Suspiria - Review

"When you dance the dance of another, you make yourself in the image of its creator"
It would be fair to say that fans of Suspiria may not initially recognise that film in Call Me By Your Name director Luca Guadagnino's remake/adaptation in "six acts and an epilogue"
Yes, it is set within a German ballet school which is run by a coven of witches, and the character names are the same, but that is where the similarities end.
Gone is the bold vivid colour palette, replaced with a more muted tone to keep in the 1973 Berlin setting. Instead of Goblin's Italian funk soundtrack, we have Thom Yorke picking up Jonny Greenwood's baton and moving into the film score business. And the iconic death sequences the original are annexed in favour of something else entirely... something that is too deliciously delirious to spoil.
Guadagnino's psychological fever dream is a completely different beast to Dario Argento's original 1977 Giallo horror film.
The story is set within the world of dance and Argento and Guadagnino's two version feel akin to two separate choreographers taking a different approach and adaptation to the text. Both are unique, wonderful pieces of work but also can exist within the same universe.
Similar to how directors will adapt Shakespeare into modern settings to give new historical context and show the universality of the stories, this version is set in Berlin 1976 at a time of a divided city, set for rebirth.
Where Argento's movie was frenetically paced, leaping straight into American Susie Bannion's arrival at the school followed by a horrific murder set piece, Guadagnino opts for the slow burn.
The film takes its time building its two central plots (Susie's meteoric rise to lead protagonist in the company and Dr. Josef Klemperer's search for Patricia (Chloe Grace Moretz), the girl Susie replaced) before dovetailing the two together in Acts V and VI which are some of the most spectacularly beautiful, terrifying and insane filmmaking you will see all year... and this is coming from someone who has seen Mandy.
Dakota Johnson, written off by many for starring in the awful 50 Shades films, proves that she is a fantastic actress who will likely follow the same career path as Kristen Stewart after Twilight (which the 50 Shades of Grey books were actually inspired by).
Her performance evokes memories of Natalie Portman in Black Swan as the physicality of the dance is easily matched by her emotional journey as she is pulled deeper and deeper into the conspiracy within the dance school. One that is orchestrated by her teacher and mentor Madame Blanc. Tilda Swinton is the perfect actress for a role like this (and potentially a few others). Her otherwordly appearance and ability to turn from warm to villainous on a dime is used to full effect. Plus the smouldering sexual tension between Swinton and Johnson towards the end is off the charts.
During one private lesson, Blanc tells Susie "There are two things that dance can never be again. Beautiful and cheerful. Today we break the nose of every beautiful thing"
Suspiria is certainly not cheerful and in the world of interpretive dance, there are many that will not like this interpretation of the material. But all art is subjective and while Guadagnino may break the beautiful face of Argento's Giallo classic, from the broken pulpy mess that remains he reaches in and moulds it into something even more beautiful. The same heart reborn with a new visage that is better than the original.

5 stars

Road to Infinity War - Phase 3 - Doctor Strange (2016)

Things to take quantum leap forward in the Marvel Cinematic Universe thanks to Doctor Strange. We had previously seen travels into the Quantum Realm in Ant-Man and this film would take that to the max with multiple mystical dimensions along with a hint of magic. Or is it science? As Thor would say "I come from a world where they are one and the same."
Strange was mentioned in passing during The Winter Soldier but it took another four films before he would make an appearance. Why? It could be argued that his powers were too great to be involved in the Civil War fight as he could have easily influenced the final outcome with a quick spin on the Eye of Agamotto.
Instead, Mister Doctor is given an origin story set some time during the increasingly confused MCU timeline (but one that ends synced up to the events in Thor Ragnarok).
In terms of plot, this is the most straightforward origin tale that Marvel has done since the original Iron Man.
Benedict Cumberbatch is well cast as the pompous, over-opinionated surgeon and he plays it as though he is doing an impression of Hugh Laurie doing his House accent. Following an accident in which he loses the use of his hands, he travels to Nepal in search of answers on how to heal himself and that is where he finds Kamar-Taj and the Ancient One (Oscar winner Tilda Swinton).
One of the first things that is noticeable about the film is the cast list. Cumberbatch, Swinton, Ejifor, Mikkelsen, McAdams. It reads more like an Oscar contender than a superhero blockbuster and it is to Marvel's credit that they are now in a position to attract this calibre of talent for lead and supporting roles.
So while the plot might be straightforward, the visuals are anything but. Twisty, turny and dizzying to the point that it feels like if Inception had labyrinthitis, they are unique within the MCU and make for a welcome (and by this point needed) change to the formula). Beyond Strange's first trippy, er, trip into the Quantum realm that borders on the horrific, it is the Manhattan sequence that is the stand out.
Thankfully, the mirror realm allows the wizards to fight without causing any destruction or death to the people of New York (goodness knows they've been through enough!).
And it was nice to see a novel twist on the third act climax with having Strange stuck in a Groundhog Day-style time loop being killed over and over again by the big bad Dormmamu until he agrees to bargain. Was a nice change to having the hero solve the problem with their fists.

