Hey. This post is more of a reference for me than anything else, but it’s probably beneficial to you lovely glancers who regularly stop by to shield your eyes from whatever gobbledicrap is spewing from my maw. I try to post the same sort of features on the same sort of days each week, so for anyone who is interested, below is what I will be trying to post each week going forwards. As always, if there is anything you’d like to see me type about or comment on, let me know. I have absolutely nothing better to do.
Monday: Manic Monday posts – some choice lyrics. On the first Monday of each month, I try to post a blog update – usually some random online crap I’ve found, a ‘get to know me’ piece, or what I’ve been up to recently.
Tuesday: Either a list of some sort (favourite movies in a given year/by a director, favourite songs), or a music/movie review.
Wednesday: Oscars day – I post my personal nominations and winners for a given Oscar category in a given year. We’re up to 1976 now.
Thursday: Another movie/music review.
Friday: Typically this is another movie/music review day, but in the future I will be publishing a second Oscars post, just so I can get through the series more quickly.
Saturday-Sunday: Usually I don’t post anything as I’m not near a Computer.
Regulars may be aware that I write many months in advance of actually posting, so here are some of my upcoming posts:
Favourite George A Romero movies (coming later today)
Favourite 96 Beatles Songs
Favourite 38 Songs By The Music
Ranking The Manic Street Preachers Songs – Everything Must Go and TIMTTMY
Continuing the 1976 Oscars series
Nightman’s Introduction To Foreign Cinema – A, B, C
Completing the 2019 Preview Series
Reviews Written when I was a young’un: Scream 2, Scream 3, The Seven Samurai, Spiderman 2, Street Hawk, Tears Of The Sun.
Reviews Written now that I’m old: Sanctum, A Quiet Place, The Innkeepers, 11/22/63, Zombie Creeping Flesh, Captain America, The Sand
The Lowest Rated Movies I Like – IMDB Edition
Continuing My Favourite Songs Posts
Nightman Listens To Bon Jovi’s Lost Highway
Nightman Listens To Madonna’s American Life and Confessions On The Dancefloor
Nightman Listens To David Bowie’s Tonight and Never Let Me Down
Nightman Listens To Roxette’s Crash Boom Bang and Have A Nice Day
Nightman Listens To The Beach Boys’ Surfin USA and Surfer Girl
Nightman Listens To The Rolling Stones’ Debut and Number Two
Nightman Listens To Iron Maiden Solo Input – Steve Harris’ British Lion, Samson’s Head-On, ASAP’s Silver And Gold, Urchin’s High Roller
Nightman Listens To Disney Soundtracks – Saludas Amigos, Make Mine Music, The Three Caballeros, Fun And Fancy Free, Melody Time
Chart Music Through The Years – 1983, 1995
Top 1000 Albums Series – Talking Heads (Speaking In Tongues), The Stone Roses (The Second Coming), Marvin Gaye (What’s Goin’ On), Steely Dan (The Royal Scam)
Continuing my posts on every Manics song
My Favourite Season Six Buffy Episodes
More Unpublished Screenplays for The Walking Dead
Unpublished Magnificent Seven Screenplay
Unpublished Screenplay for John Carpenter’s Batman
There is also a lot of surprise stuff in the works – some things I’ve been working on for a couple of years on and off, others more random one-off posts. I do have a new long term movie series coming up, an expansion of both the Foreign Cinema and my Favourite Movies By Year posts if you will (but they’re a pain to write). And because I have apparently lost my mind, I have multiple new music series coming up – listening to more artists whose discographies have been a blank for me, and a couple of other series to rival the Top 1000 series. It’s a busy time, so I hope you’ll join me for the ride, or at least a few of the twists and turns along the way!
Greetings, Glancers! I wasn’t originally going to write this post. In fact, the last time I made any changes to my first Foreign Cinema Intro post was January 2018 and that was followed up with my run through of each Country alphabetically. I haven’t posted those yet, and I haven’t finished writing them. The point is, that when I envisioned the series as a whole, this specific post wasn’t part of it. While reading the initial post back though, I felt like something was missing among all the begging and moaning – my journey. Maybe you don’t care about this, maybe you do. I thought I’d write it anyway as it may be helpful if you decide to begin watching foreign films or if you’re one of those strange people who simply wants to know more about me. I’ll keep it brief, as I did cover the basics in how I first started watching non-Hollywood fare in my first post. The other thing which is lacking is in my upcoming A-Z posts – I didn’t feel there was enough of a stepping stone between the Intro and those posts, so maybe this will help.
It was Bruce Lee. I don’t remember why or how I started watching his movies, but I was around six years old. From there I would watch any film I could get my hands on which had ‘Dragon’ or ‘Fists’ or ‘Ninja’ in the title or which featured box art with a guy wielding a sword or performing a fly kick off or onto a helicopter. What could be more simple? I don’t even think I understood the concept of ‘foreign’ back then – all I knew was that I liked these films and that I wanted to be able to kick the crap out of people too. By the time I understood that people could be actors and that actors appeared in different films, my favourite actors were foreign – Arnie and Bruce Lee. It made no difference to me that they may have spoken a different language or been dubbed or had a weird accent or were made in Hong Kong or LA. To a kid from Northern Ireland whose day usually began watching my dad checking under our car for bombs before letting us go to school, everything was foreign. This may be one of the biggest leaps for US viewers. You guys have everything you could ever want on your doorstep and centuries of breeding and culture to make you believe you are the best at everything. We’ve existed centuries longer and we’ve come to understand truths which you have avoided or not yet been faced with. But to me, everything was foreign and everything was mine no matter when or where or how it was made.
Later, once I began talking about movies with friends I would branch out to other martial arts and action stars – typically also foreign – Van Damme, Jackie Chan, Dolph, and into the older Hong Kong staples. Then I started to get into horror movies, thanks to Salem’s Lot and my love of gruesome myths and legends. Those myths and legends? Foreign. Horror was a different matter entirely and while I was generally allowed to watch movies where guys killed each other by jumping on their spines or beheading them with swords, horror movies were more off limits. While perusing the video store I would inevitably be drawn to the horror alcove to stare at the box art for Freddy movies, Fright Night, zombies, killers in masks, pictures of hands coming out of the ground, hands grabbing throats or clutching knives, houses perched ominously on hills with weird lights and shadows coming from within. While my first horror experiences were Hollywood based, I knew that the really scary stuff – the banned stuff – came from overseas. Once I began to understand what movies were and started to make lists – of things I had seen in magazines, on shelves, by recommendations, or advertised on TV or Radio by the few people who actually talked about these things, I began seeking them out. Not because they were foreign, but because they were supposed to be good. They were meant to be ‘must-sees’.
