Film
emma.simmonds
Tim Burton is a man who has always been at home in the shadows. His is a world of demon barbers, headless horsemen, deformed sewer dwellers and corpse brides, of chalky complexions, dusky aesthetics and billowing fog. His films are designed to chill children, or bewitch big kids, they hark back to the Brothers Grimm and Hammer horror - not least in the recurring presence of avuncular abomination Christopher Lee. At his most creatively successful, with films such as Beetlejuice, Edward Scissorhands and Batman, Burton gives us anarchy, askew humour and misfits clad in black. And so it is that Read more ...
Graham Fuller
Like many 20th-century Britons, the documentarist Humphrey Jennings was inspired to do his greatest work by World War Two. The crisis elicited not only his genius as a poetic propagandist but as an unofficial sociologist who demonstrated that the class struggle and ingrained cultural differences, if irresolvable, were not necessarily an impediment to the collective effort of beating Hitler.The films on the second of the BFI’s three DVDs of Jennings’s total output date from 1941-3 and describe an evolution from morale-boosting montages of primarliy static images (give or take the odd dolly or Read more ...
Jasper Rees
It’s maybe one for their shrink. The filmmaking Duplass brothers are irresistibly drawn to male losers still clinging to the apron strings. In Cyrus Jonah Hill played an overgrown mommy’s boy in the grip of an oedipal love-in who fights off his single mother’s new man like a fat hellcat. In Jeff, Who Lives at Home things have moved on, though not in an evolutionary sense. Jeff (Jason Segel) may be a good decade older than Cyrus but developmentally he’s not much further down the track.A lumbering work-shy 30-year-old stoner who hangs, to be specific, in his mother’s basement in Baton Rouge, he Read more ...
ash.smyth
He trudges about in the snow somewhere. He cooks. He sleeps. He chops wood and saws branches. He reads. He looks like Darwin. He makes hot drinks. He does not do spring cleaning.This is a more-or-less complete synopsis of Ben Rivers’ Two Years at Sea, a “study” (I think is the correct technical term) of some bloke, somewhere, living in the wilderness, who clearly does not hold down a day-job.He takes a shower.It’s shot on old cameras – in black and white, naturally – for the flickery, old-fashioned look, and in that arty thin-screen ratio. All terribly prize-winny and Jim Jarmusch, of course Read more ...
Nick Hasted
Celebrations of Dickens’ bicentenary will soon be elbowed aside by the Olympics, Jubilee and European Football Championships. Amidst all that flag-waving, these two mid-20th century Dickens films convey a love for England’s landscape and character truer than patriotism.Alberto Cavalcanti, Ealing Studios’ Brazilian wild card, brings an outsider’s brisk enjoyment to his 1947 Nickleby. Set in the 1830s of Dickens’ youth, the bright garb of pre-Victorian fops and sunny Hampshire countryside make this black-and-white film dazzle with life. Cavalcanti finds film noir shadows and corners from which Read more ...
Graham Fuller
“Atmosphère…atmosphère,” the tart played by Arletty barks at her boyfriend-pimp on a canal bridge in Marcel Carné’s 1938 Hôtel du Nord. She was furious with him for wanting to go fishing for a change of ambience, but the famous line – which later prompted the star to launch a perfume called Atmosphère for charity – might have been screenwriter Henri Jeanson’s insider dig at Carné’s Le Quai des brumes (Port of Shadows), which had been released to rapturous acclaim and huge business earlier in the year. Unfolding on the dank, fogbound streets and jetties of charcoal-smudged Le Havre – and Read more ...