Infinity Stone counter = 5 (Time Stone)

Isle Of Dogs (Glasgow Film Festival) - review

Wes Anderson makes a triumphant return to the Glasgow Film Festival (The Grand Budapest Hotel launched the 2014 festival) and the world of stop motion animation following 2009’s Fantastic Mr Fox, with Isle of Dogs.
Set in Megasaki City, Japan, it follows the story of a young boy Atari who travels to Trash Island to save his dog Spots who has been exiled there along with all canines following an outbreak of Dog Flu by the villainous Mayor Kobayashi, whose family has been holding a grudge against the animals ever since an amusing prologue sequence where their cat-loving ancestor was defeated in battle against the dogs.
Crash landing on the island after stealing a plane, Atari is met by a pack of dogs who will help him on his quest to be reunited with his pet. Even if one of them is resistant to the idea of helping a human, a stray called Chief (voiced by Anderson-newcomer Bryan Cranston).
With that synopsis, so far, so Pixar but that is where the comparisons end… with the exception that Trash Island, built up of cubes of rubbish, looks like it was constructed by Wall-E.
Just like his adaptation of Dahl’s Fantastic Mr Fox, Anderson manages to fill every frame, character and line of dialogue with his unique style and sense of whimsy, quirkiness and humour.
This is clear from the outset when the audience is told that the human characters will speak in their native tongue (Japanese with the odd piece of translation by an interpreter) but all the dogs barks have been changed to English.
This trick puts the audience firmly on the side of the dogs, who are the victims of “fake news” and propaganda from a government who is using the dog flu outbreak to push through their own personal agenda to rid the country of canines before the flu crosses over to the human population. Even to the point of covering up a cure for the disease.
This cover up brings in the second part of the story, which features a group of students investigating the corruption and leading protests against the government, which handily features a foreign exchange student from America (Greta Gerwig, whose tones prove a Great Earwig) to provide a recognisable voice in the fight.
Indeed, the story is much more grown up than Fox and it will be interesting to see what the audience will be for this film as it feels like a more adult tale told within the animation medium.
So in that respects, Anderson has chosen wisely by setting the story in Japan because Studio Ghibli has spent the last few decades making films for families that have very difficult subject matter e.g. My Neighbour Totoro is about loss of a family member, Grave Of The Fireflies is set during the Hiroshima bombing.
However the central crux of the role of man’s best friend in society, the importance of looking after them and rewarding their loyalty is matched with boundless charm and levity by the voice work of a stellar cast of Anderson regulars including Bill Murray, Tilda Swinton and Jeff Goldblum who is hilarious as a gossip-hungry dog whose catchphrase becomes “Did you hear the rumour about…”
Yet it is Bryan Cranston’s scrappy stray Chief who is the Best In Show, going on an arc that is as epic as Noah’s, and all of it is believable thanks to Cranston’s vocal performance.
Also, as strange as it may sound, Isle of Dogs provides what could be 2018’s most flirtatious and sexiest scene of the year… between two stop motion animation dogs as Chief is introduced to show dog Nutmeg voiced by Scarlett Johannson.
But that is just a credit to the outstanding work of the animators and puppet designers who handcrafted each animal to a level of believability that the audience forget they are watching an animation.
The detail on each individual dog is astounding and helps in providing each with its own sense of character and identity.
You know that a filmmaker has achieved the desired effect when an entire auditorium collectively “Awwwws” at the sight of five newborn puppies on screen. Yes, hundreds of people audibly reacting to a puppy made out of plasticine and fur.
The design of the characters and settings provides a Kurosawa feel to the movie, enhanced by Alexandre Desplat’s wonderful score that makes great use of Taiko drumming.
Deftly walking the tightrope of Eastern and Western influences, Anderson has bred a film of the highest pedigree that must already be the favourite to win the Best Animated Film at next year’s Oscars.



