Horrorthon'08: BAD BIOLOGY (2008)

Frank Henenlotter is famous for making outrageous cult movies designed to scare, entertain and offend, probably in equal measure. This latest effort is no different.

The plot, such as it is, concerns a young woman who suffers an abnormality (not dissimilar to the one in TEETH) that basically results in her becoming a crazed nymphomaniac who has her way with men, kills them, then ditches the quickly-hatched progeny. She finally thinks she has found the man who can satisfy her however when she comes across a young chap with an equally gobsmacking ailment.

It would be a lie to say that the two lead actors offer great performances, but they are clearly game for a laugh and throw themselves into a ludicrous film with aplomb. The result is highly entertaining, though one certainly needs to be in the right frame of mind to watch it.

Aside from the crazy premise above and the witty dialogue that relies so much on well-placed profanity that I'm not going to quote it here, the finale of the film is probably the scene by which an audience's reaction can be judged. So, picture a string of beautiful, naked ladies being offed one by one, by a psychotic, foot-long, dismembered, drug-addicted penis.

Yep, that's what I said. I guess from that you can probably tell if you'll enjoy this movie or just want it banned outright. It's late night fun as far as I'm concerned but I appreciate this kind of demented filmmaking is not to everyone's taste.

More Horrorthon coverage later this weekend...

Horrorthon'08: QUARANTINE (2008)

QUARANTINE is the inevitable remake of the acclaimed Spanish zombie flick [REC], a "found footage" take on the genre which came out around the same time as George Romero tried the same thing with DIARY OF THE DEAD. The gimmick is already getting old (CLOVERFIELD was great though) and the shaky-cam visuals of QUARANTINE aren't going to win over any new fans.

Having never seen the original (I know, shame on me) it's difficult to judge this one. I enjoyed it and since I guess most of the audience for it probably won't have seen the original (at least I guess that's the thinking behind the obsession with remaking every decent horror film that isn't shot in English) then maybe that should be taken as all the recommendation I need to give.

The problem however is this. The story is nothing special and even the film as a whole isn't likely to go down as a classic in the annals of horror. What makes it worth watching (if you like such things) are the entertaining gore effects, some wonderful action set-pieces (someone falling down a stairwell and death-by-camera are two favourites) - in short, a collection of moments rather than one stupendous whole.

That said, one thing which is new to the remake is obviously the cast and, considering the talentless nobodies that often show up in genre films QUARANTINE does okay. The star is lead actress Jennifer Carpenter (previously seen by horror fans in THE EXORCISM OF EMILY ROSE), who doesn't just manage the girl-in-peril scream queen stuff but also delivers a wonderfully natural performance in the opening set-up scenes in which we are introduced to her character, a young reporter spending a night with a fire crew, all of whom end up trapped in a building with some nastily infected people.

Definitely give it a shot, but I take no responsibility if it turns out that the original is better.

Also screening with this film was the short film ALL THE LITTLE THINGS. It wasn't very good.

Horrorthon 2008 - coverage on its way...

Okay, I managed a reasonably timely round-up of my trip to the Cork fest so surely you can let me off with failing miserably to write up my thoughts on the IFI's Horrorthon in a timely fashion. It will be done soon, I promise, but due to other commitments (most of them involving trips to the cinema admittedly) it might not appear until this weekend. If I can manage anything before then, I will.

In the meantime, here's a few bits and pieces from Dublin's Horrorthon in brief.

There will be no thoughts on THE IMPOSSIBLE KID, SEER or GHOSTWOOD as I went to see the other films that were on at the same time. From what I've heard, two out of three of those choices were the correct ones.

The surprise movie, just in case that's why you're here, was Jennifer Lynch's SURVEILLANCE.

I'm not going to write up GRINDHOUSE TRAILERS. That would just be daft. It was fun. It was a lot of trailers. I'd seen one of the films on TV, two in the cinema and own about another dozen of them on DVD. What does that say about my film taste? Other than it being exceptionally good, obviously.

I already wrote about THE IGUANA WITH THE TONGUE OF FIRE, so no more thoughts there, except to say that it was fun watching it with an Irish audience - especially since, more than thirty years later, this was apparently an Irish premiere, the film having never been released there.

I covered MUM & DAD and TIMECRIMES at Edinburgh this year, so click the links to read my thoughts on them. I went and watched TIMECRIMES again anyway, and can confirm that it is still fantastic second time round.

The older films were better than the newer ones on the whole but that's sadly just a reflection of the fact that it's been a crap year for horror rather than any slight on Horrorthon's programmers. Even the new films that were good tended not to be out and out horror.

I'd link to other blog coverage, but I don't see much out in the blogosphere at the moment. You could always pop over and read the forums at the Filmmakers Network site though, as there are a couple of threads there about it. I don't post there myself as, being neither Irish nor a filmmaker, I'd feel a little like an imposter however I do lurk there regularly as its a great site for feeding my love of Irish film.

Everything else will follow later in the week...

Cork'08 - IFB Oscailt shorts

The final part of my personal Cork round-up concludes with the Oscailt programme, a collection of shorts made in the Irish language (plus one).

FEILEACHAN [DRIVING LESSON] (Cecilia McAllister) - a girl and her mother try to come to terms with the latter's mental illness, though not necessarily successfully. I'd like to have seen this fleshed out a bit into a longer film and explored further, but when the only complaint I have about a film is that I wanted to see more of it, it's not really much of a complaint. (8/10)

AN RANGER (PJ Dillon) - An Irishman returns from years away with the army to discover that his family has died during the famine. His quest to uncover the truth leads down a dark road in this gritty little gem. There's no melancholy examination of the great famine here - just anger, bitterness and a very good film. (9/10)

AN FOIREANN CODLADH (Danann Breathnach) - A young man thinks he's found the perfect home when he moves into his new house in a quiet Irish town. The peace doesn't last though and he soon finds himself battling his neighbours, including the church across the road. A quirky sense of humour and a likeable lead performance make it a pleasurable experience. (7/10)

NOLLAIG SHONA [Merry Christmas] (Orla Murphy) - A young man's break-up bitterly affects his Christmas arrangement, in particular his odd relationship with a Christmas tree. I can't fault the imagination involved and it certainly has its moments, but parts of it were just a little too wilfully weird for my taste. (6/10)

There was a late addition to the programme in the form of a short entitled "Paddy's Tale" or something like that but unfortunately I can't remember exactly what its name was. The fact that I don't speak a word of Irish may be hindering my memory somewhat. If anyone can remember what it was called or who directed it, please post a comment here to let me know so I can recognise it properly.

The film, whatever it was called, concerns a small boy who loses himself in a world of Irish myths and legends with his grandfather, but can't come to terms with his widowed mother remarrying. These two strands of his life clash at first but ultimately tie together in an affectionate and touching film that I thought was very good indeed. If only I could remember what it was called. (9/10)

Finally, filling a gap on the programme but not technically part of the Oscailt series (rather it's part of the "Short Cuts" initiative) was THE GERMAN (Nick Ryan). Starring up and coming Brit star Toby Kebbell (DEAD MAN'S SHOES, ROCK'N'ROLLA, CONTROL) as a pilot in World War II, the film sees the young Brit crash during a battle with a German, whom he then pursues on foot. The aerial battle is thrilling and well executed, Kebbell turns in a good performance and the ending brings a wry smile to the face. (8/10)

And that's all the stuff I saw in Cork. Back next week!

Cork'08 - Irish Film Board Shorts

Okay, I've covered the "Irish Shorts" programme, but I've still got a couple more to do. Here's the "Irish Film Board Shorts" programme.

UNCLE BILL'S BARREL (Eoin Ryan) - Two famous Irish traditions (wakes and drinking) combine with some strange goings on in a rural community when a deceased man's special booze supply is cracked open. Stylish and funny, it's like a comedy fusion of classic Irish literature and 70s Hammer films. (8/10)

Unfortunately Kealan O'Rourke's FAIRY CATCHER wasn't quite ready in time for the festival but they did show a little teaser trailer and it looks very promising indeed.