Eventually, in my teen years as your typical jaded youngster disillusioned by the populist stuff, I would fall a little more in line with the ‘seeking things out because no-one else knew about them’ cliche. I never fully embraced this as I’ve always been a single-minded person not swayed by the opinions of, well, anyone. Which makes this post ironic as I try to convince others to watch things, but we’ll ignore that. The point is that while I watched some films that I knew none of my peers had heard of, I soon saw no benefit or got no pleasure from the process. I wanted to watch movies I knew I would like and I wanted others to know about them. Cue many unwarranted one-way discussions on ‘this guy from New Zealand called Peter Jackson’ or ‘if you hate that America doesn’t make movies like Die Hard anymore, then check out Hard-Boiled’ and ‘you think that’s bloody/scary/weird, try Suspiria/Ring/Hausu’. I wasn’t bragging or trying to score points – I wanted my friends to see the movies I had seen and get the same kicks out of them that I did. I still want those kicks today, and I always will, and I want people to know that it isn’t all Marvel/DC/Disney/Blumhouse/insert favourite US studio.
So what do you like? My favourite countries for movies outside of the US have always been Hong Kong and Japan. While I appreciate that some people are simply never going to want to watch a Kurosawa movie, or a martial arts movie, both of those industries have a lot to offer. I loved J-Horror while it lasted, before it choked on its own tropes. Hong Kong action remains breathless and you can get everything from war epics to balletic gunplay to treetop sword-fights and jaw-dropping stunts. In recent years, the South Korean, Indonesian, and Thai markets have been stepping up their game when it comes to action and horror. Japan meanwhile continues to make both the weird and wonderful – experiences I guarantee you won’t get anywhere else on the planet, but also the most perfect character driven dramas of the moment.
As I’ll mention more in my A-Z posts, Australia is a great starting point. They have a rich and varied history, although the output is much smaller than the US and UK. Everyone loves Fury Road, right? Go back and watch the early Mad Max movies and the copycats. Elsewhere, France had a wave of horror movies which we are currently seeing either the tail-end of or the beginnings of what comes next. These are not for the faint of heart, but if you’re a horror fan you’ll find something to love. My history with French Cinema is more closely aligned to looking at critic’s lists of best films and best directors, although on a personal level it has been my love of certain performers or directors which has drawn me in more – I have a thing for pretty ladies so Virginie Ledoyan, Audrey Tautou, Catherine Deneuve, Juliette Binoche, Eva Green have all led me down some interesting paths. I also have a thing for cool anti-heroes and action movies, which France is full of. Italy was always more distant than France for me, until I discovered Dario Argento, Mario and Lamberto Bava, and Spaghetti Westerns, and with Spain I was taken more by the sexy stuff before learning more about the whole Franco/anti-Franco influence.
What I would recommend, before embarking on your journey, is to look at your favourite movies as they stand currently. You will have something directed by someone who worked outside of the US before making it in Hollywood. If not, I guarantee there will be an actor who fits that criteria. Go watch their non-Hollywood movies. In doing so, you might find another actor or director you like, and you can go watch those too. Suddenly, your world has opened up. Read my upcoming posts in which I’ll talk about my limited experiences of each country and I’ll talk a little about what I consider to be gateway films – films which are from the particular country, but also universal enough that the majority of film fans should get something out of them. I’ll list some of the most well-known performers and directors in the hope that you say ‘oh, I’ve heard of that guy/I liked that one thing they did/maybe I should give one of their other movies a try’.
Well, that was more of a P.S post than I intended, but I am typing this on the fly. My simple hope is for anyone reading this who is skeptical about foreign cinema to watch a single foreign movie – just one. Give one a chance. If one person comments to say that they’re going to try a foreign movie, I’ll be happy. If only one person comments to say that they did take the plunge, watched, and loved one, I’ll be ecstatic.
It’s over to you – let me know in the comments if you’re willing to give it a go and how you got on.
Greetings, Glancers! A question I am often asked is ‘What the hell is wrong with your hair?’, quickly followed by ‘and what’s up with your face?’. Another more pertinent question, though asked with an equal amount of disdain and mewling voice is ‘why do you watch all those weird foreign films? Aren’t they all full of kinky sex, boring talking, and subtitles? Why can’t you just watch Fifty Shades Of Gray like the rest of us? And while I’m at it, seriously, what is up with your face? Cut your hair and get a job, you weirdo’.
You see, all of you big city fat cats who live in a more multicultural society probably have had greater access to more diverse areas of culture – cinema, music, art, and generally meet more interesting people. I, on the other hand, live here:
It’s your typical 90% white, 90% Christian, 90% every other majority you can think of. Diversity – cultural or otherwise – isn’t exactly its strong suit. I’m being a little unfair though, as my town is one of the most absurdly friendly places you could dream of. Everyone says hello to me – for someone who could happily go for weeks without speaking to another soul, it’s quite a surreal ‘burb. Getting closer to some sort of point – for most of my life I have always been interested in stuff outside of the mainstream. I’m not saying that in some hipster way, and the movies and music I prefer are not really that far from centre because almost all of them have popular followings – it’s just that the stuff I like isn’t spoken of in my immediate social circles.
It all started, as most things do, with Bruce Lee. I’ve mentioned it before, but I have always loved martial arts movies, and when I grew up in the 80s the best movies of the genre did not come from Hollywood. I was therefore exposed to Asian cinema – Hong Kong, China, Japan, Thailand and more – at an early age. As time went on I branched out with different countries and genres. I’ve always loved Hollywood movies, but crucially I haven’t been afraid of looking beyond. And there is so much more.