Just like the play on words in the title, even the most ardent cat person will come out of Isle Of Dogs boldly exclaiming “I love dogs!”. You would be barking mad to miss it!

5 stars

Snowpiercer - French Blu Ray review

It feels odd to be reviewing a film from a French blu ray when it hasn't even been released in cinemas in the UK yet but the journey that Snowpiercer is taking to the big screen over here has been filled with more problems and delays that the trams in Edinburgh city centre. Ironically that is where the film has just had its UK premiere at the Film Festival.

Last year word started to surface that Harvey Scissorhands wanted to edit the film, cutting twenty minutes out of it and adding in a voiceover at the beginning to help audiences understand what was going on. Anyone reminded of Blade Runner here?

This would have been the cut for UK and US audiences but thankfully Bong Joon-Ho's original "director's cut" had already been released and proven very successful in France.

Earlier this year film critic Anne Bilson mentioned on Twitter that the film would be available on region free blu ray in April with the only minor niggle being that, although it was in English, it only had French subtitles therefore it made one scene where the dialogue is in Korean difficult to follow.

Undaunted by this and desperate to see the director's original version, I ordered it from Amazon.Fr in January and proceeded to forget about it until the beautiful box set arrived at work randomly one afternoon in April.

Finally it was time to board the Snowpiercer.

Set in a dystopian future where a failed attempt to reverse global warming has left the Earth in a state of perpetual winter, the only human life that remains circumnavigates the globe in a special train called the Snowpiercer.

The train is split up into classes with the rich and powerful living in comfort at the front with all the poor people crammed into the rear of the train.

Unhappy with existing in squalid conditions, surviving on nothing but gelatinous food bars that might be from the makers of Soylent Green, and spurned on by cryptic messages, Chris Evans's Curtis wants to find out if life really is greener on the other side.

So Evans, like Gene Hackman's Reverend Scott in The Poseidon Adventure, sets out to lead a rag tag bunch (including Jamie Bell, John Hurt, Octavia Spencer) on a Titanic struggle up through the vessel following the icy track road to see Wilford, the wonderful Wilford of Oz.

Everyone is seeking something different (redemption, power, drugs, their children) and the hope is that Wilford can provide that for them, even if they have to use force to get it.

If Wilford is the mysterious man behind the curtain, then Tilda Swinton's Mason is undoubtably The Wicked Witch of the West (Coast Line).

With her protruding teeth, hideous wardrobe and glasses as thick as her Yorkshire accent she is a comically grotesque character who, when berating the dirty, grim soaked masses to remember their place, feels like Thatcher and the miners during the 80s.

At one point she makes a speech about how life must be kept in a delicate balance and this ties into the situation on the train which is on an eternal loop of the earth, a continuous cycle, with the natural order of the classes and the circle of life.

Elysium tackled a similar subject last year but this has much more in common in terms of aesthetics and feel with the work of Terry Gilliam such as Brazil and Twelve Monkeys, and one of the characters is even called Gilliam.

Not only is this graphic novel adaptation at heart fantastical science fiction and social commentary but thanks to Joon-Ho's consistently imaginative and creative direction it plays out like a video game with each new compartment they make it to representing a higher level and a different challenge, sometimes physical, mental or emotional. Different characters are required to progress and once complete the next compartment is actually "unlocked" by the train's security designer who controls the doors.

The struggle to reach the front takes it toll on the group but it is Curtis who is constantly Under Siege to try and gain control of the train and with it comes one of Chris Evans's finest performances, in particular delivering a haunting monologue about what life of the train is really like.

Hopefully Snowpiercer won't face too many more delays before it gains a proper cinema release as this is first class entertainment that remains on track to be one of my favourite films of the year.

5 stars

Only Lovers Left Alive - review

In spite of the constant thirst for blood and aversion to things like sunlight and garlic, there has always been something quite sensual and romantic about being a vampire.

An ability to appeal to the opposite sex, never growing old, eternal life, etc and let's face it, despite what Queen might have said, who wouldn't want to live forever?

But what exactly would vampires do with an eternity on earth?

Only Lovers Left Alive provides one possible answer to that question. They'd get bored!

