Monster Squad (Dekker, 1987): Prince Charles Cinema, 8.30pm
REintroducing…, a new season from the team at the Prince Charles Cinema, aims to bring back lost and forgotten cult films by hunting down the theatrical rights which have been in limbo for years and teaming them with up newly discovered 35mm prints, giving them a second lease of cinematic life. See the Attack From Planet B blog for more details.
Time Out review:
'More of a clever comic parody than a jokey pastiche, this lively kiddies' horror pic delivers frights and laughs which are rooted in a sure and sympathetic grasp of Monster Movie mythology. To take advantage of a confluence of evil that occurs only once every hundred years, Count Dracula (Regehr) flies to America, then summons the Wolfman, Gill-Man, Mummy and Frankenstein's monster. Alerted to Dracula's evil plan, The Monster Squad - a gang of pre-teen kids and their slightly older tough-guy pal - fashion stakes in woodwork class, melt down their parents' cutlery to make silver bullets, and give the monsters hell. Confirming the promise of his debut feature Night of the Creeps, Dekker plays around imaginatively with the genre while delivering several nice touches.' Nigel Floyd
Here is the trailer.
Capital Celluloid - Day 319: Thursday Nov 17
Mother Joan of the Angels (Kawalerowicz, 1961): Gate Cinema, 6.30pm
This is screening as part of the Poland on Screen Festival
Gate Cinema introduction: Jarosław Iwaszkiewicz’s 1946 tale transposes the historical French narrative of the 'devils of Loudun' to an 18th-century Polish convent. The writer was less interested in exorcisms than the beginnings of forbidden feelings between Joan - the possessed mother superior - and Father Suryn, who arrived to heal her, and it is this perspective on the tragedy in Loudun (here: Ludyń) to which Kawalerowicz's adaptation is faithful. Composed entirely of austere, black-and-white shots, the geometric patterns of the convent's grates and crosses mercilessly separate the two unhappy, lonely people. Winner of the Jury Prize at Cannes, the film was only beaten to the prestigious Palme d'Or by Luis Buñuel’s Viridiana.
Here is the trailer.
This is screening as part of the Poland on Screen Festival
Gate Cinema introduction: Jarosław Iwaszkiewicz’s 1946 tale transposes the historical French narrative of the 'devils of Loudun' to an 18th-century Polish convent. The writer was less interested in exorcisms than the beginnings of forbidden feelings between Joan - the possessed mother superior - and Father Suryn, who arrived to heal her, and it is this perspective on the tragedy in Loudun (here: Ludyń) to which Kawalerowicz's adaptation is faithful. Composed entirely of austere, black-and-white shots, the geometric patterns of the convent's grates and crosses mercilessly separate the two unhappy, lonely people. Winner of the Jury Prize at Cannes, the film was only beaten to the prestigious Palme d'Or by Luis Buñuel’s Viridiana.
Here is the trailer.
Capital Celluloid - Day 318: Wednesday Nov 16
The Spy Who Came In From the Cold (Ritt, 1966) &
Tinker Tailor Soldier Spy (Alfredson, 2011)
Riverside Studios, 6.15 & 8.35pm
Another inspired double-bill from Riverside Studios, screening the much-lauded recent John Le Carre adaptation with an earlier one from the 1960s.
Time Out review of The Spy Who Came In From the Cold:
'Without his customary good liberal message to hang on to, Ritt is forced to rely on pure professionalism, and as a result turns out one of his better films. John Le Carré's novel about betrayal and disillusionment in the world of East/West espionage is treated with intelligence and a disarming lack of sentimentality or moralising, while Burton gives one of his best screen performances as the spy out to get even with an East German counterpart. What finally impresses, however, is the sheer seediness of so much of the film, with characters, buildings, and landscapes lent convincingly grubby life by Oswald Morris' excellent monochrome camera-work.' Geoff Andrew
Here is an extract in which Richard Burton explains what spies are.