It’s frustrating to me that I follow multiple blogs by otherwise knowledgeable film fans who outright ignore movies outside of the US. Sure, every so often a big film will get a widespread US release and then everyone jumps on it. But then they move on to the next slice of Superhero skyscraper destructo-porn. I get that we all have limited time to watch movies and you want to spend that time either on movies you think you’ll already like or, if you’re one of these bloggers in it for the Likes and Followers, then you only watch whatever crap is in the charts – in which case I pity you. But every so often you have a blogger, or a Youtuber, or someone in a Facebook group who clearly and dearly loves Cinema and knows their John Ford from their John Hughes, yet when the subject of Foreign Film comes up they dismiss it entirely. Subtitles? Pah, if I wanted to read I’d go buy a book. You may as well say ‘if I wanted to learn I’d glue myself to the windows of the local Convent’.
I’m not saying Foreign movies are better and I don’t mean to sound condescending or superior, believe me I’m just as crap a person as you, I’m simply making a genuine plea for those people (bloggers or otherwise) who claim to love movies to widen their horizons. Don’t put yourself in a box, never limit your own experiences, and experiment as much as you possibly can to enrich your own life. Some of the most beautiful, heartbreaking, funniest, terrifying, evocative, influential, skillful, breathtaking movies ever made come from outside the US. If you love movies, why would you deprive yourself of those?
Basically, to get into foreign cinema you need to find your own personal niche – one movie, one performer, one genre that you can get into which acts as a gateway drug to a large and crazy cache of fantasy and wonder. Like West Coast Cooler leads to a pint of Absinthe, like a puff of pot leads to naked desert meth production, like masturbating leads to grand larceny or something, you can’t dive into the hard stuff without first wetting your beak with a treat you already enjoy, albeit with a slight twist. So for anyone asking those questions at the top of the post, or for anyone curious about foreign films, feel free to have a gander at my posts. Today I’ll give you some basic pointers, and later I’ll expand with some examples.
Lesson 1: Don’t Start With The Award Winners
An easy place to get stuck and disheartened is by Googling for Best Foreign movies and working through the list. Almost every such list will be filled with great movies, but they will likely be on the more dramatic or critically acclaimed side – not necessarily the sort of things someone new to Foreign Film will want. Better lists will give a blurb on each movie and if it sounds like you’ll like it, by all means give it a go. Another mistake people make is by checking the Best Foreign Film winners at the Oscars. Again, if you’re the sort of person who hasn’t watched Foreign Films before then there’s a chance you’re not the sort of person who even watches the Best Picture winners at the Oscars. That’s fine – I’d much rather watch a bunch of zombies get shot up than watch Emma Stone sing and dance. Oh yeah, that didn’t win. Looking at the Best Foreign Language winners of the last twenty years, there aren’t many which jump out as something which would suck in the average mainstream movie goer (and you’d be better served by looking at my Oscar Post nominations for Best Foreign Film anyway – ha).
Lesson 2: Don’t Listen To Assumptions
Boring. Slow. Cheap. Weird. Subtitles. Bad acting. A bunch of nobodies. Confusing. Artistic. Porn. These are all things I’ve heard people say, both to my face and in my years of reviewing, blogging, posting, and reading. The simple answer is both yes, no, and so what? Any movie from any country can be boring, slow, ‘weird’, and have bad acting. The assumption that this is somehow widespread throughout foreign movies is nonsense. Movies are subjective, so find what you like – see Lesson 1 and Lesson 4. Personally, I like ‘weird’ movies. If something doesn’t sound like it will be to your tastes, don’t watch it but don’t make the assumption that every other movie will be the same. Foreign films, depending on the Country, have just as many big name actors and directors as Hollywood – you just don’t know them yet. Subtitles are the best way for me to watch a non-English language movie, but if you really are that dim that you can’t read at a faster rate than 1 word every few seconds, then you probably don’t have mental capacity to watch any movie. I don’t like dubbing because I find it a more jarring experience than subtitles – taking away from the performance of the cast. Sometimes dubbing makes the movie better, though this is typically from the viewpoint of unintentional hilarity.
You will find films from a Country other than your own, on average, more confusing than films from your own Country – there’s no escaping that fact. This doesn’t mean you will be utterly dumbfounded or lost. There are just as many ‘easy’ films and mainstream films as in Hollywood – just different. Sure there will be films that you just won’t get, but again you could say the same for Hollywood. You think foreign films are more artistic – I would say that’s not a bad thing. It’s another misconception too. Foreign films make less money – less people see them, and perhaps that means there is less of a sense of Business surrounding them meaning that ‘anything goes’. Everything considered, it sounds like only toffs, hipsters, smart-asses, and weirdos watch foreign junk. You don’t have to be smart, or weird, or sophisticated, or false, or anything to enjoy a foreign movie – you just have to find the one that’s right for you. Foreign movies have sex. Non-foreign movies have sex. If you think sex is evil, don’t watch.
Lesson 3: Understand What ‘Foreign Film’ Means
For the purposes of my posts, I am calling out Foreign movies as anything not made in Britain or the US. I could even limit it to anything outside of US, but that would be weird given that I’m not American. There are a tonne of other movie markets around the world, some English speaking, some not. For any Americans looking to branch out but keeping to English Language – try UK Cinema, try Australian cinema. Foreign cinema as a whole deals with the same issues and genres as American mainstream and indie cinema. You want car chases, slasher movies, slapstick comedies, tragedies, romance, war epics, these are all things which exist around the world. You don’t need to know much, or anything, about the country of origin, but any knowledge might help your appreciation or increase enjoyment. Each country does have their quirks and very loose, very high level style based on decades of movie making and centuries of culture, and the more you watch the more you will catch these. If such things exist, a ‘generic’ French drama has inherent differences from a ‘generic’ Spanish drama, a Japanese action movie will have different trademarks than a Hong Kong one. I’ll focus more on these in my next posts.
