Huge fan of the first film, which TERRIFIED me, and really enjoyed the first half of the second. I was, however, massively disappointed by the sequel's conclusion. The teenagers that show up halfway through are hands down some of the most irritating kids I've ever seen in a horror film, and I've seen a lot of irritating kids in horror films. The concept and trailer for this third part looks really good though, and it'll be interesting to see how things will change now they're out of the apartment block. And if there isn't a scene where a priest says, "You may now kill the bride," they're missing a trick (I am available for screenwriting work).
*ANCHORMAN HIPSTER BOAST ALERT* I saw Anchorman on it's original release, in a cinema with about five other people in it, and like everyone else I laughed my arse off. It's a really funny film.
Then I went to university, and I witnessed first-hand the brutally contagious practice of Anchorman quoting. Did you know it's actually a legal requirement if you're a registered student to have an Anchorman quote somewhere on your Facebook page?
I'm a little bit Anchorman-ned out, then, but that said the clip above still put a big smile on my face. As for the prospect of a sequel...eh. McKay and Ferrel are very funny men, and I know they’ve got the potential in them to make something really surreal and unique (like the first film), but the pressure from the studio to retread old ground and do lots of fan service is place of actual funny stuff must be pretty big.
That cast will be expensive now though, eh? Ferrell, Carrell, Rogen (he has a bit part), and Rudd alone are bona fide movie stars now. The budget won’t matter though, as it’ll be an enormous hit whatever it costs.
By the way, did you know James Franco turned down a starring role in the original Anchorman to star in a film with Sean Penn, even though his role was cut down and he was overlooked by the Oscars? Yeah…
*leans on mic stand*
…MILK was a bad choice.
*High –fives bandleader*
This glorious little piece of neo-realism from the Dardennes is a film that follows in the erstwhile tradition of SON OF RAMBOW, STAND BY ME, THIS IS ENGLAND and THE 400 BLOWS in its unsentimental portrait of looming adolescence for troubled young men. Out today, it’s up against some pretty stiff competition in THE HUNGER GAMES and the forthcoming PIRATES, but I’m hoping it doesn’t get lost in the mire – it’s easily the Dardennes’ most accessible film, and I think it probably has the potential to become a cross-over hit if given the chance.
From my LFF review:
Cyril is, essentially, a Bad Kid – he attacks and insults people with a frequency and a ferocity that is startling – but as played by Doret he is an immensely watchable screen presence. His tiny, fragile frame and angelic features play in stark contrast to his anti-social behaviour, and as the film progresses we see that, much like Antoine in THE 400 BLOWS, the Kid just can’t catch a break. And when he’s subjected to some intense emotional abuse in the film (which is often), his gruff exterior dissolves into hurt, uncomprehending confusion in a way that is utterly believable and totally heartbreaking .It’s in these moments that we see that instead of being an inherently bad seed, it’s more that there’s something about Cyril’s nature and background that makes his peers and elders assume he’s trouble: as a result, it’s suggested that his abrasive nature is ultimately the result of a self-fulfilling prophecy.
Read the full review here.
Today finally sees the UK release of ONCE UPON A TIME IN ANATOLIA, a huge, difficult film and a quiet, unassuming masterpiece. It’s demanding in ways that even most arthouse films try to avoid now, but its rewards are ultimately huge.
It’s also the most heartfelt and nakedly spiritual mediation on the big stuff – death, faith, fidelity, family, duty – since THE TREE OF LIFE, with photography that's nearly as good (and in places actually exceeding it, like in the awe-inspiring opening shot pictured above), and even finds time to add moments of comic relief that are actually funny.
A must see then, and a good palette cleanser before the ever-engulfing blockbuster season starts taking over the movieplexes.
From my LFF review:
The prefix “Once upon a time…” suggests an epic, violent drama in the vein of Leone’s films of the same name, but in reality ANATOLIA provides nothing of the sort. There are nods to Westerns (there are moments reminiscent of the more elegiac moments in THE WILD BUNCH, of all films), and some of the static, widescreen photography is easily the equal of anything Leone came up with. But there is very little violence or machismo on display, and revenge, justice and redemption are unlikely prospects for all involved.
So what kind of film exactly is ONCE UPON A TIME IN ANATOLIA? On the surface of it, it’s one of the most thorough police procedurals ever made, and probably one of most realistic. We see every dead end, every uncomfortable car journey, and every police report dictated and replicated in intricate detail. Paradoxically however, the more detailed the film’s portrayal of police work becomes, the less concerned it seems with the murder investigation itself.
Click here for the full review.