Kill the Giggler


Liveblog after the jump.


The Netflix Trash Film Club – the results are in!

The votes have been tallied, the polling stations have shut, and Danny Dyer's finished campaigning. The results are in and the inaugural Netflix Trash Film Club screening will be a very special double bill of RED DAWN and CRANK 2: HIGH VOLTAGE, which I will be live blogging from 7.30pm tomorrow.

RED DAWN was a clear winner with 18% of the vote, while CRANK 2 just edged out THE FACULTY to second place with 13%. Thanks to everybody who voted, and I expect everyone who voted - especially those who voted for PIMP - to be watching tomorrow.

If you want to partake in the fun , sign up for a free trial at Netflix and then stream the films through the fancy gadget of your choice by clicking here for RED DAWN, and here for CRANK 2.

The schedule tomorrow will be as follows:

7.30pm: Live blog starts.

7.45pm: RED DAWN (1984) - 15 - 115m

It is the dawn of World War III. In mid-western America, a group of teenagers bands together to defend their town, and their country, from invading Soviet forces.

9.40pm: Intermission.

10:00pm: CRANK 2: HIGH VOLTAGE - 18 - 95m

Chelios faces a Chinese mobster who has stolen his nearly indestructible heart and replaced it with a battery-powered ticker that requires regular jolts of electricity to keep working.

11.35pm: Fin.

So that all of our timings match up I'll be going by this Greenwich Mean Time clock, so consult that if you're worried your personal timepiece is borked.

Finally, and I cannot emphasise this enough, the more voices on the live blog the better so please keep in contact throughout the film and send me your tweets, either by messaging me @killthegiggler or using the hashtag #NFTFC. Or you can email me at with any and all hilarious observations.

Spread the word and tell your friends so we can make this a regular thing. Or, alternatively, a one-off, never to be topped spectacular. Check in tomorrow at 7.30pm for the live blog - in the meantime I'd invite you to stare at this picture for a few hours as a way of preparation.

"Why a-orta!"


Lots of Oscar 2012 thoughts

Now before we start, I KNOW that the Oscars are a big stupid parade and don’t really matter in the grand scheme of things. I get this. If EXTREMELY LOUD AND INCREDIBLY CLOSE and THE HELP sweep the board, I honestly won’t give a shit.

 But what the Oscar noms does do is give us all an excuse to talk and debate about the films themselves, along with the people who we think deserved recognition for all their hard work, and those we didn’t. That’s what this needlessly long blog is about, not the import or relevancy of an award show that I most likely won’t even watch – it’s a celebration of all the great stuff that I saw this year, along with the occasional snide remark about stuff I don’t like. I hope this is OK with you.



THE DESCENDANTS is released today in the UK. It’s another film I saw at the LFF, and while I liked it a lot back then it was kind of overshadowed by the noisier, darker films that were being played at the festival.

I haven’t rewatched it since, but in the months since the festival it’s grown on me and I keep recalling little moments and scenes from it. I’d highly recommend going to see it even if your tastes skew more towards dark and noisy – Alexander Payne makes sure things never get mawkish and both Shailene Woodley and Clooney are awesome in it.

From my LFF review:

If there’s one generic label guaranteed to make me run for the hills it’s ‘comedy-drama’. I wish people who apply the label would stop being disingenuous and just call out the vast majority of these films for what they are – unfunny comedies. Film-makers- in an absence of jokes from your comedy, fill your film with aimless whimsy, weird-looking actors, avoid much happening for the majority of its running time, toss in a couple of tears and arguments, then hey presto: your film is a nailed on Sundance smash and will be snapped up by Fox Searchlight before you can say ‘charmingly offbeat’.

The only person who consistently makes good movies in the uninspired of realm of comedy dramas is Alexander Payne, perhaps because he infuses his films with a caustic wit that nicely counterbalances the sentimentality that so frequently drags down this genre, writes scripts that are actually funny, and, in perhaps his most overlooked attribute, makes films that actually look great, with a keen visual style. He’s never made a bad film, and I’m pleased to report that he’s extended his perfect record with THE DESCENDANTS.

Full review here.


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