Lesson 4: Think About What You Already Like
As alluded to above, Foreign Cinema is essentially the same as Hollywood Cinema – it just comes from a different place and culture. If you’re strictly a horror fan, then the world is your oyster. If you only like bloody and gruesome horror movies, then head straight for France, Italy, or Spain. If you like action movies, get over to Hong Kong. If you like musicals, Bollywood is waiting. You may already like a film by an actor or director who is primarily or partially known for Foreign movies – if you like their Hollywood work, chances are you’ll like their other stuff too. By far the best way to get into Foreign Cinema is by branching out from your existing preferences. All it takes is one movie, or even one moment, to make it all click. You don’t have to worry about being a connoisseur, you don’t have to worry about sounding smart or cool in a crowd, although you can do those things. Watching movies should be primarily a selfish experience – ask yourself what you want from a film and what you’ll get from it. As a secondary item, you will want to share your experience with like-minded people, and eventually even try to convert others, but that all starts with you and that first step of finding something you like.
Lesson 5: Behold Now Is The Accepted Time
It has never been easier to get into foreign movies, or movies in general. Since the mid nineties, foreign cinema saw a boom in the UK and US with a number of high profile films from around the world making a tonne of money outside of their own markets. A tonne of DVD companies popped up specifically to bring you the best in World Cinema, anime became a global monster; nerds and things nerds like became cool, encouraging others to come out of the woodwork. Streaming happened -all you have to do is stick in Netflix or Hulu or Amazon or some of the less legal alternatives, and find the foreign section. Everything is available at the touch of a button, a far cry from asking your local video store owner if he’s getting in any more Dario Argento movies and waiting 6 weeks for an answer. Scroll through a few Streaming Services after reading my posts, and you should find something to try. Just don’t come moaning to me that you lost 90 minutes of your life – what else were you going to do with that time – larceny? Masturbate? Yeah, I know all your dirty secrets.
In my next series of posts I’m going to cover some of my favourite movie making countries and why I love them, and I’m going to give some examples of gateway movies for specific genres. Maybe it will take the format of ‘If you like Hollywood’s X then you’ll like Russia’s Y’. I’ll talk a little bit about the biggest stars and directors past and present from a variety of countries, and hopefully a few of you will take the plunge or use these examples and on-the-spur advice to win your own friends and detractors over. It’s a big world out there, people, and it’s all there to be enjoyed!
Let us know in the comments your struggles with watching foreign films or converting others to watching them, and point out some of your favourites!
The follow-up to Noe’s 1991 brutal short Carne begins with a quick recount of what has happened – lead character ‘The Butcher’ has grown up hating the world after becoming an orphan because of the war. He owns a butcher shop and has a daughter, but everything else is sickening to him. He hates everyone and wishes they would all die, as we all die alone in the end. It is him against the stinking world he despises, everything is pointless, nobody cares. These ideas have been done countless times before, but never has effective, cold, or hard-hitting as here although the mood of Taxi Driver comes close. The Butcher kills a man he believed attacked his daughter, but it was the wrong guy, and goes to prison. Eventually he is let out.
Now The Butcher has found a new girlfriend, with her only because she gives him a room, sex, and promises to buy him a new shop. His daughter has been taken away from him and placed into foster care, and he only sees her for short spaces of time. She is the only one who can hold back his anger, and stop him from killing everyone on sight. However, his girlfriend repulses him, her mother is even worse in his eyes, and his grim surroundings only add to his growing hatred and rage. Like Carne, we hear his inner thoughts, how he sees everything as hopeless. Soon his inner monologue mixed with despair and fury causes an unreality and he, along with the viewer become uncertain of what is real, if the actions he takes are just his imagination or not. Soon he explodes with pure rage, beating his pregnant girlfriend on the floor and takes a gun with 3 bullets, intending to get his daughter and destroy everything. As he walks the streets his thoughts continue, and we wonder whether the people we walk with on our streets may be like this.
He is alone. Only the gun keeps him company. Several further shocking and brutal scenes are shown and they are made all the more unbearable because of the relentless pounding of words such as HATE being fired into our heads. That BOOM effect is useful in making the viewer uncomfortable, guns going off as the scenes cut. Our senses are assaulted by Noe’s direction, and Nahon’s performance is extremely impressive, easily worthy of any award. The scene where he repeatedly punches his girlfriend seems to go on forever, with all too real acting from her (Frankye Pain) adding to the horror. One scene with his daughter involving the gun is horrifying, but filmed so oddly beautifully and tenderly that we cannot look away, no matter how much we know we should be. If The Butcher escapes one harrowing act, he quickly replaces it with another. Characters like this are typically only seen in the realms of over the top horror, but Seul Contre Tous is entirely grounded in the real world.
Blandie’s performance as The Daughter is excellent, her vacancy ironic, he passivity revealing. With so much going for it, the film should rightly be seen by all self respecting movie fans, but beware that it won’t be easy. The film would be almost unwatchable if not for the beautiful cinematography, as well as some humour. However, the humour is so tongue-in-cheek that many people simply may not see it. It may leave you depressed with the world, or act as some skewed catharsis and give you hope because of your ‘better’ position. An extremely impressive film that deserves much more notice than it has received, but then again it is not the type of film you would take your partner, parents, or kids to see. Watch it on your own and let the pure emotion, and complete lack of love seep into you. One of a select breed of utterly harrowing films which will stay with you forever.
Let us know what you think of Seul Contre Tous in the comments!
So, I was reading a well-written and passionate post by Jason over at Jason’s Movie Blog which just so happened to coincide with a recent trip to my nearest Cinema and the less recent news that Belfast’s famous Dublin Road Cinema is due to close. Cinema closures in Northern Ireland, and throughout the rest of the world are no big thing, but this one is personal to me. The Cinema will soon shut its doors as of the time you read this, caused by a number of factors including lower attendance figures across the industry, and viewers in Belfast seemingly preferring to go to Cinemas in either the more suburban areas or those on the outskirts of the city. Belfast is a tiny city, even by UK standards, but it does house quite a few Cinemas, although sadly most are carbon copies of each other bringing little more than the latest chart blockbusters – there’s The Odeon in Victoria Square Shopping Mall, Odyssey Cinemas in The Odyssey Complex, Movie House Cinema at Yorkgate (sister to Dublin Road’s Movie House Cinema, as well as Short Strand Cinema and one in The Kennedy Centre – neither of which I’ve been to. Throw in a few notable smaller ventures – the QFT at Queen’s University where I frequented, and Beanbag Cinema which is exactly as it sounds.
