A good extra can take your appreciation of a movie to a whole new level. On Arrow Academy’s newly issued [the] Big Clock, Simon Callow has done just that with his video appreciation of Charles Laughton’s performance as the despotic magazine magnate, Janoth. Callow goes
Mad and hectic, One, Two, Three is a Cold War satire that refuses to be one thing – slow. Here you have all the cast bellowing orders to each other like World War Three is on the horizon, the pacing zips by, and André Previn’s
There are two schools of thought on what makes a good box set. The first is what you might call the blockbuster principle: just assemble as impressive a collection of hits as you can. Certainly, that works – there’s a reason there are so many
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