THE MAN INSIDE (Rory Bresnihan) is an intriguingly weird short that details what happens when a man finds himself locked inside his apartment one morning and is unable to escape. There was something about the film that didn't quite sit right with me, and I can't figure out what. The acting is competent enough and the visual style of it (particularly the imaginary city in which the lead character lives) combines well with a quirky atmosphere (helped by a real mish-mash of accents) to give the film a unique feel. I certainly can't fault the story either, since it takes a decent concept and follows it through to a wonderful ending. There was just something about it that didn't quite stick together but I'll be damned if I can put my finger on it. (7/10)

TWO POINT FIVE BILLION (Jamie Hannigan) is similar. The story is an interesting one (ADAM & PAUL writer and star Mark O'Halloran is a scientist who comes a cropper during a time travel experiment), the acting is good (O'Halloran convinces, and the film gets bonus points for including a brief role for Laura Way, quite possibly my favourite lady in the whole of Ireland). Again, there's just something missing but alas I lack the critical nous to determine exactly what it is. Still a very good film though, it's just not quite top marks from me. (8/10)

The above films were accompanied by two documentary shorts, VISITING DAY (Ciaran Deeney) and WATER BODIES (Jennifer Keegan). I'm afraid neither of them really appealed to me. I was never entirely clear on what was going on or what I should take from the former (a look at the effects of imprisonment on the family of the prisoners), and the latter (a fly on the wall observation of two sites of pilgrimage) didn't really grab me. Maybe it's just because I wasn't that interested in the subject, but it seemed to me like fifteen minutes of people wading around in water and nothing more. Shame, as it looked very nice. VISITING DAY gets 4/10 and WATER BODIES gets 5/10.

Cork'08 - Irish Shorts 5

The final collection in the "Irish Shorts" strand represented another quality batch of shorts, though this time with a bit more emphasis on humour.

THE ROOSTER, THE CROCODILE AND THE NIGHT SKY (Padraig Fagan) is a fairy tale of sorts, though told with thoroughly modern sensibilities. Innovative and imaginative animation combines with a madcap sense of humour to tell a delightful tale of rooster versus crocodile in a battle to reclaim the night. (9/10)

TERMINAL COMMUNICATION (Michael Fortune) is another one that I covered at Stranger Than Fiction but it's worth reiterating that it's a very, very funny film that wrings maximum humour from a straightforward situation. (9/10)

THE HERD (Ken Wardrop) is a documentary laced with large amounts of humour in which a man and his mother discuss the appearance of an out-of-place animal among their herd of cattle, with both offering very different opinions. Another film that will make you laugh out loud. (8/10)

GRANNY O'GRIMM'S SLEEPING BEAUTY (Nicky Phelan) combines modern CG animation with more traditional techniques to create an Irish take on the famous fairy tale, with dark humour throughout. (9/10)

SOUND AND STONE (Damien O'Donnell) uses the sights of everyday Dublin to bring life to a unique rendition of a traditional Irish song. Deceptively simple but very enjoyable. (8/10)

HAPPY HOUR (Barrie Dowdall) - Okay, not so funny this one. Four conversations in a pub, delivered straight to camera by talking heads, intertwine to tell of an impending event that will affect all of them. Deliberately sparse with the visuals, but a clever little script. (7/10)

OF BEST INTENTIONS (Brian Durnin) is another tale that weaves together a group of seemingly unrelated characters' lives in one smart little film. Visually accomplished and very satisfying. (8/10)

THE DOOR (Juanita Wilson) - although it wasn't my favourite of the bunch I can't grudge it the prize that it won at the festival as this short, focussing on a man who lived through the Chernobyl disaster, is a lovely little film and tells its story in a tasteful, touching manner. (7/10)

Cork'08 - Irish Shorts 4

My coverage of the shorts at Cork continues with what was probably the strongest selection yet...

ATLANTIC (Conor Ferguson) - occasionally you'll see a film that just totally blows you away with its brilliance. Back in Galway it was JANEY MARY. ATLANTIC is the latest (and luckily I ran from here to the Opera House for HUNGER only to discover the film was getting an airing before that movie too - bonus!). The fact that I believe there is no sound on Earth as lovely as a lady with an Irish accent probably helps since the entirety of the speech in the film comes in the form of a haunting, romantic voice-over by Marian Quinn. However, putting it all down to that only trivialises the other aspects of the film, such as the impeccably beautiful direction, the heartbreaking story and a mesmerising performance from Liam Cunningham, who delivers his all despite only being on screen for a few minutes and not having any dialogue. Three minutes of cinematic perfection. (10/10)

SANDPIPER (Jimmy T Murikami) - nothing could really follow ATLANTIC but this was certainly an entertaining film all the same. A small boy looks after an injured bird. The film is brought to life by bold, colourful animation and an air of sweet innocence. (8/10)

JAMES (Connor Clements) - this is a dark tale of a young schoolboy who clearly has a lot on his plate but with nobody to listen to his problems. Not a happy tale, but a really good little film. (8/10)

I (Ann Marie Brennan) - A man is in love with the woman who lives opposite, though they've never spoken. And now she's moving out. Simultaneously heartbreaking and humourous, a wonderful tale of unrequited love with a difference. A terrific little film. (9/10)

AVATAR DAYS (Gavin Kelly) - a fairly simple and, dare I say it, even mundane idea (some people who play World of Warcraft discuss their hobby) is brought to life by an ingenious way of presenting their stories. (8/10)

UP FOR AIR (Richie Conroy, Mark Hodkinson) - this is another one that I've already mentioned after I saw it in Galway this year but interestingly I actually found I liked it an awful lot more second time around. Amusing. (8/10)

BRIXTON BOB (Devin John Doyle) - two men discuss love and reggae on a fishing boat. The story didn't really click with me - it felt somehow unfinished - but the location shooting is impressive and a potentially drab setting (a trawler at sea) is far more colourful than it has any right to be thanks to some decent photography. (7/10)

MARTIN (Sean Branigan) - a man with a history of violence tries to change his ways when he hears from his estranged family. Well made film which puts human drama ahead of any gimmicky visual tricks, but bloody hell it's bleak. (7/10)

I hope to finish rounding up the rest of the short films I saw tomorrow night, but if I fail then I guess you'll have to wait until the middle of next week I'm afraid.

Cork'08 - Irish Shorts 3

Continuing my round up of the short films I saw at Cork this year...

PIROGUES (Alice Bohl) - Beautifully animated tale of two couples who seem worlds apart but will end up closer than they think. A genuine work of art. (8/10)

WHAT YOU DIDN'T SAY (David Tynan) - The third short film I've written about by this guy and I'm now really beginning to think he's got some issues. Once again, young love proves to be a scary place as two youngsters try to communicate their feelings but fail miserably. A lot funnier than it sounds though, and once again stylishly presented. (8/10)

MONA: A GHOST STORY (Terry O'Leary) - looks and sounds terrific, but I just didn't connect with it. (5/10)

FETISH PHOTOGRAPHY: QUESTIONS ANSWERED (Suzana Zalokar) - not as dirty as it sounds, and that's exactly the point of the film. Examining why people like such things and more importantly why women appear in it, this short sheds new light on a misunderstood topic. (7/10)

THE MORSE COLLECTORS (David Cooke) - I already covered this one at Galway, but it was a pleasure to see it again. Two kids in wartime Northern Ireland discover a haunting secret communication... (8/10)

WORN (Rebecca Daly) - interviews with a family, about their shoes. More interesting than it sounds but not really my cup of tea. (6/10)

FALL (Paddy Jolley) - Things fall out the sky and break. Okay, it's very arty and all that, but this one I just didn't get at all. Others did, so maybe I'm in a minority. Fair play, it looked nice though. (5/10)

SPACEMEN THREE (Hugh O'Connor) - Obviously had a bit of a budget, this one. Pat Shortt is the unwelcome Irish scientist stuck on a space mission with two astronauts who really don't want him there. A fairly average script is bolstered by slick presentation and a reliably amusing performance by Shortt. (8/10)

Cork coverage to be continued...