Beanbag and QFT offer alternatives – Indie and Local movies, documentaries and Art films, take part in festivals, and also show films long since out of screening. I’ve posted before about my ideal Cinema – read that here – it’s essentially a huge complex which offers all the latest movies, but also movies from around the world along with regular seasons on a certain theme or by a certain director/actor etc. Not living in a big city like London or LA or wherever, where it seems you have unlimited choice, we basically have to take what we can get, so it’s difficult to get the full Cinema experience while also broadening your horizons. Most of my horizons were broadened by VHS, DVD, and watching late night TV.
Nowadays, it’s so easy to stretch those horizons – a few clicks of a few buttons, and you have anything. It’s one of the reasons why many Cinemas are closing their doors – why go out, when you can stay in? Why spend all that money when you can catch up on the other thousand movies you haven’t seen, then in a few weeks the one you passed over on the big screen will be on your small screen? Why get ripped off on popcorn and drinks prices when you can get a month’s worth at your local store for the same price as a single Cinema outing? Why deal with other people talking and chewing and laughing and looking at their phones and existing, when you can close your doors and curtains and sit butt naked on your sofa? All the old reasons for going to the Cinema are gradually fading away, or are gone together. In the past it took years for a film to come to VHS and TV; now it’s a few months – or in some cases the same day. You can easily make your own Slushy drinks and Popcorn at home now. TV Screens are much larger and of a much greater quality than ever before. So why even bother going to the Cinema now?
For some people, it’s because they have to be first – they want to see it first so that they can avoid spoilers, so that they can be part of the conversation, so that they can tweet about it, or write a blog post about it. I only go to the Cinema now if it’s something I desperately want to see on the big screen (which is precious few films these days), or for something to do with the kids (which is only a handful of times a year). And yet, when I had a Cinema on my doorstep I was there every week, watching whatever was on. That’s where Dublin Road Cinema comes in… but more on that later.
For me, the problem is an equation made up of time, money, and distance. My nearest Cinema is a fifteen/twenty minute drive away – admittedly that’s very small and any US readers are probably wondering what the problem is. Well, for one I don’t really like driving, and for two I’ll almost inevitably get stuck behind a tractor/slow driver/idiot/cyclist/all of these. Plus, when I get to that nearest Cinema it only has so many car park spaces because it isn’t just a Cinema – it’s also a Crazy Golf joint, a bowling alley, a pile of restaurants, an arcade, and an indoor playpark. It’s busy – all the time, and parking is a pain in the arse. So, a twenty minute drive becomes leaving twenty minutes early to account for parking and idiots on the road. Factor in a 2 hour movie, padded out to 2 and a half thanks to all the ads and trailers, then 20 minutes driving home – you’ve quickly chopped 3 or 4 hours out of the day. So time and distance go hand in hand. Money then – if I’m going by myself it’s not such a huge deal. A single ticket is probably five quid, and I stash my own food and drinks inside my coat/pockets. Going with the family – our trip a few days ago to see The Secret Life Of Pets 2 cost thirty quid, which is much less than what I thought it was going to be, but again we’d stashed some of our own grub away. It’s usually closer to forty or fifty quid and to spend that sort of money on a few hours of entertainment when we could get the same at home for nowt, seems frivolous and wasteful.
This all sounds like I hate going to the Cinema. I don’t – I love it. I love the big screen, the seats, the volume thronging through my body, the smell, the trailers, the anticipation, even the communal experience. When I was younger I would have movie nights with friends, but those just don’t exist for me anymore. While Cinema can’t replace the banter and comfort of watching with friends at home, the home can’t replace the uncertain excitement of the Cinema. This post has had a long gestation – I heard about Dublin Road Cinema closing months ago from a colleague who worked there, before it was officially announced. I’ve lived in my current Cinema-less town for almost eight years, and in each of those years I’ve asked why it doesn’t have a Cinema. It’s not a big town and it wouldn’t need a big Cinema, but given the sheer amount of people that my nearest one gets, one in my town would mean that it was another option. There are so many smaller villages around my town that it makes financial sense – people already come here to shop, let them come to watch a movie too, and shop some more, and have something to eat. Like I say, it doesn’t need to be huge – three or four screens would suffice. Five would be nice. If there was a Cinema in my town, within walking distance, I would never be out of it.
Because I love the Cinema experience. Some of my best times have been in front of the big screen, and some of my favourite movies (as well as many not so great ones) were seen in Dublin Road Cinema. I saw the last two Matrix movies there, I saw the last two LOTR movies there, some of my first dates with my wife were there. I went to Queen’s University which is about a ten minute walk from Dublin Road Cinema, and because my lectures were spread through the day and week, my only options between times were going to the pub, going to the library, and going to the Cinema. Two out of three of those were more frequent than the other. When I moved in with my then girlfriend, we lived off the Ormeau Road – fifteen minutes from the Cinema. On Fridays we would get drunk in The Errigle Bar and on Saturdays we would go to the Cinema – if we didn’t, I would dander down the road myself on Sunday morning and hang around until the Cinema doors opened and go in myself to enjoy the latest torture porn. It was the perfect place for a Cinema – within walking distance of most of my favourite bars and beside a little square where I would sit and ‘do things’ to girlfriends before my wife came along. It was on the main road walking to University from the Bus Station, meaning I could check out all the posters adorning the outside, then on the rest of the walk I would work out which movies I would see that week. The layout and decor of the interior I’ll never forget – when I imagine my ideal Cinema, it’s always Dublin Road I think of.
So, how do we stop this from happening? How do we keep our Cinemas open? It’s a complex question with complicated answers. We have to do our part – even with my excuses, and your excuses, even with our distractions and other options – we have to keep going. It’s still a one of a kind experience. It’s up to the Cinemas to accentuate those unique positives they have to convince us to keep going. It’s up to the big chains to allow the smaller ones to keep breathing. It’s up to the entrepreneurs and smaller companies to follow their dreams and create niche alternatives, and it’s up to governments, towns, cities, investors to fund those dreams and allow them to become reality. I still say the Cinema Experience can be heightened by having chat rooms and bars installed – places people can go to talk about the movie afterwards. I still say that that we should exit through the gift shop – have posters and shirts and memorabilia and toys and junk from each movie on display, so we can buy or peruse on the way out. I’m clearly no Businessman, but why no go Blue Ocean on Cinemas? Exploit what is unique about them and find those ways to increase revenue that haven’t been tried or considered before. Calm the hell down on your current pricing, because that will be your death knell. Give us something we can’t get anywhere else, and give us a reason to sacrifice our time and money for it, aside from big ‘splosions and a Marvel or Disney logo.
