced at the Press Launch on Wednesday 9 September. The Opening Night film is the previously announced World Premiere of Fantastic Mr. Fox.

The full programme for The Times BFI 53rd London Film Festival will be announced at the Press Launch on Wednesday 9 September. The Festival runs from 14-29 October 2009.

SOMETHING FOR THE WEEKEND

999 were one of my favourite punk bands. Remember seeing them at the Birmingham Odeon in the 70s when they were down to support The Runaways. On that particular evening, England was in the grip of rolling power cuts and Birmingham was expected to have its power cut off from 9.00pm that very evening. So, The Runaways elected to take the stage first with the aim of playing their full set, leaving 999 to run the risk of not being able to play. Happily, the blackout didn't happen and 999 delivered a real stormer of a gig.

The above video was shot at a 999 gig at London's Clarendon Hall in 1984. I think it provides a great indication of how good they were. I hope you enjoy it. Don't forget to check back next Friday for another musical clip.

SOMETHING FOR THE WEEKEND

A little musical something for the weekend. I'll be doing this every Friday, so don't forget to stop by. My first offering is a classic anthem from Oasis.

BLAST FROM THE PAST: BLOOD SIMPLE

It happened one night in 1983. The usual selection of pre-main feature trailers; a guy digging a grave in a field illuminated by headlights; a private investigator blowing smoke rings while spinning a tale of marital infidelity…
Three minutes worth of clips promising murder, intrigue and betrayal. This was my first introduction to the world of the Coen Bros. One week later, I was back to view BLOOD SIMPLE – their debut feature and, possibly, still their finest hour-and-36.

Here, classic film noir pitches camp in a Texas populated by self-serving characters who guarantee that, whoever comes out on top, good will not triumph! Bar owner Ray (Dan Hedeya) hires private eye Visser (M. Emmet Walsh) to procure photographic evidence of his wife’s affair. Marty (John Getz), a barkeep at Ray’s saloon, becomes one of the targets in a planned double-murder (“I’ve got a job for you. It’s not strictly legal”), but things do not go according to plan as a series of twists and double crosses deliver a white-hot thriller. Abby (Frances McDormand) takes over from her husband and her illicit lover during a terrific final quarter, full of suspense, bloodletting and a tense bout of gunplay which may prompt you to do Dirty Harry-style math on the way to the most wonderful closing line of dialogue and a reprise of the wholly appropriate Four Tops classic.

For a debut feature, this a remarkably assured work, adding some nice comedic touches (Visser’s one-liners, a bungled wife-snatch that anticipates FARGO) to a storyline full of surprises. Quite simply, it’s a joy to see the cast discover information we are already privy to, and then pull the rug from under our feet as Visser moves one step forward and two steps back. Walsh is disgustingly fine as the sleaze-riddled detective, and ably supported by the intense Hedeya (just as scary then as in his memorable turn in MULLHOLLAND DRIVE, some 19 years later) and McDormand who also made her screen debut here, along with her director.

Universal’s DVD presents BLOOD SIMPLE in its original 1.85:1 ratio, with a nice clean transfer doing full justice to Barry Sonnenfeld’s photography. The presence of an audio commentary track should have served to heighten our knowledge and appreciation of this film but Kenneth Loring (of Forever Young films, apparently) had other ideas. As a send-up on commentaries, Loring is perhaps funny for around five minutes but quickly becomes tedious and remains so (“You may be getting a little bit tired of this lighter by now”). I’m sure folks who spent their hard-earned on this disc would have loved to hear the Coens talk about script development, problems encountered getting their film from story to shooting and casting choices. A pompous viewpoint? Maybe, but surely this film deserves better?

UK CINEMA ADMISSIONS UP

Despite this awful recession, UK cinema admissions reached 83.4 million in the first half of 2009; an increase of 14.8% when compared to the same period last year.
Although we're currently unable to afford to visit our local cinema, we're pleased to see that cinema-going is holding up so well and often cast an envious eye towards Derby's Quad cinema. During the course of this month, film buffs have a chance to see Von Trier's controversial ANTI CHRIST, Almodovar's BROKEN EMBRACES, Claire Denis' 35 SHOTS OF RUM, Duncan Jones' MOON, COCO BEFORE CHANEL, MESRINE: KILLER INSTINCT, Coffin Joe's EMBODIMENT OF EVIL and check out the following special screenings: THIS SPORTING LIFE, BARBARELLA, VERTIGO and BREAKFAST AT TIFFANY'S.

