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  • Brothers Till We Die

    Brothers Till We Die

    ★★★½

    The Lenzi/Milian poliziotteschi eats itself in spectacular style, as Milian plays both Vincenzo the malevolent hunchback and his brother Sergio the bubble permed joker. It really is the Tomas Milian show, as he gets his teeth into exploring the various peculiarities of his two distinctive characters, but this does somewhat detract from Lenzi’s film amounting to a truly captivating Italian crime film. Nevertheless, Brothers Till We Die does succeed in putting two eccentric brothers to the forefront and exploring the…

  • Holiday

    Holiday

    ★★★★

    The sun may shine throughout, but it does nothing to penetrate the bleakness that characterises every aspect of Isabella Eklöf’s debut feature. Sascha’s (Victoria Carmen Sonne) tragic coming of age into the Turkey based Danish criminal milieu is disturbing, yet ultimately pragmatic from her skewed perspective. Seeing her gradual descent from naive innocent to grinning accessory is undoubtedly the film’s greatest strength, amounting to a coldly compelling portrait of a vacuous existence of sun and 'fun' punctuated by casual brutality.

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  • The Strange Color of Your Body's Tears

    The Strange Color of Your Body's Tears

    ★★★★

    A kaleidoscopic Giallogasm, The Strange Colour of Your Body's Tears is every fetishistic quirk and visually arresting Giallo motif ripped from the guts of an already strange sub-genre and spliced into something brilliantly deranged.
    I imagine that watching this film is akin to looking through the eyes of your most twisted Giallo killer and finding it impossible to coherently focus on anything but the mad passions that compel them!
    I get the feeling that The Strange Colour of Your Body's…

  • Exorcist II: The Heretic

    Exorcist II: The Heretic

    ★★½

    As a sequel to The Exorcist? - Yes, it's a dismal failure.
    Viewed as a stand-alone, loopy, mystical/sci-fi/horror hybrid dragged along by a manic Richard Burton performance? - It's actually quite fun.
    Somehow I missed out on(avoided...) seeing this until very recently, but finally got my opportunity to view it on the big screen as part of the BFI's John Boorman retrospective.
    Seen in a Boorman context alongside the likes of 'Excalibur' and 'Zardoz', it made a lot more sense…