How do you think Cinemas can be saved? Do you think they need saving? Has your favourite Cinema closed down? Let us know in the comments!
The first one wasn’t great and I haven’t seen the second one. These must still be making money – not a surprise when they’re cheap to make, but this will almost certainly be more loud jump-scares and little else.
Spider-Man: Far From Home
I’ve seen the Raimi trilogy, but haven’t seen any since. Was there another trilogy before this latest series? Or just a couple of films? I’m sure I’ll get to them one day.
A cop thriller with a cat and mouse chase around Manhattan. They could go classy on this and make it like Sicario or more likely it could be like a TV movie or stretched TV episode. The cast is okay – only Keith David really stands out to me as someone to get me interested, and the director is mainly known for his TV work.
Looks like a modern buddy movie – I don’t think many of these have worked recently and this will most likely go the same way. When these work they’re always entertaining, and it will be cool seeing Bautista and Iko Uwais going toe to toe. Director Michael Dowse has so far directed the sorts of comedies I actively avoid so I can’t see this being too hot.
The Lion King
Yet another Disney remake and yet another ‘why’. I’m not as precious about The Lion King as some people are, but beyond money there is no reason for this to exist. I’m sure it can’t possibly capture the magic of the original – like any of these remakes – but it’ll be pretty to look at.
Once Upon A Time In Hollywood
The big one. Tarantino’s movies have been more on the average side for me recently, not since Inglorious Basterds. Django was okay, and The Hateful Eight was probably his weakest. This is the film he has wanted to make for years and it’s the one fans like me have wanted to see. I’d rather he made this in his early days than now, and I’d rather it wasn’t related to the Manson stuff as that seems needlessly exploitative and I’m more interested in Tarantino’s vision of 60s/70s Hollywood.
I don’t know what this is, other than it is an animation with voice work by Jackie Chan.
Is that it? Where did all the movies go? Which ones are you looking forward to?
Another Indie flick directed by Vincent D’Onforio, this time it’s a Western about Billy The Kid and Pat Garrett. We’ve seen that story on screen countless times now, but it looks like here it’s viewed through the eyes of some random child. For an Indie film there are a couple of big names starring – Ethan Hawke and Chris Pratt.
This sounds like it could be terrible – an animation by Troublemaker Studios with voice ‘talent’ including Pitbull, Kelly Clarkson, a Jonas etc, based on a toy fad from 20 years ago. The music in the trailer is atrocious…. and that’s about it. One for the kids.
A remake of Dirty Rotten Scoundrels. Well, I didn’t like that film and it’s being directed by a semi-popular English stand-up comedian that I’m not too interested in. He’s starred in TV shows over here too, but none I’ve seen. Looks like they’re going the Ghostbusters remake and making it about the ladies. That worked well last time. Why not just create an original story? The only reason the original was interesting was because it was about old guys. This time it’s about the young and pretty. I have no reason in the world to see this beyond saying I’ve seen it.
This caused a bit of a ruckus though? Not sure why. I’ve never played a proper Pokemon game so I have no attachment. It’ll probably be bad, but they might go The Lego Movie route and get lucky.
French film about a man searching for his son, directed by Christian Carion. He starred in Tell No One which I liked, and he directed Joyeux Noel which I liked. Plus, Melanie Laurent is in it, along with Guillaume Canet. This is actually a 2017 film, getting a US release now.
Scottish singer dreams of being a star in Nashville. No thanks. I like Sophie Okonedo, but everyone else and everything thing else about this screams ‘avoid at all costs’ for me.
The Third Wife
So, the poster is supposed to be a bleeding vagina, right? Set in 19th Century Vietnam, which is something new to me and it’s about a young girl about to be married. Don’t know anything else about anyone involved.
John Wick 3
I haven’t seen the second, I liked the first, and I’m usually up for anything Keanu wants to do. More guns, more bad guys getting blasted to pieces, what more do you need?
The Sun Is Also A Star
The synopsis simply reads ‘a teenager finds love at a difficult time in her family’s life’. Directed, written, and starring mostly women I’m not familiar with so possibly a unique perspective or possibly more of the same.
This one has been talked about for a while – a sci-fi thriller with Brad Pitt, Tommy Lee Jones, Donald Sutherland heading a large extended cast. It’s James Gray’s follow up to The Lost City Of Z which I thoroughly enjoyed so I’m hoping for more adventure and soft philosophical ruminations.
Another Disney remake and more howling of ‘why’ at the sky. I don’t see how they can improve upon the original, but that’s not really the point is it. This is nothing more than Disney showing off how rich they are, how fancy they can make a world look, and how much more money they can make off us. No doubt it will be perfectly serviceable, but why they would give a Muslim love story of magic and wonder to Cockney hack Guy Ritchie, who hasn’t had a hit in ever, is anyone’s guess.
Olivia Wilde’s feature directing debut. Unfortunately the plot sounds terrible – two smart girls realize they spent their time in school studying instead of ‘having fun’ and decide to pile in all the fun in one night. In other words – I don’t care.
So, I’m writing all these Preview posts on the same day and in one of the later or earlier months there’s an X-Men spin off where I mention how superhero and horror movies seem like the perfect – no, that’s not the right word – seem like the correct crossover. It looks like we’re getting a few of these this year, with Brightburn looking like another. If studios are all playing this game then of course it means it’s going to get saturated pretty quickly, but this will be one of the first. Lets hope it’s not cheapened and they go full horror. I’m not a huge fan of Elizabeth Banks and don’t have a definite opinion on the rest of the cast, but I’m hoping for something good with this.
Minecraft: The Movie
I’ve never played the game, but you’d have to have been living under a block (heh) to know exactly what it is. I’m surprised it’s taken till now to cash in with a movie, but I’m also fairly certain there’s already been a TV series/movie on it. Surely the only question here is how bad it can actually be?