Time Out review of Tinker Tailor Soldier Spy:
'Swedish director Tomas Alfredson (‘Let the Right One In’) blows a fresh air of continental style into Le Carré’s story without harming the 1970s British period feel of his source material. Naturally, some episodes from the book and TV series don’t make it into the film, but it’s remarkable how much remains, often secured by a sly glance here or quick image there. This spy story is all about the journey – the process – and the byways of the route, not the grand finale. This film’s superb cast, script and direction threaten to make that journey equally as thrilling as Le Carré’s book.' Dave Calhoun
Here is the trailer.
Tinker Tailor Soldier Spy (Alfredson, 2011)
Riverside Studios, 6.15 & 8.35pm
Another inspired double-bill from Riverside Studios, screening the much-lauded recent John Le Carre adaptation with an earlier one from the 1960s.
Time Out review of The Spy Who Came In From the Cold:
'Without his customary good liberal message to hang on to, Ritt is forced to rely on pure professionalism, and as a result turns out one of his better films. John Le Carré's novel about betrayal and disillusionment in the world of East/West espionage is treated with intelligence and a disarming lack of sentimentality or moralising, while Burton gives one of his best screen performances as the spy out to get even with an East German counterpart. What finally impresses, however, is the sheer seediness of so much of the film, with characters, buildings, and landscapes lent convincingly grubby life by Oswald Morris' excellent monochrome camera-work.' Geoff Andrew
Here is an extract in which Richard Burton explains what spies are.
Time Out review of Tinker Tailor Soldier Spy:
'Swedish director Tomas Alfredson (‘Let the Right One In’) blows a fresh air of continental style into Le Carré’s story without harming the 1970s British period feel of his source material. Naturally, some episodes from the book and TV series don’t make it into the film, but it’s remarkable how much remains, often secured by a sly glance here or quick image there. This spy story is all about the journey – the process – and the byways of the route, not the grand finale. This film’s superb cast, script and direction threaten to make that journey equally as thrilling as Le Carré’s book.' Dave Calhoun
Here is the trailer.
Capital Celluloid - Day 317: Tuesday Nov 15
Tropical Malady (Weerasethakul, 2004): Bethnal Working Mens' Club, 8pm
Chicago Reader review:
'The third work and second narrative feature of Apichatpong Weerasethakul (Blissfully Yours), the prodigiously gifted Thai filmmaker who studied painting and filmmaking at the School of the Art Institute—a spellbinding, beautiful, enigmatic film with a mysterious, allusive two-part structure. The first section tracks the hesitant, playful relationship between a shy provincial ice cream truck driver (Sakda Kaewbuadee) and a dashing soldier (Banlop Lomnoi); the astonishing second section is set deep in the Thai jungle and includes an abstract, wordless pursuit of a ghost tiger. The two parts are linked by lyrical compositions and an almost painful sense of longing and regret. Viewers open to a new way of imagining film are sure to be enthralled by this singular young voice. In Thai with subtitles.'
Patrick McGavin
Here is the trailer.
Chicago Reader review:
'The third work and second narrative feature of Apichatpong Weerasethakul (Blissfully Yours), the prodigiously gifted Thai filmmaker who studied painting and filmmaking at the School of the Art Institute—a spellbinding, beautiful, enigmatic film with a mysterious, allusive two-part structure. The first section tracks the hesitant, playful relationship between a shy provincial ice cream truck driver (Sakda Kaewbuadee) and a dashing soldier (Banlop Lomnoi); the astonishing second section is set deep in the Thai jungle and includes an abstract, wordless pursuit of a ghost tiger. The two parts are linked by lyrical compositions and an almost painful sense of longing and regret. Viewers open to a new way of imagining film are sure to be enthralled by this singular young voice. In Thai with subtitles.'
Patrick McGavin
Here is the trailer.
Capital Celluloid - Day 316: Monday Nov 14
An American In Paris (Minnelli, 1951): BFI Southbank, NFT3, 8.45pm
This screening is part of an extended run until November 20. Details here.