Cork'08 - Irish Shorts 2

In case you're wondering, no, I've not forgotten to post a "part 1" or anything. I'm going by the titles of the programmes in the festival, and Irish Shorts 2 was the first of them that I managed to get to. The good news is that I managed to squeeze in a lot of them in the few days I was there, so let the short film coverage (with appropriately short reviews) begin. I can't be bothered writing huge amounts for every film so I'll just settle for giving a mark out of ten. Yeah, I know, it's really lazy and tabloid-like but it gets the point across more than my inadequate writing is likely to.

MY DAY (Eamonn O'Neill) - striking animated short that shows a bus journey turn into a nightmare. We've all had one. Good stuff. (7/10)

COUNTDOWN (David Tynan) - An adaptation of the poem "Countdown to Ecstasy" which blends stylish visuals with some atmospheric electronic music to illustrate the last days of an ill-fated young romance. (8/10)

TEDDY BEAR (David Tynan) - Same director as above and again it's another tale of young love gone wrong, this time brimming with tension but somehow manages to combine bleak despair with dark humour. And a teddy bear. (7/10)

DOYLE (Alan Early) - A man takes a trip into the country and lets himself go, but there are dark things going on. Gritty but not without humour, though it didn't really do much for me. (5/10)

(ENOUGH) (Barry Dignan) - A young couple have an argument in a restaurant. Nobody notices. Very funny but also rather touching. It's interesting to note that the film is supposed to play with subtitles but a technical cock-up meant it didn't; interesting because after it screened again, corrected, a lot of people thought it was deliberate and I actually heard some folk say they preferred it without! With or without subtitles, it's terrific. (9/10)

OUT OF THE BLUE (Michael Lavelle) - A man finds a telly in the sea, and so begins a weird kind of romance. Combining quirky humour with out-and-out fantasy, this is a really novel take on the romance genre and proved popular with the audience too. Including me. (8/10)

MR CROCODILE IN THE CUPBOARD (Morgan Bushe) - a hit goes wrong for a couple of small-time crooks. Left me feeling a bit "so what?" to be honest, but there's no denying it's technically well enough made and has reasonable chemistry between the two leads (Darren Healy and the always great Gerard McSorley). (5/10)

LOWLAND FELL (Michael Kinirons) - a young girl's birthday is spent in the country with two boys she meets, and things begin to get a bit... interesting. I began to lose interest in the story towards the end, but it's beautifully shot and one of the more visually distinctive presentations of the programme. (7/10)

Cork coverage to be continued...

Cork'08 - A TALE OF THREE LEGS

In the documentary A TALE OF THREE LEGS, the last of the features I saw in Cork, we're introduced to Colin Carroll, an Irishman who is on a mission to take silliness seriously.

After an accident left the young solicitor with a broken back, Colin gained a new outlook on life and upon recovering set about embarking on several daft adventures that probably qualify as living life to the full, in some bizarre kind of way. He became Ireland's first sumo wrestler; the world champion of elephant polo; he began planning the "Paddy Games", an alternative to the Olympics with events such as high-dive belly-flop and 100m crawling; and he set out to break the world record for a three-legged marathon.

It is this latter quest that forms the focus of A TALE OF THREE LEGS as Colin and his running-mate (the third leg) John Meade aim to break the world record on their home soil (the Cork marathon).

It's easy to approach this documentary with a certain air of cynicism - is this guy for real or just an attention-seeking idiot who belongs on a second-rate reality show? - and the casual abandon with which he and his brother laugh off the number of cars they've managed to write off doesn't do much to erode this vision of irresponsibility.

However, it's just too difficult not to warm to Colin as the film unfolds. Here is a man who has seen what life without the gift of walking looks like and is determined never to take that for granted. Yet he achieves this not in a po-faced, earnest kind of way but rather in a way that sees him making the full use of his rediscovered abilities while bringing a little sunshine and, yes, silliness into the lives of others.

There are plenty of people to testify what a stand-up guy he is, but then they're his family and friends, you kind of expect that from them. What wins you over however, is the enthusiasm and charm with which Carroll talks about his ambitions to break all sorts of records and be remembered for the right reasons. He's a natural, entertaining speaker and while there certainly appears to be some small degree of attention-seeking egomania about him, he primarily comes over as being the real deal. In some strange way he manages to convince you that he's totally genuine and yet at the same time totally taking the piss.

The film isn't perfect. For one thing, there are a couple of scenes in it that really don't ring true, most notably the set-up regarding John's short temper. Also, the marathon is presumably chosen because it provides a neat little story to form the narrative heart of the film but means we don't really hear too much about the Paddy Games - a shame, as they sound every bit as interesting. (There is a website out there if you're really interested though)

All in all however, the film presents itself as being a documentary with a serious message at its core, but that core is surrounded by a great deal of laughter and daft entertainment. In that respect it would seem to be a perfect match for its leading man.

(And for those of you wondering after what I wrote in my Cork preview, yes I did manage to get to my flight on time after seeing this film)

Cork 2008 short film coverage coming soon...

Cork'08 - THE GOOD THE BAD THE WEIRD

After offering up one of the best horror films in recent years with A TALE OF TWO SISTERS and an equally marvellous gangster revenge film in the shape of A BITTERSWEET LIFE, director Ji-woon Kim turns his attention to... a Korean tribute to spaghetti westerns?

It sounds insane and that's as good a way to describe it. Insane it most certainly is, and brilliantly so.

In what amounts to a Korean remake of THE GOOD, THE BAD AND THE UGLY, a mysterious treasure map is the subject of the chase across the desert (the wild east replacing the wild west) and the three men in pursuit are a vicious bandit, a mysterious gunslinger and an idiot with money on his mind.

There is just enough of a plot to propel the action scenes along but the action is what it's all about. Bullets fly, blood runs and things explode - the action kicks off early on and rarely lets up for the rest of the film. Subtle introspection is nowhere to be seen; vast amounts of fun are all that is offered up here and it delivers in spades.

Undoubtedly one of the maddest films of the year and one of the most enjoyable experiences you're likely to have in the cinema (which is definitely where you should see it).

Cork'08 - A NOCTURNE

A NOCTURNE is a very low budget (practically no-budget) vampire movie from Australia. It's a brave attempt to do something a little bit different with the genre but unfortunately it's a load of unwatchable tosh.

I wish them all the best as they seemed like nice folk but sadly that isn't going to make this film any better. The low-budget shot-on-video look of the film was always going to present problems with creating atmosphere - call me a traditionalist, but it just doesn't match film - and the lighting on the film is totally at odds with the atmosphere it tries to create.

I feel like I should criticise the acting but I'm not entirely sure it's the cast's that they struggle. Rather, it's more likely to do with the pretentious and utterly mind-numbing script, large parts of which appear to be nothing more than a fat bearded guy talking pish. Unintentional laughter ensued.

I really, really wanted to like this and I applaud what the makers tried to do but I'm afraid there's nothing on offer here but abject failure.

Cork'08 - HUNGER

Before I start to talk about HUNGER, I should mention that it was preceded by Conor Ferguson's short film ATLANTIC, but since I saw that during the shorts programmes I'll cover that one whenever I get round to covering the shorts. (I'm kicking off with all the features first.)

HUNGER is the story of the last few weeks in the life of Republican hunger striker Bobby Sands (Michael Fassbinder, abusing his body to Christian Bale-like proportions for the part), who died as a result of his protest back in the early 80s. He, and some of his colleagues, were protesting in order to try and have the British government recognise IRA prisoners as political prisoners.

The film is nice in one sense of the word, and very definitely not nice in another. It's nice in that it looks, sounds and feels incredible - not that surprising given that it's the work of artist-turned-director Steve McQueen. It's very definitely not nice however in terms of the unflinching detail of what went on in the prison and what happened to Sands as the strike took its toll.

It's only fair that you should know this going in because there are two things liable to put people off. For one, you'll need a strong stomach - prepare for everything from excrement-covered walls to horrific medical close-ups.

The second obstacle (to some) is, for want of a better description, the "arty" approach it takes. There are lots of visual flourishes, dialogue-free scenes, long takes and so on. The sort of thing, in other words, that usually make Carlos Reygadas films unwatchable but here are used successfully by combining them with things actually happening.

I guess there is a third potential obstacle too, which is the subject matter itself, but whatever your feelings are about the whole Britain-Ireland thing, this film is unlikely to change your mind either way.

