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  • Blade Runner

    Blade Runner 1982

    ★★★★★ Added

    Ridley Scott's seminal sci-fi Blade Runner (1982) begins with a dazzling yet hellish vision of a metropolis shrouded in smog so thick that the sun has disappeared from the sky. Is it day or is it night? Giant towers of industry belch fire and pyramid-like structures sit like thrones over an urban landscape of monstrous magnitude. It is a seminal moment for modern sci-fi cinema because nothing so majestically awful had ever been committed to the screen.

    Read the rest of my review at: Cine-Vue:

    www.cine-vue.com/2015/03/film-review-blade-runner.html

  • Lost River

    Lost River 2014

    ★★★★ Added

    Lost River is somewhere between oneiric and onanism (and I mean that in a good way. Mostly). It's Michael Moore's Roger and Me if directed as a gothic horror fairy tale by Mario Bava. Moody, gorgeously photographed and with a very dry and macabre sense of humour.

  • Ghosts... of the Civil Dead

    Ghosts... of the Civil Dead 1988

    ★★★★★ Added 1

    Ghosts ... Of the Civil Dead was extraordinary. The sound design, the dramas going on outside the frame, Nick Cave, the poetic imagery and weird framing, the elliptical structure, the dialogue, the score, the sets, and some costumes that look almost sci-fi. What a film!

  • Primer

    Primer 2004

    ★★★★ Added

    Where is my mind?

  • Haunted Honeymoon

    Haunted Honeymoon 1986

    ★★★★ Added

    A flop on release in 1986, Gene Wilder's endearing and perfectly imagined homage to horror movies is full of spot-on references, knowing uses of cliches and tropes, and game performances from a strong cast of character actors. Gilda Radnor and Dom DeLuise are stand outs. Ann Way is also fab in a role that once would have been filled by Una O'Connor.

    Wilder mixes in the classic 'old dark house' scenario and gothic horror tension, werewolves and a giallo-esque villain.…

  • Maps to the Stars

    Maps to the Stars 2014

    ★★★★ Added

    David Cronenberg’s Maps To The Stars begins with a credits sequence illustrating Hollywood as a celestial constellation. It captures succinctly the quixotic allure and sense of ‘other’ associated with screen idols and their fixated-upon lives. If somewhat uncharitable (entirely on my part), the film's depiction of celebrity figures can be described as mutant or alien. They walk among us but they are not us. Very much like Brundlefly (in The Fly, 1986) or the Mantle twins in Dead Ringers (1988), they are beings unlike others. They're just ... different (quite drastically so in Brundle's case).

    Read the rest at:

    www.horrorflickers.com/2014/09/hollyweird-forever-david-cronenbergs.html

  • Shoah

    Shoah 1985

    ★★★★★ Added

    The director explores not 'Why' but 'How'. Testimonies of survivors are beyond heart-breaking, but it is Lanzmann's use of structure - the film initially appears episodic but is very much cyclical - that creates an unforgettable examination/mosiac of The Holocaust. One can also hear Stephen Dedalus's comment, from Joyce's Ulysses, echoing through it: 'History is a nightmare from which I am trying to awake.'

  • Au revoir les enfants

    Au revoir les enfants 1987

    ★★★★★ Added

    William Faulkner once made the sage point that "the past is never dead. It's not even past." Louis Malle's Golden Lion winner Au Revoir Les Enfants (1987) is a Second World War-set film very much guided in spirit by the US novelist's musing on the febrile relationship between memory, time and individual and collective histories. For years the director only ever discussed a childhood experience with an older brother, who was also there to bear witness. As with Roman Polanski's…