Black Lizard Tales review

My feature film Black Lizard Tales recently premiered at the Cine-Excess International Film Festival and the screening garnered this review from Ellis Reed writing for Horrified magazine.

Read it here; https://www.horrifiedmagazine.co.uk/reviews/the-cine-excess-international-film-festival-black-lizard-tales/

Newton Talks Cult Film Microcast #7 Repo Man

In this micro-podcast, I talk about one of the definitive cult films of the 1980s, Alex Cox’s debut feature, Repo Man (1984). As well as being a filmmaker, Cox was also presenter of the BBC series Moviedrome, which has an important place in the perception of cult cinema. Listen to my podcast about one of the great anti-authoritarian films here;

Newton Talks #14 Britain and The Video Rental Boom, with Dr Johnny Walker

In this episode of my podcast, Dr Johnny Walker joins me to talk about the book he is writing about the video rental boom of the 1970s and 1980s in Britain. We talk about how home video impacted the film industry in terms of new market opportunities, influencing future filmmakers, and also its effect on Britain’s working class and South Asian communities. 

Listen here: https://audioboom.com/posts/7717523-newton-talks-14-britain-and-the-video-rental-boom-with-dr-johnny-walker

Newton Talks #13 James Bond Radio Play Adaptations

In this latest episode, journalist and James Bond aficionado Lee Kenny joins me to discuss the BBC radio play adaptations of Ian Fleming’s 007 novels. The first was broadcast in 2008, the most recent in 2020, and they all feature Toby Stephens as Bond, as well as other recurring cast. We talk about how they capture the overall strangeness of atmosphere present in Fleming’s stories, and how they provide a counterpoint to both the books and the more famous film series.

You can listen here: https://audioboom.com/posts/7656570-newton-talks-13-james-bond-radio-play-adaptations

Newton Talks Cult Film Microcast #3 The Harder They Come

The Harder They Come (1972) - IMDb

 

In this episode of my Cult Film Microcast series, I look at Perry Henzell’s 1972 Jamaican film, The Harder They Come. The poster above is from the American New World Pictures release, and makes a clear attempt to market the film as a blaxploitation crime picture. Like many films of the blaxploitation cycle, it has an anti-authoritarian ethos, and the music and soundtrack is a vital component in generating its mood.

In this recording, I focus on the stylistic techniques, the performance by reggae star Jimmy Cliff as Ivanoe Martin, and the famous scene set in the Rialto cinema in Kingston, where Martin goes to watch a performance of the spaghetti western Django (Sergio Corbucci, 1966).

Listen below:

Cult Film Microcast #1 The Warriors

As part of my Newton Talks podcast I have started a spin-off series of short ‘microcasts’ on cult cinema, much shorter than my regular episodes. Each episode will see me introducing a different cult film. The first of these is all about Walter Hill’s The Warriors (1979). I hope you enjoy it. Have a listen here;

Robin Hood (Otto Bathurst, 2018) review

Image result for robin hood 2018 poster

The latest version of the Robin Hood folklore story has been met by mostly poor reviews from critics. One of my film fan Twitter followers has claimed it has prompted her first ever cinema walk-out. The Telegraph reported on the 26th November that it is 2018’s largest box office bomb – the biggest flop, in fact, since Guy Ritchie’s similarly maligned King Arthur.

The comparisons to Ritchie’s movie are also relevant because Robin Hood takes a similar stylistic approach – CGI heavy, grungy, and a clear attempt to make the iconic hero ‘cool’ again. At times, the design approaches the steampunk aesthetic – as characters wear anachronistic clothing and work in what appear to be industrial revolution era factories. Nottingham itself is rendered as a sprawling, industrial metropolis, with high rise buildings, slums, and narrow streets.

It is this approach that struggles to convince, and stops the film succeeding. English medieval countryside and towns do not have to be enhanced and made modern to look fantastic on screen. In doing so, the film only sabotages its setting, one of its main potential selling points. The look is dark and artificial with little deviation in the brown and charcoal colour scheme – sometimes striking, but mostly preventing us from enjoying one of the exciting elements of the original story (stories) – its medieval locale. Similarly, there is nothing wrong with costumes that reflect the period, rather than the standard and predictable Nazi-esque clobber of the Sheriff of Nottingham and his soldiers.