In this respect the film is remarkably balanced. On the one hand we have prison officers horribly maltreating the prisoners; on the other hand we're left in no doubt that their job isn't exactly the most comfortable either. As for Sands, the film does not offer an opinion on whether his actions were right or wrong, it merely presents what he did and why.

In addressing this particular aspect, the film offers one scene that is the undoubted highlight. In an ambitious and stunning twenty minute, single-take scene, Sands discusses the implications with a priest (Liam Cunningham). While offering humorous banter to begin with, the conversation descends into the meaty detail before long, and sets the tone for the rest of the film.

The film was followed by a Q&A with Cunningham and the screenwriter of the film Enda Walsh. It was witty and informative, although turned a little sour at one point when an audience member took exception to the attitude of the pair (wrongly, in the eyes of most of the audience). Cunningham addressed the man's point and put the matter to rest with a well-made and reasoned response, so it's a shame that Walsh then had to start a rant about something else which ended up with an incredible outburst of casual profanity that left much of the audience around me rather taken aback, before having another pop at the questioner, just as it seemed the matter was closed. It was rather a shame since Walsh had been very informative and entertaining up until that point.

Still, this should be about the film and the film is certainly a triumph. Just don't expect it to be everyone's cup of tea. If it's a more conventional and event-driven approach you're looking for, you'd probably be best sticking with SOME MOTHER'S SON. If you're in the mood for a brave, breathtaking piece of cinematic art, give HUNGER a try.

Cork coverage to be continued...

Cork'08 - SYMPATHETIC DETAILS

SYMPATHETIC DETAILS is a hit man-gets-a-conscience thriller written and directed by Benjamin Busch, actor in television's acclaimed show THE WIRE. I've heard a lot of reviews about how good that show is. I don't think I'll be hearing quite so much about this film.

The script tries its best to squeeze some new life out of the tired old idea (maybe being a hit man is wrong!) and never quite succeeds. A lack of originality is never a problem when it's covered for by other aspects of the film but that's where SYMPATHETIC DETAILS falls down.

As mundane as the story is (there is some okay action, but that's about it) the dialogue is ever worse. The over-talky scenes are littered with lines that must have seemed really clever and profound when they were written down but just sound pretentious and stupid when read aloud, with the entire cast struggling to breathe life into the majority of the script.

And that brings me to the main problem. I can't remember the last time I saw a film that was this badly acted. Almost the entire cast are terrible (thought the aforementioned script doesn't help) and I felt embarrassed for them just watching it.

The chances are that you won't be seeing this film in a cinema any time soon anyway. Apart from its low budget indie status hindering it, it's only about an hour long, too short for cinema and probably slightly too long for TV. It's not really worth an outing on either.

Cork coverage to be continued...

Cork'08 - DAVID FARRELL: ELUSIVE MOMENTS

The first film I managed to see at this year's Cork Film Festival was DAVID FARRELL: ELUSIVE MOMENTS, a documentary receiving its world premiere at the festival (appropriately enough given the local interest in some aspects of it).

Farrell, in case you didn't know, is an acclaimed photographer. I say this as if I have a clue but I'll be honest, I'd never heard of him before this festival. That's not meant to sound like I'm putting him down, I just don't follow photography. Truth be told, I'd struggle to name a famous photographer.

Or that was the case before this film, obviously. Now at least I can name one. And yes, from my totally limited point of view, I can see that he is indeed a very good one.

My ignorance of photography as an art form actually didn't hinder my enjoyment of the film; quite the opposite. I've never had a problem looking at photographs and saying yes, I like that or no, that's rubbish, but this is as far as it has ever gone. If there's one benefit of me taking in this documentary it's that I have gained a greater appreciation for the kind of things that photographers at the top of their game have to put up with.

That of course strikes me as being perhaps a weakness of the film if you're already an accomplished photographer though. Not to worry however, as it proves to be just as interesting a portrait of Farrell himself, an interesting character who clearly some interesting approaches to the things he photographs and its nice to hear him explain it all.

If like me you know nothing about photography you'll probably end up a little bemused by some of the more technical detail but still learn something about the art and the man; if you're already well-versed in it, well, at least you'll find out about how one particular master goes about things.

If there's one flaw with the presentation itself it's that Farrell's photographs are so good, the film itself looks rather dull and uninspired by comparison. Then again, maybe that's a testament to Farrell's ability rather than any shortcomings of the film.

It doesn't strike me as the sort of thing that is likely to have too many cinema showings, but watch out for it on Irish TV I guess.

Cork coverage to be continued...

Best of 2007 - the top five!

Just time to finish this off before I disappear for a couple of days...

If you've been reading my blog carefully and for long enough, you'll already know what my favourite two movies of 2007 were. But here's the top five anyway...


5. THIS IS ENGLAND
Shane Meadows follows up the brilliant Dead Man's Shoes with this equally brilliant tale of an English youth who loses his dad in the Falklands war and falls in with a gang of skinheads in Thatcher's Britain.


4. SUNSHINE
This spectacular space adventure from Danny Boyle would probably have featured even higher were it not for a slightly flawed ending, but it's still one of my favourites for the year.

3. AWAY FROM HER
Gordon Pinsent and Julie Christie are both superb as a couple whose marriage is torn apart by premature senility in this incredible directing debut from indie favourite actress Sarah Polley.

2. PLEASE VOTE FOR ME
This documentary charts how a group of Chinese children learning about democracy turn into a bunch of savage political backstabbers with hilarious results.

1. ONCE
Plain and simple love story with great music, a lovely setting (Dublin, for once looking like the magical city it is, rather than a haven for gangsters and junkies) and characters that you can't help but warm to. Low on budget, high on charm.

Cork & Horrorthon - previews and problems

A brief interruption to my summary of last year's best films... I know, just as it was getting to the exciting part.

I think I've made a pretty good job at keeping some regular updates going here over recent days, given my usual standards. Hopefully therefore you'll forgive me then when I tell you that it might be a bit quieter over the next few days.

It's all in a good cause though. First of all I'll be spending a few days at the Corona Cork Film Festival, before returning back home briefly and then jetting back out again for the Horrorthon at the Irish Film Institute in Dublin.

There's a whole bunch of interesting stuff coming up at Cork (and I'm sure there's already been some by the time I've got round to posting this) but for me, my brief stay will allow me to see a few late night efforts (NOCTURNE, SYMPATHETIC DETAILS and THE GOOD, THE BAD AND THE WEIRD); the eagerly awaited HUNGER (yeah, it's out here in a couple of weeks but I couldn't wait); a couple of documentaries (one about photographer David Farrell and the slightly less serious A TALE OF THREE LEGS - though this will leave me a hell of a dash for my flight home); and an absolutely huge number of Irish short films, including the Irish Film Board selection and the Irish language programme, Oscailt (which I have no idea how to pronounce).

As for Horrorthon, my thoughts on some of the films are below (but I'll cover all of them on my return), along with the horrible dilemma I face as a result of the packed schedule.

Opening night film QUARANTINE is a remake of the Spanish zombie film [REC], which despite good reviews I completely failed to see. So it's another pointless American remake, and yet maybe because I've failed to see the original I might be able to cut it a little slack.

It'll be nice to see cult classics like THE FUNHOUSE and EVIL DEAD II on the big screen, but I'm not sure about SAW 5. Sure, I love those films, but since it opens at the cinema at the same time I might skip out of the IFI for some food instead. TIMECRIMES is also showing after that, which I may skip for food since I've already seen it. On the other hand I may watch it again since it's one of the best films of this year.

That leads to my first major dilemma. Screening at the same time are NIGHT OF THE LEPUS and SEER. The former is a hilariously bad 70s revenge-of-nature flick, the latter is a new Irish horror. And there's the problem. NIGHT OF THE LEPUS, which is currently near the top of my to-be-blogged-about pile so will appear here soon, with a cinema audience will be too much fun to miss - but on the other hand, SEER is an Irish film, which of course I always try to support, and I've no idea when I'll get the opportunity to see it again.

More classics are on offer with CHILD'S PLAY and THE HUNGER. The former I've never seen on the big screen; the latter I have, but would happily watch it again. They're also showing THE IGUANA WITH THE TONGUE OF FIRE, which I covered here recently. Sure, it's not a great film and it'll be projected from that rubbish DVD, but I can't resist seeing it again, especially not with a Dublin audience.