Adam (Tom Hiddleston) is a Kurt Cobain-esque Gothic rocker recluse hiding away from the outside world in an old house in Detroit.

Eve (Tilda Swinton) is living in Tangiers, reading and hanging out in Souk bars with Kit Marlowe played by John Hurt.

Both are vampires and more importantly, husband and wife.

Were they the first of their kind? Unclear. As is the reason they live on opposite sides of the world. Perhaps they are just like any other couple and after centuries of being together they needed some time apart from each other.

And they have been around for centuries, that much is clear and even though they have spent that time cultivating knowledge of science, nature and the arts, Adam has grown tired of of the apathy of the "zombies" who inhabit the earth now, unable to appreciate the world and its cultural wonders.

So as he ponders a game of Russian Roulette with a wooden bullet, Eve hops on the next overnight flight to Detroit to pull him out of his slump.

Looking for a plot? There isn't one to be found here. This isn't a film about action or change, after all vampires don't.

This is a film about existence.

There is a melancholic scene where Adam describes to Eve how a giant theatre used to play concerts to thousands of people but now is crumbling and abandoned and nothing more than a car park.

Civilisations have come and gone and they are the only constant in each other's life.

It's a rather unique take on the mythology in how it showcases the normalcy of being a vampire.

Vampires might be allergic to sunlight and drink blood instead of red wine but there still human. They have family issues. They can hold a grudge, "Are you still made about that? It was 87 years ago." and they moan about having to get up out of bed to feed.

Here the vampires feast on blood taken from hospitals not because they have turned "vegetarian" like those who "sparkle", or dislike killing but because they are worried about the purity of the source, disdainful of the diseases and drugs that the "zombies" Adam refers to pollute their bodies with.

Rather ironic since they treat it more like a drug than food, feeling a euphoric high after every hit.

This is just a drop from the rich vein of dark humour running throughout the film, such as Jeffrey Wright's various nicknames for Adam dressed in a Doctor's outfit (Faust, Strangelove, Caligari) and the hints at the influence of vampires over such artistic legends like Wilde, Shakespeare, etc that appear on a wall of fame.

Many of the film's biggest laughs come from the unwelcome arrival of Eva (Wasikowska), Eve's "sister", the closest the film comes to having a Deus Ex Machina, injecting some (after)life into proceedings.

The script's wit is as razor sharp as their teeth and dripping with deadpan delivery by Hiddleston and Swinton who are both able to hint at the old souls behind the young eyes of these eternal creatures of the night.

Shot with an ethereal beauty and a killer soundtrack, it can easily stake a claim as the best vampire film since Let The Right One In.

4 stars

We Need To Talk About Kevin - review

We Need To Talk About Kevin is one of the most visually arresting films of the year but unlike films such as Tree of Life and Melancholia which I accused of being "pretentious and style over substance", Kevin is a deeply thought provoking study of the age old debate of "nature versus nurture" as a mother attempts to rebuild her life following a terrible crime perpetrated by her son, and forces herself to look back at her life and figure out if Kevin was born as bad as Damien from The Omen or if his behaviour was ultimately her fault.

Tilda and Kevin nervously waited backstage for their turn to audition for Britain's Got Talent

The film's structure differs from that of the novel, using flashbacks rather than Eva's letters to her ex-husband, but it works due to director Lynne Ramsay's total control over the medium and her use of visuals, sound and storytelling.  She allows the audience to put the missing pieces together and draw their own conclusions as who is to blame.  Although, and this might sound a tad harsh, I think that if I was raised by Tilda Swinton, I might have turned out a little odd too.
Swinton puts in a fantastic multi-layered performance as the mother of the devil.  She appears as a ghost in her own life following the tragedy, searching for an answer to the impossible question "WHY?", and during the flashbacks it is a role that draws similarities to Lee Remick in The Omen, where she is the only one who can see the evil growing inside her own spawn.
Oscar winner Swinton however more than meets her match in the form of the three boys who play Kevin at various stages throughout his adolescence.  Ezra Miller has rightly been receiving plaudits for his malevolent dead eyed enigma, but in my own humble opinion, Jaspar Newell who plays Kevin between the ages of 6-8 is just as good.  It is a very mature and sinister portrayal for someone so young.
Don't go in expecting any clear cut answers but there is enough going on in this film that when it's all over, you'll be guaranteed to be talking about Kevin.

4 stars