If you live within affordable reach of a good cinema complex, you don't know how lucky you are. Please support it if you're able to.

WATCHMEN ON BLU.

I've never been a fan of graphic novels. No real reason for this. Just something I've never took the time to get into. Happily, this situation changed a couple of months ago when I finally decided it was way past time to check out the 'Gone With The Wind Of Graphics'.
My interest was sparked by a trailer for Zack Snyder's feature film, so a quick purchase on eBay's home shopping site and a copy of Alan Moore and Dave Gibbons' revered book was soon nestling on my lap. To say I was blown away would be an understatement! This alternate history 'lesson' - full of costumed vigilantes and extreme social and political turmoil - WATCHMEN proved to be the most engrossing page-turner I'd encountered in many a long day.
I'd been unable to catch a theatrical screening of Snyder's film, and eagerly awaited the DVD release which, in the UK, turned out to be the version seen at cinemas.News soon came through that the US would be getting Snyder's director's cut, and the Blu-ray would not be region-locked.

Running at 3 hours 6 minutes (some 24 mins longer than the theatrical cut), Watchmen is, in my eyes at least, an absolute triumph.
Here, characters are brought to life by several excellent performances, caught in an intoxicating mix of past, present and future.
Moore & Gibbons' dark world sees President Nixon serving a fourth term of office in a world where costumed crime fighters are outlawed by the Keene act and the tragic figure of Dr. Manhattan who finally abandons humanity. From the opening demise of 'The Joker' and wonderful opening credits sequence, through to the final line of dialogue, WATCHMEN had me gripped and left me regretting I'd missed those theatrical screenings.

Warner Bros Blu-ray contains 3 discs, with one disc full of extras and a digital copy of the film. Picture quality is hard to fault, with nice inky blacks, excellent shadow detail and striking skin tones, with only the blue glow of Dr. Manhattan exhibiting issues.
Snyder's Maximum Movie Mode (found on disc one) will surely be well received by fans of this film, revealing two screens in between Snyder who delivers a ton of information, backed by storyboards, comparison of scenes to comic book panels and behind the scenes info.
Fans will already be aware of the forthcoming 5 disc version, due in December. This will contain the film with TALES OF THE BLACK FREIGHTER woven in; over 2 hours of bonus footage including Hollis Mason's TELL ALL UNDER THE HOOD; commentary by Dave Gibbons and Zack Snyder and The Complete Watchmen Motion Comics.
Put me down for one of those!

AWAYDAYS: DON'T MISS THIS STOP

Unable to get to the cinema for this one, but AWAYDAYS will be out on DVD 28th September. CONTROL meets THIS IS ENGLAND! Looks and sounds like a good 'un.

RIP SIR BOBBY ROBSON

It's extremely rare I post about anything that's not movie or music-related, but this is an exception.
I was greatly saddened to learn that Sir Bobby Robson lost his battle against cancer earlier today. Bobby had a long and distinguished career in football, playing for Fulham and West Brom before becoming a manager both here and abroad. Sir Bobby's Ipswich side won many friends for their quality of football, and I can recall some great games when his side came to Derby and when we travelled to Portman Road for matches.
In 1982 Bobby became manager of our national football team, and guided England to the 1988 World Cup semi-finals. We were a whisker away from the final until Germany won the penalty shoot-out.

It's well nigh impossible to think of a nicer, more genuine football man and life inside and outside football will be the worse for his passing.
Sir Bobby was 76. Thoughts and prayers go out to his family.

SPOTLIGHT ON THE BLOGS

Jeremy over at the wonderful Moon In The Gutter blog has just published his thoughts on Jess Franco's classic VENUS IN FURS.

You can read his excellent piece here