Godzilla: King Of The Monsters
I need to go back and watch Godzilla and Kong Island again – I liked them at the time but can remember very little about them. A director I like, a cast I like, and the trailer makes it look huge. lets hope the story is good and not just an excuse for big beasties to knock lumps out of each other.
I never liked the original… it was boring, too nicey nice. Only joking, this is Elton John we’re talking about, not the superhero. I’m not an Elton fan either so I’ll pass. Is this going to be the next thing – bios of 70s pop rock stars – after that Queen one? How long until they get to someone I’m actually interested in, like Alice Cooper or Led Zep? Never? I’m fine with that, cheers.
The Rosie Project
This has a long history, which has become gradually less inspiring – originally Jennifer Lawrence was attached, dropped out, Linklater was due to direct, turned it down, and now it’s all people you’ve never heard of. It’s a romance based on a hit Australian novel about a scientist who is useless with women who decides to make a questionnaire to assess how suitable each woman he meets is for him. In other words, this should be a horror movie, not a romance. Then again, we already have Audition, so good luck topping that. Won’t be seeing this.
Let us know which of the above movies you’ll excited about seeing!
David Sandberg joins the comic world takeover….. I don’t really know what this is. Again I’ve heard bloggers and people on Facebook talk about it but I don’t know anything about the character. I thought he was meant to be some sort of joke? No idea, I’m sure I won’t see this for many a year.
King’s book is one of the most legitimately horrific books in history, utterly heartbreaking, bleak, and horrible. Everyone knows the original movie, with its great make-up and one-liners. I have a feeling this will be more tame, but you can be sure I’ll see it anyway. If it really goes for the throat, it could be a classic, but mainstream horror these days usually avoids going full dark, though there has been a turn in the tides somewhat. I’ve no idea who the directors are, so I don’t have high hopes.
It’s Shaun The Sheep. These are usually funny and charming enough.
The Hellboy movies, and those comic book movies in general which don’t form part of some extended universe are always more interesting to me. There’s no concern about what’s going to happen next and no as much worry about pissing hardcore fans off. That being said, I don’t think this needs to be rebooted and even though it’s Neil Marshall directing and Milla Jovovich, I can’t get too excited. This should have been part three of the original trilogy with Perlman and Del Toro, but alas.
It’s stop motion animation so at least it might look different from the norm, and the cast is interesting enough, but how often are these none Disney/Dreamworks movies any use?
It seems to be another one of those religious movies which have been getting more popular recently. In other words – no chance I’m seeing this – not until they make a good one.
Okay… ex Nascar driver directs a movie based on an idea by a fourteen year old child actress from a TV show I’ve never seen. Indeed.
The Curse Of La Llorona
I’ve kept tabs on this for a while – set in 70s LA with a primarily Latino cast, dealing with Mexican supernatural folklore – sounds right up my alley. Then again, these are rarely better than watchable… hopefully it goes for more than generic jumpscares and loud noises.
Under The Silver Lake
It’s A24, it’s David Robert Mitchell, and it concerns missing people and conspiracy theories – there’s no reason I shouldn’t like this.
Apparently New Adult Fiction is a thing. The purist in me is really struggling not to say something like ‘so it’s for people barely intelligent enough to graduate from YA and with the emotional maturity of a brick’ but every so often I read shite like this. If there’s zombies. This doesn’t have zombies, but it does have a story about ‘a good girl’s relationship with a bad boy’. People are idiots.
Haven’t seen anything past the first Avengers movie so don’t care about this, at least not until I catch up with the other four hundred Marvel movies I haven’t watched yet.
A couple buys their dream home, but the previous owner isn’t happy. You’ve seen it a million times, but here it’s brought to you by Dennis Quaid and Deon Taylor who always seems on the verge of making something good.
The Best Of Enemies
Normally a title like that would be enough to turn me off, but it stars Taraji P Henson and Sam Rockwell and it’s based around the relationship between a Ku Klux Clan guy and Civil Rights activist. Should be good, not sure when I’ll get to it. With North America in the state it’s in now (read – the state it’s always been but only owning up to it once again now) this should be a timely drama – lets see if it has the balls to go the distance.
I’m not the biggest Mike Leigh fan, but at least he makes stuff that you don’t usually see. I’ll see it as long as it doesn’t go down the overly dry, stiff route because the cast is strong. Seems like another timely one as Britain is facing a shitstorm just as bad as whatever mess the US is in, though to be honest I know nothing of the history of this event.
On principle alone, being a huge Nirvana fan, I’m outright refusing to see this. Yes, I know it has nothing to do with Nirvana but you seriously think they didn’t pick that name by association? By all means use that title for an interesting film, but using it in what seems to be yet another story of a pop stars rise to fame? Fuck right off. Right now.
Girls Of The Sun
Yes. Sold. Mostly female cast with female director about the women fighters in Iraq? This should be on everyone’s list ahead of the latest Marvel attempt at action. Of course there’s every chance this could be terrible too, but at least it has a hook.
Claire Denis does sci-fi. Fair enough, I’ll give it a shot. Throw in Robert Pattinson and Juliette Binoche and I’m double sold.
A Kenyan movie about a lesbian relationship. Already banned in Kenya, because of course it is, this should hopefully give hope to anyone there who manages to see it. I don’t know anything else about it, but can’t say I’ll ever see it unless it does big business and gets a wider release.
Which films of April are you looking forward to? Let us know in the comments!
Greetings, Glancers! We continue my new series of posts which will detail my favourite films of every year since 1950. Why 1950? Why 10? Why anything? Check out my original post here. As with most of these lists the numbering doesn’t really matter much, though in most cases the Number 1 will be my clear favourite. As I know there are plenty of Stats Nerds out there, I’ll add in some bonus crap at the bottom but the main purpose of these posts is to keep things short. So!
Lets get the almosts done first: Dog Soldiers. Bubba Ho-Tep.