Then it's dilemma time with the late night screenings again. NIGHT OF THE CREEPS I've seen before but would love to see on the big screen with an audience; but it's up against GHOSTWOOD, another Irish horror. Damn it!

DEMONS 2 presumably gets shown since they showed the original last year and do you know what? I can't even remember if I've seen it. It should be fun I'm sure.

BRAM STOKER'S DRACULA is one that has not been reviewed well in the past but sod it, I've never seen it so here's as good a place as any. Documentary NOT QUITE HOLLYWOOD sounds interesting too.

I guess I can't comment on what the surprise film will be, but it's got to be better than last year's preview of SHROOMS. Well, unless they go for another advance peak at a forthcoming Irish film and we end up watching some load of pish like ALARM.

And then the late night dilemma again. This time it's whether to see British horror film GNAW or if I again go for all out laughs with a screening of THE IMPOSSIBLE KID, sequel to FOR YOUR HEIGHT ONLY. I've not watched the sequel, though I do own it on DVD, but seeing the original with an audience was one of the most enjoyable experiences I've ever had in a cinema.

On the final day, there's classics aplenty with DAWN OF THE DEAD (the original) showing along with JAWS 2. Admittedly I don't know if that's a classic or not because it's years since I saw it. It's probably crap.

MUM AND DAD gives me a food break - I saw it at the EIFF and it's not very good at all - and MIDNIGHT MEAT TRAIN looks like it could have potential.

Full thoughts on these films and others will follow when I return, but in the meantime I'll just leave you to ponder my dilemmas... hilarious, fun-packed horror classics or my devotion to Irish cinema? Promising new British horror or dodgy midget James Bond rip-off? And if I go to an 11am screening of A TALE OF THREE LEGS at Cork, will I make it safely onto my flight home at half past one? And how do you pronounce Oscailt anyway?

Only time will tell, but if you've any valuable advice please feel free to leave a comment. Maybe I just need a little guidance.

Best of 2007 (10 to 6)

10. FARO: GODDESS OF THE WATER
It was a good year for African cinema, with the emotional drama DARATT and the updating and relocation of the Jesus story in SON OF MAN, but this film from Burkino Faso was the best. When a young man returns to the village where he grew up, he finds that his modern ways are at odds with the superstition of the locals and it seems the river is angry about his return. Well acted and features some gorgeous photography.

9. 2:37 (above)
It might owe a lot to Gus van Sant's ELEPHANT, but this Australian teen drama packs an emotional punch that is hard to shake off. The day begins with tragedy and then flashes back to let us work out what has happened and to whom. Powerful film, but hardly seen by anyone on this side of the world.

8. KINGS
A group of Irishmen living in England get together at the wake of the first of their group to die, and reminisce about the plans they made when they first left their home in the 70s. Tinged with a palpable melancholy, the film is a heartbreaking look at a group of men who don't belong in England but know that the Ireland they left no longer exists.

7. IN THE SHADOW OF THE MOON
Fantastic documentary about the Apollo missions which correctly sweeps aside technical chat in favour of concentrating on the human effect of the missions.

6. APOCALYPTO (above)
On one hand it's a historical epic, on the other a typical action movie - Mel Gibson's mythical adventure movie is magical (and wasn't released in the UK until January, hence it making it onto my 2007 list instead of 2006).

Best of 2007 (20 to 11)

20. THE LAST KING OF SCOTLAND
The film suffers a little from compressing such a huge timeframe into such a brief period, but otherwise it does a reasonable job of adapting Giles Fodden's novel and an excellent job of entertaining. Whitaker's Oscar-winning performance manages to capture Idi Amin in all his fascinating, crazy glory.

19. SMALL ENGINE REPAIR
Shattered dreams and broken friendships simmer away in a blend of country music, alcohol and engine repair workshops. Something's got to give. Delightful emotional drama.

18. PLANET TERROR
Whether divorced from GRINDHOUSE or as part of it, Robert Rodriguez's gorefest tribute to 80s zombie horror is one non-stop thrill ride from start to finish and one of the most enjoyable cinema experiences of the year.

17. WAR DANCE
Sad but ultimately uplifting portrait of a group of Ugandan children who find joy in the world of music. An audience favourite.

16. NANKING
Part reconstruction, part harrowing archive footage, it's a shocking documentary about the atrocities committed by the Japanese army in Nanking during World War II. Once seen, it will not be forgotten - not for the squeamish.

15. ATONEMENT
Period drama with lots of posh English people? Oh God, please, no. What a surprise then that the film turned out to be a wonderfully complex tale of a love cut short, with an exemplary cast.

14. THE BOTHERSOME MAN
Barmy Scandinavian film with a sterile, subdued atmosphere and a healthy dose of weirdness and black humour. Not like anything else you'll have seen in the cinema this year.

13. THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD
Long title, long film, long time since anyone made a western this good. Terrific, epic, beautifully shot, impeccably acted by all concerned (Affleck in particular was robbed of an Oscar) and an interesting look at celebrity culture before it became such a thing. Occupies a twilight world halfway between Sergio Leone and Terence Malick and is a pure delight from beginning to end.

12. BUENOS AIRES 1977
Tense, gripping thriller that follows the attempts of a group of innocent men to escape from the torture of a shady Argentinean government. Sadly doesn't seem to have found a cinema release for reasons that I cannot fathom.

11. JONESTOWN: THE LIFE AND DEATH OF PEOPLE'S TEMPLE
The full story behind the Reverend Jim Jones and his ill-fated community in Guyana is brought to life in this documentary which features rare archive material and new interviews with the survivors. Sickening and touching in equal measure, this will have you revolted one minute and wiping away a tear the next.

Best of 2007 (30 to 21)

GARAGE

30. GARAGE
The writer and director of ADAM & PAUL team up to deliver another belter of an Irish film in which a village simpleton gets into a whole heap of trouble and seems totally oblivious to it all. Like ADAM & PAUL, it's bleak and poignant at the same time. Pat Shortt's performance is excellent.

29. THE COUNTERFEITERS
Oscar-winning film telling the gripping tale of Jewish concentration camp prisoners who faced the awful choice of death in the camps or helping the Nazis win the war.

28. THE WAR ON DEMOCRACY
John Pilger examines the USA's intervention in other countries affairs in a typically excellent and passionate documentary from one of Britain's best investigative filmmakers.

27. THE DARJEELING LIMITED
Wes Anderson's film was criticised for not breaking new ground and instead being just another Wes Anderson film. That's exactly why I liked it. It was another Wes Anderson film, and I love them.

26. SICKO
As always with Moore, there's massaging of the truth, there's political bias and agenda-pushing but above all there's entertainment. But no matter what you feel about the man, it's difficult to suppress a feeling of amazement at the idea of a health service being run for profit and denying care to people because they can't afford it. Something to think about next time I disrespect the NHS I guess.

25. TELL NO ONE
Once I got past the fact that the lead looked a lot like Dustin Hoffman and his dead wife looked a lot like Naomi Watts, this French thriller totally gripped and threw numerous curveballs throughout. Probably the last big foreign arthouse success story in the UK (at the time of writing).

24. THE CURSE OF THE GOLDEN FLOWER
Yes, it's like an overblown soap opera, but the man who brought us HERO, HOUSE OF FLYING DAGGERS and various other beautiful pieces of Chinese cinema once again turns in a film that is so breathtakingly spectacular (with a couple of great leads too) it's impossible not to get caught up in it. Possibly the most elaborate and beautiful looking film of the year.

23. THE LIVES OF OTHERS
A lot of people (myself included) were disappointed when this film beat PAN'S LABYRINTH to the Oscar, but it's hard to grudge it. This thriller about a Stasi agent who becomes too interested in the life of one of his subjects was tense, suspenseful stuff that did not disappoint.

22. EARTH
Compiled from the best of a BBC TV series, the footage on display here takes on a life of its own when digitally projected onto a huge screen with a cinema's sound system. It will change the way you look at the planet.

