For a moment there, I thought we were in trouble.
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Cell 211 2009
A newly employed prison guard turns up a day early to get used to his new surroundings only to be cracked on the head by a piece of the crumbling building during a tour and then finds himself in a cell as a riot breaks out and he has to improvise to survive.
Alberto Ammann as the guard and Luis Tosar as the leader of the rebellion are both sensational in Daniel Monzón‘s thriller; Tosar is a growling and menacing…
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The Vanishing 1988
George Sluizer’s film is a gripping and subtly devastating thriller with a horribly calm but brilliant performance by Bernard-Pierre Donnadieu as a man who abducts a young woman and then systematically teased and torments her boyfriend over the course of years until they finally meet face to face. Gene Bervoets has to do a lot more as the desperate boyfriend who can’t move on with his life but his performance never gets too big in contrast to the effiency of what Donnadieu is doing.
It’s an uncomfortable and stressful but memorably brilliant watch.
StudioCanal Presents
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The Counselor 2013
It's exactly what you'd hope for from a Cormac McCarthy-penned script. It's dark and weird and has a bleak, desperate finale. The extended cut is even better than the theatrical release.
I still can't understand why it took such a critical lashing.
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The Other Side of the Wind 2018
I don’t know who was involved in preventing Orson Welles from ever completing The Other Side of the Wind, but they were doing him and everyone else a favour by doing so.
The film is unwatchable, incoherent, smutty trash, and however close it is to what Welles wanted his finished film to be, it’s still a godawful mess, horribly over-edited tedious nonsense. It simply wasn’t worth reclaiming or resurrecting, or whatever the people who put this together would call it. This is the reanimated corpse of something that deserved to die, a wasted effort and a laughable addendum to Welles’s legendary career.
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