Thursday, 5 May 2016

Capital Celluloid 2016 - Day 147: Thu May 25

Love And Friendship (Stillman, 2016): BFI Southbank, NFT1, 8.30pm

Director Whit Stillman will be at the BFI for a Q&A after his much-praised new film. Kate Beckinsale and Chloë Sevigny are paired up by Stillman once more (The Last Days of Disco) in this adaptation of Jane Austen’s novella Lady Susan. Taking up residence with her in-law’s following an intrigue, Lady Susan is delightful, irresistible and entirely without need of scruples as she sets about making a match for her daughter Frederica – never forgetting about her own requirements, of course.

Capital Celluloid 2016 - Day 146: Wed May 24

Manhunter (Mann, 1986): Prince Charles Cinema, 8.45pm

This film is part of the Michael Mann season at the Prince Charles. Details here.

Time Out review:
'Michael Mann hits top form with this splendidly stylish and oppressive thriller adapted from Thomas Harris' Red Dragon. The plot is complex and ingenious: FBI forensics expert Will Graham (William Peterson), blessed (and tormented) by an ability to fathom the workings of the criminal mind through psychic empathy, is brought back from voluntary retirement to track down a serial killer, the 'Tooth Fairy'. Focused on the anxiety and confusion of the hunter rather than his psychotic prey, the film functions both as a disturbing examination of voyeurism, and as an often almost unbearably grim suspenser. Mann creates a terrifying menacing atmosphere without resorting to graphic depiction of the seriously nasty killings: music, designer-expressionist 'Scope photography, and an imaginative use of locations, combine with shots of the aftermath of the massacres to evoke a world nightmarishly perceived by Graham's haunted sensibility. The performances, too, are superior, most memorably Cox's intellectually brilliant and malevolent asylum inmate. One of the most impressive American thrillers of the late '80s.'
Geoff Andrew

Here (and above) is the trailer.

Capital Celluloid 2016 - Day 145: Tue May 24

The New World (Malick, 2005): Prince Charles Cinema, 8.30pm

This 35mm screening is part of a full Terrence Malick season at the Prince Charles. You can find all the details here.

The Guardian's John Patterson hailed tonight's film the best of the first decade of the millennium – and by some way. This is his article in full and here is an extract:

'It may seem like an exaggeration, but with The New World cinema has reached its culmination, its apotheosis. It is both ancient and modern, cinema at its purest and most organic, its simplest and most refined, made with much the same tools as were available in the infancy of the form a century ago to the Lumières, to Griffith and Murnau. Barring a few adjustments for modernity – colour, sound, developments in editing, a hyper-cine-literate audience – it could conceivably have been made 80 years ago (like Murnau and Flaherty's Tabu). This is why, I believe, when all the middlebrow  Oscar-dross of our time has eroded away to its constituent molecules of celluloid, The New World will stand tall, isolated and magnificent, like Kubrick's black monolith.'

Here (and above) is the opening to the film.

Capital Celluloid 2016 - Day 144: Mon May 23

It Happened One Night (Capra, 1934): Prince Charles Cinema, 8.45pm

This screening is part of the Classic Film season at the Prince Charles. Full details here.

Chicago Reader review:
Reporter Clark Gable chases spoiled heiress Claudette Colbert across most of the eastern seaboard, pausing long enough between wisecracks to set the definitive tone of 30s screwball comedy. Even though Frank Capra's 1934 film won all five of the top Oscars, it's still pretty good. This is Capra at his best, very funny and very light, with a minimum of populist posturing.
Dave Kehr

Here (and above) is the trailer.

Wednesday, 4 May 2016

Capital Celluloid 2016 - Day 143: Sun May 22

The Passenger (Antonioni, 1975): Close-Up Cinema, 8pm

Don't miss the chance to see this movie screened from a 35mm print.

Chicago Reader review:
A masterpiece, one of Michelangelo Antonioni's finest works (1975). Jack Nicholson and Maria Schneider star as a journalist who trades one identity for another and the woman who becomes his accomplice (and ultimately the moral center of his adopted world). Less a thriller (though the mood of mystery is pervasive) than a meditation on the problems of knowledge, action for its own sake, and the relationship of the artist to the work he brings into being. Next to this film,
Blowup seems a facile, though necessary, preliminary. By all means go.

Capital Celluloid 2016 - Day 142: Sat May 21

Theatre of Blood (Hickox, 1973): BFI Southbank, NFT2, 8.40pm

This fondly remembered horror film is part of the Shakespeare on Film season at BFI Southbank. You can find the full details here.

BFI Southbank intro:
The Bard’s penchant for cruelty is gleefully exploited in this devilishly macabre black comedy of terrors. Vincent Price is Edward Lionheart, a vengeful actor seeking bloody payback on the critics who so callously denied him the recognition he felt he deserved. Featuring a slew of inventive death scenes inspired by Shakespeare plays, this campy slice of Grand Guignol was a personal favourite of Price himself.
Michael Blyth

Tuesday, 3 May 2016

Capital Celluloid 2016 - Day 141: Fri May 20

Close Up (Gidal, 1983): Close-Up Cinema, 8pm

Close-Up Cinema introduction:
Peter Gidal
 and Mark Webber will introduce a screening of Gidal’s feature-length film Close Up to coincide with the publication of Flare Out: Aesthetics 1966–2016, a collection of essays by one of film’s great polemicists. Gidal was a central figure during the formative years of the London Film-Makers’ Co-operative and made some its most radical works. His cinema is anti-narrative, against representation, and fiercely materialist.
In Close Up, Peter Gidal’s political, ultra-leftist practice is augmented by the disembodied voices of two Nicaraguan revolutionaries heard of the soundtrack. These voices punctuate a film whose representation of a room, an inhabited space, is one in which the viewer must consciously search for recognition, for meaning-making. The image-content is muted and abstract, but fascinating, with moments of (no-doubt) inadvertent beauty.
"Close Up is crystal hard, intransigent, and film in extremis. In short, one of the best 'political' films made in this country." – Michael O’Pray