21. THE QUEEN
Helen Mirren's multi award-winning performance was excellent, but overshadowed everyone else in the film and more importantly the fact that regardless of your opinion of the British royal family this is a very good film.

Best of 2007 (40 to 31)

40. STUCK
Stephen Rea is the homeless tramp who crashes through Mina Suvari's windscreen and gets stuck there for most of the film. She panics and leaves him there. Then they try to kill each other. Blackly hilarious horror mayhem (based on a true story!) from director Stuart Gordon.

39. TEETH
A young girl has teeth where she shouldn't in this gruesome but hilarious comedy horror which is destined to be a cult classic.

38. RESCUE DAWN
An actor of Bale's calibre teaming up with Werner Herzog - how can that not be gold? Herzog revisits the story of a pilot's escape from Laos (the subject of his documentary LITTLE DIETER NEEDS TO FLY) but as a drama. Moving and spectacular (apart from some poor special effects), but sadly little seen.

37. 28 WEEKS LATER
If there's one thing that sums this one up, it's surprise. Hollywood making a big budget sequel to a low-budget Brit horror hit? Without the original writer-director team? It had "dross" written all over it so it was to everyone's surprise when it turned out to be a highly entertaining horror thriller. Having Danny Boyle come back as overseer if not a director may have helped.

36. POITIN
Bob Quinn's tale of dodgy characters carrying out their nasty deeds in Connemara was actually a film from the 1970s, however the version I saw at Cork in 2007 was the new director's cut, so I'm chucking it into my top forty of 2007 on a technicality!

POITIN

35. ZOO
A surprisingly touching film is not what I expected from a documentary about a secret gang of people who were a little, er, "enthusiastic" about animals, but that's what we got in this controversial but beautifully made investigative film.

34. SON OF MAN
A retelling of the Christ story relocated to modern day Africa which is another fine example of how wonderfully vibrant African cinema currently is.

33. ZODIAC
This meticulous recreation of the world of the 1970s' unsolved serial killings somehow overcomes the fact that we already know that nobody has ever been caught. Bravura direction from Fincher and superb performances from actors like Downey Jr and Mark Ruffalo certainly help.

32. SEACHD: THE INACCESSIBLE PINNACLE
The first theatrically-released film in Scottish Gaelic was more than just a script translated into the language. It was unashamedly a Scottish film with so many national traditions and stories woven throughout. A celebration of the whole of Gaelic culture which was unfortunately denied the widespread release it deserved.

31. NO REGRETS IN THE WEST & WITHOUT WORDS
Yep, I know I've banged on about these before and that you're probably sick of me going on about Irish short films and all that, but these two were special and really deserve a mention. So I'm going to break the rules and stick them in here together despite them being two entirely separate films.

The Freakpit's Forty of 2007

I know I'm quite lazy with my blog posts, but this must be a record. Almost at the end of 2008 and here I am finally compiling a list of my favourite releases of 2007. I knew I'd do it before the end of the year, so here it is.

Nearly all of the films listed here will have been covered in my blog at some point so if you want to read more, use the search facility on the blog (you'll have to go to the blog itself rather than any feed you may be viewing). I'm too lazy to look up all the links for forty different films.

A reminder, however, of my rules.

If a film was released in UK cinemas in 2007, it counts as 2007, even if it was released elsewhere before then.

If I saw a new film at a festival in 2007 but it wasn't released until later, it still counts as 2007.

Anything that bypassed cinemas altogether but made its debut on TV or DVD in 2007 also counts.

I think that's all you need to know. Come back shortly for the start of the countdown...

THE POSSESSION OF JOEL DELANEY (1972)

Joel Delaney: he's not very nice

Long unavailable and slightly notorious, the Shirley Maclaine horror film THE POSSESSION OF JOEL DELANEY has finally made it out on DVD in both the UK (the version I'm looking at) and the US. As far as DVD quality goes, the mono sound is serviceable but not great, while the picture shows some damage and suffers from some rather drab colours. That could be the way it's shot but since the film opens with the old "X certificate" title card, I'm guessing it's more likely because of the old print from which the print has been made.

One of the key selling points banded about by the film's admirers is that it is a tale of demonic possession (possibly - there is a hint that Joel might just be a bit mental) that is not a million miles away from THE EXORCIST but was released first. It should be kept in mind however that this does not make it a better film.

One of the problems with this film is that the possession itself is not as shocking. For one thing, it happens to a grown man rather than a child; on top of that, we don't really see much of Joel pre-possession so when he turns into a total bastard there's not really much for us to compare it against.

The involvement of Puerto Ricans in the story does at least lend the film some added weight through a race-relations angle that scores it a point against THE EXORCIST but it lacks the out and out shock value of the latter film, except in a few key moments.

One such moment is the decapitation of a young lady, which is nice, but the most shocking scene of all (which, like THE EXORCIST, involves a child) sees a pair of young children humiliated by the apparently possessed Joel in a scene that almost single-handedly secured the film its notorious reputation. The scene is there in all its glory on this new DVD release and I defy anyone to watch it without showing some kind of reaction, even if it's just to pick your jaw off the ground.

An interesting curio from the annals of forgotten horror films, but no classic.

VHS Lives! SOME MOTHER'S SON (1996)

Back for one night only, it's the return of VHS LIVES!

Tying two of my interests together (i.e. Irish cinema and the joys of old VHS tapes) I decided to sit down and watch this tale of the Troubles, a controversial but critically acclaimed drama that remains unreleased on DVD to date.

Although co-written by Irish film stalwart Jim Sheridan, the directing duties are given to Terry George, probably best known for his Oscar-nominated film HOTEL RWANDA.

Like that movie, SOME MOTHER'S SON is another story ripped from the headlines about a man standing up for his principles. Slightly more controversially this time, that man is a young cellmate of Irish hunger striker Bobby Sands.

The star of the film however is Helen Mirren, the mother of the young man in question, who finds her life turned upside down when her son is imprisoned and ultimately prepares to die for a cause that she can't bring herself to fully support.

Films revolving around either the IRA or related subject matter have always been touchy in the UK and this one is no exception. Its standing in the UK however is probably not helped by the inclusion of a two-dimensional villain (the nasty Englishman out to crush the Irish rebels) played by Tom Hollander. I don't have a problem with making the Brits the bad guys, but making your bad guys at least vaguely human or three-dimensional would be better from a cinematic point of view. This guy may as well have walked straight out a pantomime.

In fact, acting is a big issue with this film. As the titular character, Aiden Gillen (star of the equally controversial TV series QUEER AS FOLK) does not convince. It's not that there's much wrong with his acting exactly. He just lacks screen presence and has a habit of being overshadowed by the rest of the cast. I can't fault him from a technical standpoint, he just doesn't register highly on the charisma scale.

On the other hand, actors such John Lynch (playing Sands) and Ciarin Hinds (Sinn Fein leader), who are usually so reliable, do the best with what they've got but are woefully underused (which might not have been such an issue had Gillen been able to carry more of the film).

Leave it then to Helen Mirren to rescue the film. As reliable as ever, Mirren is at the top of her game in the role of the worried mother who gradually becomes more involved in the trouble.

The film moves along at a reasonable pace and holds the attention throughout. You can't help but roll your eyes however as the Irish pipe music gets trotted out again. Visually, the film feels very small and looks rather drab - even allowing for the fact that I'm watching it on an old VHS tape - which has the unexpected benefit of really suiting the prison scenes but slightly reining in everything else.

What will be really interesting to see however is how the film holds up against the Bobby Sands biopic HUNGER, which has scooped various festival prizes and hits UK cinemas at the end of this month (I hope to catch it before then at Cork). If nothing else, the attention might at least awaken interest in a DVD release of SOME MOTHER'S SON, at which point I can finally bin this old tape.

FORTY GUNS (1957)

I notice that this western keeps popping up on digital TV here in the UK so I feel I should offer up my recommendation.

It's ironic that the main draw is that it's directed by the wonderful Samuel Fuller. He's most famous for films about rugged, manly people doing rugged, manly things and yet here's a western that stars Barbary Stanwycke and opens with a little sing-song on the guitar.

Yep, I was worried too, but don't worry, it doesn't last. Some drunks turn up, kill the marshal and then shoot up the town. Western expectations are restored.

