It’s a sparse week in animation as not much of interest happened, except for the trailer for Teen Titans Go! To The Movies and the English language summary of The Association of Japanese Animation’s industry report for 2017. The trailer splits opinions between Tucky and
101 films co-produced a new making-of documentary for Stephen Frears’ The Grifters. In which, a producer states that Martin Scorsese believed Jim Thompson’s novel of the same name was among the best crime novels that hadn’t been adapted and so sought to amend that fact.
It’s late Edo-period Japan. An acting troupe from Osaka has arrived in the capital city to perform. Thieves and pickpockets stalk their prey among the paying audience, while merchants and aristocrats watch from the balcony seats. Yukinojo, a slightly paunchy onnagata (kabuki actor who plays
It is a film about the abuse of a young girl by people in positions of power and the cover up this corruptible high society instigate to ensure they are never held to account for the crime they have committed. It is a film that
Let’s get the big issue out of the way first: Eureka’s new Blu-Ray release of Manina, the Lighthouse-Keeper’s Daughter by Willy Rozier boasts the most unexpected and delightful extra feature of the year. It actually pertains not to the title feature, but to another Rozier
Body Heat opens on the scene of a distant burning restaurant as a witness, Ned Racine (William Hurt), watches from a bedroom window. As a kid, his family were regular diners there. Now, he sardonically speculates that the arsonist is one of his corrupt clients.
Orson Welles once claimed he only saw thrillers as a means to an end, that if it wasn’t for the unfortunate necessity of getting films funded he wouldn’t have made any. As if to demonstrate this, he would often tell a story about the genesis
In his 1970 essay Paint It Black: The Family Tree of the Film Noir, Raymond Durgnat suggests that the genre’s most common topics developed as a method of plausible deniability. As the Red Scare hotted up, left-leaning directors could address corruption in, say, prisons or boxing and have
The introduction is one of the most underrated aspects of home video, one as good as that which Peter Stanfield provides on Arrow’s release of William A. Wellman’s The Ox-Bow Incident transforms a film – providing a context, drawing attention to details and being about
A keen suspension of disbelief is critical in the enjoyment of genres predicated on wonder, whimsy and exaggeration, not having a healthy penchant to believe the unbelievable locks swathes of the more imaginative hues of cinema behind locked door. Curious it is then that 1993’s