Ironically, the most obvious attempt at modernisation also results in the film’s most effective scene. Robin is drafted to fight in one of the crusades, and Bathurst recreates a War on Terror style troops under fire action sequence, clearly reminiscent of news footage and documentaries following soldiers in Afghanistan and Iraq. Here, for the only time in the film, the action is hard and spectacular, and effectively defines the character traits of three of the central figures in the story. It is the definite highlight. But the overall seriousness of it all undermines the other attractive element of the Robin Hood story – the tone of ‘derring do’. This tone is almost entirely missing.

The cast however, is terrific. Taron Egerton, Jamie Foxx, Ben Mendelsohn, and Paul Anderson, are usually superb performers when working with the right material, and they struggle manfully with what they are given here. The film tries hard to be fun, politically relevant, and up to date – but doesn’t succeed in any of these endeavours.  The best cinematic Robin Hood remains the 1938 version starring Errol Flynn, and the Robin of Sherwood 1980s TV series starring Michael Praed could possibly the strongest and most interesting  version of them all.

Ocean’s 8 – review

Image result for ocean's 8

Ocean’s 8 is a sequel to the earlier Oceans franchise starring George Clooney, Brad Pitt, and Matt Damon, among others. Sandra Bullock plays Debbie Ocean, the sister of Clooney’s character, who has since died. Debbie is determined to pull off a heist she has been preparing for while in prison, ever since she was double crossed and set up by her ex-boyfriend. To help, she assembles a crew, including Cate Blanchett, Rhianna, Helena Bonham Carter, Sarah Paulson, and Mindy Kaling.

The most positive aspect of the film is the occasional use of rundown locations, such as disused and repurposed industrial buildings, a frequently unobtrusive camera, and scenes which are very often underlit. All this hints at the possibility that director Gary Ross was flirting with the style of seventies’ films such as The French Connection or The Friends of Eddie Coyle. Most intriguingly, is the recurrence of shots through glass or which use reflective surfaces. Windows, glass panels, phone and computer screens, and precious jewels dominate the mise-en-scene.

These more interesting stylistic elements – the attempt at seventies style grit, combined with the dominance of shots which reflect the overall plot (the heist of a diamond necklace), are too tentative, and are drowned out as the film opts for the more predictable foregrounding of slow motion walking, or shots designed for no other purpose than to make the principle cast look cool.  These are the weakest moments of the film. Sadly, they populate the movie too often, and are clear attempts at creating a slick crowd pleaser which is at odds with the detached and restrained performances of Bullock and Blanchett in particular. This creates an uncomfortable fit between two stylistic approaches which ultimately fail to hold together.

It all falls apart during the climax, which resorts to having characters explain what has just happened out of the view of the audience – complete with flashbacks of events which the viewer previously knew nothing about. We are also not shown the ultimate fate of the villains, and due to the effortless criminal competence of the lead characters, there is very little tension during the heist and subsequent fall out. The film is compromised stylistically and narratively. This is a common problem for Hollywood films which are concerned above all else with making its cast look untouchable.

This is not to say that Ocean’s 8 is unenjoyable. The cast are all excellent, and a genuine double act is formed between Bullock and Blanchett. Any sequel which gave them a tougher task, or put them under a bit more narrative pressure, could work well. There are also several effective moments of dialogue, and some entertaining interplay which is entirely expected of a cast this strong. They look like they all had a good time during shooting, and while this is not always desirable, in an ensemble piece the spark and connection between the leads is necessary.

Ocean’s 8 is an attempt to create a low key Hollywood movie which is dependent on a quality cast, good writing, and solid directing. It succeeds in moments, but overall doesn’t quite achieve the promise of its earlier scenes.

 

Irvin (2015)

vlcsnap-2014-09-14-20h53m31s33Our new film, Irvin, is available now on You Tube. It was made after a period of extensive research into sex offenders. The script is based on case studies, and was built from primary and secondary research.

Originally, the plan was to create a narrative based on the character, but we felt that the interview structure enabled us to address many of the issues in a more direct and thorough way. It reduced the need for us to ‘narrativise’ events. The acts and events described by Irvin are from multiple different sources. They are not presented in any linear order, which leads to contradictions and repetitions in Irvin’s account of his crimes. We felt that this accurately reflects not only the full realm of the material we researched, but also the contradictory nature of Irvin’s personality.

The character is repulsive and sympathetic. He is intelligent, and capable of both self-awareness and self-pity. This reflects the different dimensions of the character and the complexity of the wider subject of what it means to be an offender and the topic of institutional sexual abuse. Irvin is shot almost exclusively in close ups. This forces the viewer into an intimate relationship with the subject, despite the uncomfortable nature of his crimes. It offers them no easy way out of confronting the issues at hand, and allows the viewer very little relief. Irvin is available to view in its entirety here;