The film ends up offering up a touching portrait of friendship among men (something Fuller was always great with) but does still manage to introduce the token romance as hardass Stanwycke falls for a gunfighter.

Said gunfighter however can see that his ways are coming to an end and in that way the film makes a nice companion piece to such other films as ONCE UPON A TIME IN THE WEST and THE SEARCHERS, in the whole end-of-the-west kind of subgenre.

Melancholy, entertaining and yes, a bit manly, this is one to watch if you like westerns. And for once (for me) it's actually American rather than a nutty Italian effort.

THE IGUANA WITH THE TONGUE OF FIRE (1971)

Dublin doesn't look this yellow in real life

I love giallo movies.

Gialli, to give you a drastically oversimplified description, were thrillers that were made in Italy predominantly in the 70s and were marked by stylish direction, shamelessly exploitative sexual content, gruesome violence and some crazy plot twists, among many other things. The most famous (among the public at least) contributor to the genre was probably Dario Argento but many, many directors plied their trade in the genre and pretty much anyone who's anyone in the world of cult Italian cinema of the 1970s dabbled in giallo material at one time or another. There are a number of blogs out there who cover them in depth, if all this chat has given you an appetite for more.

So, yes, I love gialli. I also happen to love Dublin, as regular readers will know, so when I discovered that there was a giallo made in Dublin I was rather excited. When I then discovered that said film had just been released on DVD I practically soiled myself with excitement.

Okay, so neither the film nor the DVD presentation of it are exactly top of the giallo class, but I was delighted to see it all the same.

Directed by Riccardo Freda, the film centres around a murder case being investigated by an Irish policeman played by Italian cult movie veteran Luigi Pistilli. Just when you thought you were used to the bad dubbing in these films, you get Luigi Pistilli dubbed with the voice of an Irishman. Priceless.

The case is made more complicated by a number of factors, such as Pistilli being a washed-up has-been, the murder being linked to a high-powered ambassador and the fact that, like all good giallo movies, everyone in the film appears to be really suspicious.

The DVD itself is not great. The picture quality is watchable but varies from okay to below average, in some places appearing to be taken from either a video copy or a really bad print. Oversaturated colours and soft, murky shadows are the order of the day. The sound is equally patchy, but overall the presentation is acceptable for a film of such rarity and it is at least in anamorphic widescreen.

As for the film... well, it's certainly not a great example of the genre. Things look hopeful when, just five minutes in, a murder occurs involving acid in the face followed by a graphic throat-slashing. Incidentally, if this sort of thing sounds repulsive to you, you probably don't want to watch any more gialli.

But back to the film. That opening murder gets our hopes up but from then on in, highlights are too thinly spread out over the film and all too often the most horrific stuff happens off screen - not what we giallo fans pay our money for! That said, there's still other tasteless stand-out scenes, not least of which is the scene in which a young school girl is graphically assaulted. Granted, the girl was probably an adult playing well below her age, but it's still a perfect example of the sleazy anything-goes attitude that makes gialli so engrossing/gobsmacking.

The conclusion, when it comes, is somewhat typical of giallo material in that it is totally and utterly barmy, although you could just about argue that the clues were all there if you looked really, really hard.

Stelvio Cipriani supplies a decent score, Pistilli is always fun to watch and there's some great old footage of 1970s Dublin (if, like me, you like that sort of stuff) but overall it's a weaker effort with the occasional memorable moment.

Current release: GOMORRAH

After scooping a prize at Cannes and getting some recognition elsewhere, GOMORRAH bursts into UK cinemas from October 10th.

A cast of relatively unknown but entirely convincing youngsters populate the cast of this drama that peers into the daily life of Napoli's modern crime families, although support is on hand from more experienced cast members such as the always excellent Toni Servillo.

The film is exquisitely shot and as the camera prowls through the grim streets of poor Naples ghettos, it makes the city look simultaneously dirty and yet oppressively bright, much of the film taking place in glorious sunshine that seems to flood the screen.

The story follows numerous characters from ambitious kids looking to get in on the act to older hands who are seemingly on the way out. It's not quite one of those films where all the disparate ends suddenly tie up neatly in one calculated finale; the film takes more of a soap opera approach and tells the story of each of them, regardless of whether they have any interaction or not. Consequently, it may feel to some viewers as if it's wandering a bit but by the time the film ends I was too caught up in it to care.

Violence does not exactly abound in the film, certainly not to the extent you might think at least, but when it does arrive it tends to arrive in quick bursts that leave you reeling.

This is only emphasised by the relatively subdued nature of the rest of the film. In fact, it's the quiet little details that make the film special, whether it be children frolicking unknowingly in a pool while gangsters operate around them or a sublime overhead tracking shot as one character cautiously steps over the bloody corpses left behind in the aftermath of a mob hit.

I could take the lazy way out I suppose and just say it's like CITY OF GOD meets ROMANZO CRIMINALE.

Definitely worth seeing.

Current release: HOW TO LOSE FRIENDS & ALIENATE PEOPLE

This romantic comedy, based on a true life story, follows Sidney Young (Simon Pegg) as he worms his way into a world of Hollywood glamour while being a total git and being hated by everyone.

It's weak.

For an alleged comedy, it was more than ten minutes before I managed anything more than a half smile and sadly the rest of the film holds to that laugh ratio. In fact, it's only the presence of Pegg that makes it funny - certainly he's a great deal funnier than most of the script.

The rest of the cast are woefully underused and don't help to rescue it. Jeff Bridges and Danny Huston are entertaining but not on screen for long enough; Gillian Anderson shows promise but is then largely forgotten about; Kirsten Dunst weirds me out as always; and then there's Megan Fox.

With her star on the ascendancy, Fox probably has her pick of movies at the moment. One can only assume she chose this tat long before that was the case. Her character is a beautiful rising star in Hollywood with no brains or charisma to speak of, a true bimbo. Why exactly did Fox take this role? Sure, she manages a great job of the "beautiful" part - she never looks less than stunning in this film - but there's little else here that an actor of any ambition could possibly want to play.

I'd love to think that she took this because she just loved the script and was happy to play any role in it but, to be honest, if anyone took a role in this film because they loved the script then they really should let someone else pick their roles for them.

Pegg is as likable as ever and demonstrates his superb comic timing as much as this turd of a film will let him, but ultimately he's the only thing that stops the film from being unwatchable.

If you want to lose friends and alienate people, make them pay good money to watch this pish.

Scottish Films on TV & George Morrison recognised

Another brief update for anyone with an interest in Scottish or Irish films. I do wonder if there's actually anyone else out there in the wide world of films who does have an enthusiasm for both Scottish and Irish films. I suspect it's just me. Anyway...

I mentioned previously the news that came out about George Morrison being invited into the European Film Academy. Well I've just seen the story on Filmbase's website, along with news about an Irish TV screening of WAITING FOR THE LIGHT, so click here to go and read it.

Meanwhile, back home, STV will be showing three recent Scottish films shortly. They are BLINDED, a pretty decent thriller starring Peter Mullan; NIGHT PEOPLE, an earnest little drama that I really enjoyed when I saw it recently (it'll probably get a write-up on this blog shortly); and GAMERZ, which I just mentioned yesterday. This news comes from Scottish Screen so click here to go and read that story.

Scottish & Irish films: an update

I've had a real run on Scottish and Irish film recently, haven't I? Good. Long may it continue. Anyway, today's blog entry is another one of those public information announcements where I alert you to developments with some of the films I've covered before (usually at festivals).

SEACHD: THE INACCESSIBLE PINNACLE was a Scottish film that I loved when I saw it at the EIFF last year, the first to be shot in Gaelic. Its cinema release was limited to say the least, it was incredibly snubbed for Oscar consideration by the dimwits at BAFTA and it crept out onto DVD with barely a whisper by way of publicity. All of which is both a shame and an outrage. Anyway, I notice that clips from it have popped up during adverts on the newly launched Gaelic-language digital channel BBC Alba, so keep an eye on the schedules there. Given that BBC Alba helped to finance it, I'm assuming it's going to pop up on the station at some point!