10: City Of God (Brazil) Fernando Meirelles
9: Equilibrium (US) Kurt Wimmer
8: Hero (China) Zhang Yimou
7: Infernal Affairs (HK) Andrew Lau/Alan Mak
6: The Pianist (France/Germany/Poland/UK) Roman Polanski
5: Dark Water (Japan) Hideo Nakata
4: The Eye (HK/Singapore) The Pang Brothers
3: The Twilight Samurai (Japan) Yoji Yamada
2: 28 Days Later (UK) Danny Boyle
1: Sympathy For Mr Vengeance (SK) Chan Wook Park
How Many Of My Films Were In The Top 10 Grossing Of The Year: One (The Winner)
How Many Of My Films Were Nominated For the Best Picture Oscar: Two
Greetings, Glancers! So, older readers of my Oscars posts may recall that I tried to give some stats at the end of the year. It became too difficult to gather metrics and I become too lazy, and lo the posts migrated to the Hades Of Blogs like so many before. The same will likely happen to these summary posts – where I give some ‘interesting’ stats on my favourite films of each decade. It doesn’t mean anything, you won’t gain any insight or pleasure from reading them, and they will be painful to write. Why do it? Well shucks, I’ve always had a thing for hurting myself. ‘Enjoy’!
Number Of Best Picture Nominees: (Out of a possible fifty) Fifteen
Number Of Best Picture Winners: (Out of a possible ten) Four
Number Of Movies In The Top Ten Grossing of The Year: (Out of a possible one hundred) Thirty four
Number Of Movies Which Were The Top Grosser: (Out of a possible ten) Five
The number of films nominated for Best Picture this decade sees a significant enough increase from the 80s – up to fifteen from five, while the actual winners went up to four from one. The decade started out well, with the first half of the decade nominating a fair number of films that I also picked, before dropping off in the second half. We also get an increase from twenty nine to thirty four from a Top Ten Grossing perspective which surprised me a little. I’d assumed that so many of the films I picked in the 80s were super popular at the box office versus the nineties, and that the nineties would be hit by my growing interest in the decade in foreign cinema. My numbers always seem to be in the late twenties to early thirties in this category, so the result is consistent. The latter half of the decade certainly saw a downturn in grossing movies compared with my picks from the first half.
Movies By Country In My Top 10:
New Zealand: Two
Hong Kong: One
South Korea: One
The USA dominates again, particularly in the early years, but the closer to 2000 we get, the more foreign invaders bound in with glee, though not as many as I assumed there would be. The decade starts off with many holdovers from the 80s – high quality entertainment that I grew up, before morphing into more indie, meta, and self aware offerings. By the end of the decade other regions were releasing Hollywood sized productions – big budget movies and genre defining pieces.
Movies By Director:
Kevin Smith: Four
David Lynch: Three
Wes Craven: Three
John Woo: Three
Steven Spielberg: Three
Luc Besson: Three
Tim Burton: Two
Martin Scorsese: Two
Paul Verhoeven: Two
David Cronenberg: Two
Robert Rodriguez: Two
Quentin Tarantino: Two
Frank Darabont: Two
Francis Ford Coppola: Two
James Cameron: Two
Oliver Stone: Two
Alex Proyas: Two
Roland Emmerich: Two
John McTiernan: Two
Tony Scott: Two
David Fincher: Two
Renny Harlin: Two
Mike Judge: Two
Tom Shadyac: Two
James Mangold: Two
Peter Hyams: Two
Kevin Costner: Two
Chris Columbus: Two
Takeshi Kitano: One
Robert Zemeckis: One
Terry Gilliam: x
John McNaughton: x
The Pang Brothers: x
Jim Jarmusch: x
Dennis Dugan: One
Chris Weitz: x
Paul Weitz: x
Brad Bird: x
Kang je Gyu: x
Milos Foreman: x
Stephen Sommers: x
The Wachowski Brothers: x
Daniel Myrick: x
Eduardo Sanchez: x
Trey Parker: x
Takashi Miike: x
Peter Weir: x
Nicholas Roeg: x
Ivan Reitman: x
Rob Reiner: x
Joel Schumacher: x
Caroll Ballard: x
Vincent Ward: x
Gregory Hoblit: x
Stephen Norrington: x
John Frankenheimer: x
Hiedo Nakata: x
Danny Boyle: x
Walter Hill: x
Andrew Fleming: x
Hiyao Miyazaki: x
Vincenzo Natali: x
Curtis Hanson: x
Paul Thomas Anderson: x
Ang Lee: x
Peter Jackson: x
Ridley Scott: x
John N Smith: x
Kathryn Bigelow: x
John Carpenter: x
Stacy Title: x
Martin Campbell: x
Gary Fleder: x
Larry Clark: x
Lars Von Trier: x
Joe Johnston: x
Mel Gibson: x
Brad Silberling: x
Peter Farrelly: x
Michael Mann: x
Mike Newell: x
Clint Eastwood: x
M Night Shyamalan: x
Jan de Bont: x
Neil Jordan: x
Pete Hewitt: x
Lasse Hallstrom: x
Chuck Russell: x
Jeremiah S Chechik: x
Paul W S Anderson: x
Lesli Linka Glatter: x
Gregg Araki: x
Mathieu Kassovitz: x
Richard Linklater: x
Kenneth Branagh: x
George P Cosmatos: x
George Sluizer: x
Brian De Palma: x
Abel Ferrara: x
Henry Selick: x
Marco Brambilla: x
Kevin Reynolds: x
Stephen Herek: x
Gilliam Armstrong: x
Bernard Rose: x
Jerry Zucker: x
Penelope Spheeris: x
Penny Marshall: x
Taylor Hackford: x
Roberto Benigni: x
Jim Gillespie: x
Simon West: x
George Armitage: x
Frank Marshall: x
Ate de Jong: x
Sheldon Lettich: x
Ron Underwood: x
Richard Benjamin: x
Geoff Murphy x
One hundred and forty seven films, 120 directors. The numbers are because I picked several years with more than ten films. We have some of the usual suspects again, and a few directors standing out with multiple picks. While we have many directors from previous decades, the obvious big drop is from John Carpenter who only gets one vote here. Disney are the biggest mainstay, topping the list with four entries alongside newbie Kevin Smith who also gets four. Wes Craven, Steven Spielberg, and David Lynch continue their good form with three entries, while John Woo and Luc Besson hitting their stride with three.
As a fan of the more extreme side of cinema, I ask you to join me, as I explore the history of Cinema's most extreme movies with all the sex, violence and symbolism intact. I'm here to reflect on the extreme movies that have come and gone to see what they mean, see what makes them so extreme, and of course, see if they're any good.