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  • Prince of Darkness 1987

    ★★★★ Watched 11 Sep, 2012

    Efficiently doomy chiller from John Carpenter that attempts to marry up the Satanic possession genre with a contemporary sci-fi thriller, and mostly succeeds in the process. Sensibly, Carpenter throws us straight into the action, which unfolds in a low-key, unshowy but effectively unsettling fashion. The possessed zombie army is pretty standard, but the scratchy VHS transmissions from the future are particularly effective and Carpenter throws in a couple of extraordinary set-pieces. Meanwhile, his score boils down his trademark minimalism even…

  • Headhunters 2011

    ★★★★ Watched 29 Sep, 2012

    Hugely enjoyable adaptation of Jo Nesbo's crime bestseller about a recruitment consultant trapped in a deadly game of cat and mouse. I've not read the novel, but the film stands out as a taut, pacy thriller imbued with a streak of black humour and a healthy sense of its own ridiculousness - particularly in the film's middle act where main protagonist Roger Brown (played by the brilliantly rat-like Aksel Hennie) has all manner of indignities thrown at him that he…

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  • A Lizard in a Woman's Skin 1971

    ★★★ Watched 28 Mar, 2012

    A strange little giallo from Lucio Fulci, which foreshadows the dream-like surrealism of some of his later, more famous works but ties it to a much more restrained story of murder and insanity. There's much in A Lizard In A Woman's Skin that seems awkward or unintentionally funny now, including some very odd attempts at iconic shot compositions and some clunky dubbed dialogue (and indeed, whistling). But when it works, it works splendidly; the extended chase sequence through a seemingly…

  • Drive 2011

    ★★★★★ Watched 15 Feb, 2012

    An outstanding, stylish piece of work, Drive is one of the most compelling films I've seen in years. Violent, noirish, and suffused with a sense of 80s cool without ever seeming like a pastiche, the film is dominated by a superb performance from Ryan Gosling, whose nameless Driver is clearly indebted to, but bears comparison with, Clint Eastwood's Man With No Name. The pacing, plot and painstaking photography are all spot on, and best of all is the wonderful electronic score that flips between spaced-out ambience and thudding neo-electropop. An absolute treat on every level.