Scottish geek comedy GAMERZ was another one that didn't get much in the way of publicity or cinema coverage, but I note that it has now come out on DVD and can be purchased cheaply.

After its playing at this year's EIFF, the Scottish independence movie STONE OF DESTINY is released to cinemas here from October 10th. As long as you don't mind it being fairly lightweight or the fact that the two young leads are played by non-Scots with dodgy accents it's an enjoyable little romp.

Now on to the Irish stuff.

I recently covered Alan Cooke's documentary HOME - well, I happened to notice while shopping in Dublin last weekend that it appears to have snuck out on DVD. Just in case you're interested.

Dublin boxing documentary SAVIOURS goes on release in Irish cinemas as of today.

ALARM, which I saw at Galway but didn't much care for, is to be released in Ireland from November 7th.

ANTON, which I also saw at Galway and definitely is worth seeing, goes on selected release in Ireland from October 10th.

Finally, if you're in the mood for something really weird and nutty, there's a screening of the experimental film DREAM DIARY at the IFI on October 19th, which I believe is the first screening since I saw it at Cork last year. If you like things like ERASERHEAD it'll probably be worth a whirl.

Short films @ Stranger Than Fiction 2008

Finishing my round-up of this year's Stranger Than Fiction film festival at the IFI in Dublin, here's a few (very) brief thoughts on the short film selection from Sunday morning. Well, apart from Rouzbeh Rashidi's THE BLIGHT, which was unfortunately abandoned due to some technical issues.

THE CEMETERY PEOPLE (Alessandro Molatore) takes a look at the life of a community of families in South America (I think - I've forgotten, sorry) who have built what amounts to a small town in a large cemetery. There's nothing flashy or showy about the film, but there doesn't need to be. The simple sight of a group of poverty-stricken people sleeping in emptied-out tombs is enough leave you with your mouth hanging open in disbelief.

HEADFORT (Brendan Casey) is a look at the life of the kids in an Irish boarding school. They're all rich and posh and while the film is interesting in itself it's even more striking when shown in contrast to the lives of some of the people in the other short films on offer here (such as the film above). Truly a case of "how the other half live".

GOD & NAPOLEON (Ciaran Deeney) is an observation on the life of an Irish bachelor living out in the middle of nowhere in a rundown cottage (think along the lines of Pat Shortt in GARAGE - except real). It's beautifully shot and although I spent the first minute or two thinking I was going to get very bored very quickly, it had quite the opposite reaction. By the end I was fascinated and truly drawn into the film. A nice film and a deserved prize winner.

WALKING DREAMS (Evan Barry) sees a beautiful young woman ballet dancing while a voiceover from a paralysed woman plays in stark contrast. Another beautifully shot piece and another deserved prize winner. The music was also haunting but if anyone out there knows where I've heard it before, please leave a comment and tell me. I'm sure it was in a film or a trailer for something, and I can't remember what. And now I'm getting really annoyed.

THE PUPPETEER AND THE INVENTOR (Donal O’Mahony & Mischa Langemeijer) documents the work of the titular couple who, between them, have created some startling work including a robotic tramp which is scarily realistic and a robotic/puppet monkey that is also half way between scary and hilarious. Illuminating stuff.

PIGEON MEN (Marryanne Christodoulou) is an Australian film about a community of pigeon fanciers (as we call them in Scotland) telling of how they got into their hobby and the effect it has had on their lives. Mildly amusing, but not really my cup of tea.

A DAY IN PALESTINE (Mary Ellen Davis, José Garcia Lozano & Will Eizlini) is exactly what it suggests, a short film showing everyday life in Palestine. Cue several shots of people climbing over a wall; not enough substance for my liking, but certainly stylish enough, with the films all having that super-8 home movie look about them. And I mean that in a good way.

THE DAY I SAW YOU (Aine Ni Fhaolain) is an observational piece following daily life in Dublin, accompanied by an effective music score. Imagine an Irish version of BARAKA and you've probably got a fair idea what to expect. Parts of it veered a little close to invasion of privacy for my liking but that didn't stop me enjoying it. On the contrary, I thought it was an excellent film and, for whatever this is worth, it was the film I voted for in the audience award ballot.

ILLUSTION DWELLERS (Robb Ellender) is a short film about homeless people. In pointing out that they're not that different to you or me, or that they're not all junkies and alcoholics the director wouldn't really be bringing anything new to the table. Where he succeeds however is doing it with some refreshingly interesting interviews and a wonderfully stylish approach (animations appearing on the paving stones, subtle alterations to street signs, etc.). Very good indeed.

THE RICHNESS OF CHANGE (Colin Murphy) is a series of short vignettes about the lives of people of various ethnicities in Ireland. It's interesting and there's nothing wrong with the presentation per se, but it does feel a little bit like it's been put together to bludgeon schoolkids with a message.

BINGO (Michael Fortune) is a simple little film relating the odd practice of "drive-in bingo". To be honest I couldn't decide whether this was a true event or something the director just made up for a laugh, but either way it works. The presentation is simple but effective and the result is an odd but funny spectacle.

TERMINAL COMMUNICATION (Michael Fortune) is another humour piece from the same director, and once again uses a simple presentation to find humour in an everyday situation. Anyone who's ever been left thoroughly bemused by stupid roadmarkings won't be able to help themselves laughing at this film, which uses sped up footage recorded over a period of time at a badly-labelled junction in Ireland to demonstrate the different ways of dealing with the problem. A terrific little film, it received a special mention from the jury and got a very positive reaction from the audience too.

Cirio H. Santiago

While the movie world was still mourning the passing of Paul Newman (and rightly so, he was a fine actor and a decent guy) another movie legend of an entirely different sort shuffled off this mortal coil with slightly less attention in the mainstream media. He was, however, still exceptionally successful in his own way and was probably a much larger influence on my movie watching habits than most Hollywood legends I could think of.

Filipino filmmaker Cirio H. Santiago was a purveyor of cheap, shameless, trashy exploitation films of the finest kind. While working with many people (including the legendary Roger Corman) and in many genres, he created a seemingly endless catalogue of cheap films that always put fun ahead of everything else, including credibility and coherence in a lot of cases. However, what he deserves special mention for, in my book at least, is his contribution to the world of post-apocalyptic movies, specifically the MAD MAX 2 rip-offs that filled the shelves of your local video rental stores in the early 80s.

Churning out a number of these films, often shamelessly re-using footage from his other films, he supplied the lucky viewer with a healthy dose of violence, nudity and abandoned quarries dressed up to look like post-nuclear landscapes. Sure, he contributed a lot to the Filipino film industry too, but to me he's just Mr Post-Apocalyptic. Plenty of directors entered this genre in the late 70s and early 80s but I don't think anyone put their mark on it quite as much as Mr Santiago.

I've mentioned this story before, but when I was a youngster with an interest in post-apocalyptic movies (albeit of a more mainstream variety) I found myself in a closing-down video rental shop in Harrogate in the north of England. Despite the fact that there were barely a dozen tapes left in the entire shop, I still bought a couple, including Santiago's WHEELS OF FIRE. Sure, I was clearly too young to be watching it (one of the stills on the back cover was of a helpless blonde with breasts exposed, tied to the bonnet of a souped up car), but it was post-apocalyptic so I had to have it.

My eyes were opened to a world of cinematic pleasure. While I was familiar with the films that were being ripped off, I had no idea that such rip-offs existed, especially not in such numbers. This was the film that turned me on to the cheap MAD MAX 2 rip-off post-apocalyptic movie, a very particular kind of movie (usually made by Filipinos or Italians) that I have since spent my life collecting old VHS tapes of.

It has become an obsession, but one that has brought me no end of exploitation movie joy - and for that, I have to thank Cirio H. Santiago, the Filipino master of post-apocalyptic cinema. May he rest in peace.

Tellingly, several other blogs that I read regularly have also reported on his passing, so click on these links to read about Santiago at Video Watchblog, Johnny LaRue's Crane Shot, Quiet Earth and Post-Apocalypse. And if you're still hungry for more, go and search blogs via Google for the last week or so and marvel at his influence.

At some point in the near future I'll have to dig out my old tapes and do a proper tribute, but in the meantime, the Freakpit salutes Cirio H. Santiago.