Chicago Reader review:
'While not nearly the musical it's cracked up to be, this 1951 film is absolutely required viewing for anyone who wants to see the studio system (MGM style) at its gaudiest, most Byzantine height. Art and technology have never been in closer harmony than in this Vincente Minnelli-directed rendition of George Gershwin's concert masterpiece. It features Gene Kelly (wearing his most tortured set of expressions), Leslie Caron, Oscar Levant, Georges Guetary, and an 18-minute ballet based on images from the French impressionists. Songs include “Our Love Is Here to Stay,” “I Got Rhythm,” and “S'Wonderful.”' Dave Kehr
Here is the trailer.
This screening is part of an extended run until November 20. Details here.
Chicago Reader review:
'While not nearly the musical it's cracked up to be, this 1951 film is absolutely required viewing for anyone who wants to see the studio system (MGM style) at its gaudiest, most Byzantine height. Art and technology have never been in closer harmony than in this Vincente Minnelli-directed rendition of George Gershwin's concert masterpiece. It features Gene Kelly (wearing his most tortured set of expressions), Leslie Caron, Oscar Levant, Georges Guetary, and an 18-minute ballet based on images from the French impressionists. Songs include “Our Love Is Here to Stay,” “I Got Rhythm,” and “S'Wonderful.”' Dave Kehr
Here is the trailer.
Capital Celluloid - Day 315: Sunday Nov 13
The 400 Blows (Truffaut, 1959): Genesis Cinema, 93-95 Mile End Road, London E1, 3.30pm
Genesis Cinema is running a fantastic six-part season of rarely screened auteur classics, providing you with an alternative film choice for a Sunday afternoon.
Chicago Reader review:
'More conventional than Godard and more sentimental than Chabrol, Francois Truffaut spearheaded the breakthrough of the French New Wave with this highly autobiographical first feature (1959). Jean-Pierre Leaud is the wide-eyed boy who flees his battling parents only to find himself irrevocably alone. Distinguished by its intensity of feeling and freewheeling use of the wide-screen frame, the film ranks among Truffaut's best.' Dave Kehr
Here is the trailer.
Genesis Cinema is running a fantastic six-part season of rarely screened auteur classics, providing you with an alternative film choice for a Sunday afternoon.
Chicago Reader review:
'More conventional than Godard and more sentimental than Chabrol, Francois Truffaut spearheaded the breakthrough of the French New Wave with this highly autobiographical first feature (1959). Jean-Pierre Leaud is the wide-eyed boy who flees his battling parents only to find himself irrevocably alone. Distinguished by its intensity of feeling and freewheeling use of the wide-screen frame, the film ranks among Truffaut's best.' Dave Kehr
Here is the trailer.
Capital Celluloid - Day 314: Saturday Nov 12
Elena (Zvyagintsev, 2011): Apollo Cinema, Piccadilly, 8.30pm
This is screening as part of the Russian Film Festival
Time Out review:
'Not as powerful as ‘The Return’ but better than ‘The Banishment’, Zvyagintsev’s latest is a fascinating study of family bonds, greed, temptation and the deadly allure of money. The titular protagonist is a former nurse in a second marriage to a rich businessman; her wastrel son wants more of the man’s financial help so that his son can buy a university place, but then Vladimir suffers a heart attack and threatens to leave most of his fortune to his hitherto estranged daughter. Torn between moral scruples, marital duty and maternal loyalty, Elena is forced to act. Sturdy performances, fine photography from Mikhail Krichman, good use of music by Philip Glass and a pleasingly terse script make for incisive, gripping drama.' Geoff Andrew
Here is the trailer.
This is screening as part of the Russian Film Festival
Time Out review:
'Not as powerful as ‘The Return’ but better than ‘The Banishment’, Zvyagintsev’s latest is a fascinating study of family bonds, greed, temptation and the deadly allure of money. The titular protagonist is a former nurse in a second marriage to a rich businessman; her wastrel son wants more of the man’s financial help so that his son can buy a university place, but then Vladimir suffers a heart attack and threatens to leave most of his fortune to his hitherto estranged daughter. Torn between moral scruples, marital duty and maternal loyalty, Elena is forced to act. Sturdy performances, fine photography from Mikhail Krichman, good use of music by Philip Glass and a pleasingly terse script make for incisive, gripping drama.' Geoff Andrew
Here is the trailer.
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