On 8th November 2013 John Waters performed his one-man show at Liverpool Philharmonic and was on top form. I attended this show and had a whale of a time. There was a signing session after the show and the line to get stuff signed was HUGE.
But not many people knew that there was to be a very special event the next day. Mr Waters was to teach the Film Studies class at John Moores University. There would be a screening of one of his favourite films, Boom! and then he would talk about it. This event was private and not open to the public- but I managed to blag tickets.
As soon as I saw Waters walk in I thought I was dreaming- I was sharing the same oxygen as The Filth Elder.
We then watched the movie Boom! And I can see why it’s one of Waters’ favourites. It’s fucking insane. Midget guards, Noel Coward and some of the best lines of dialogue in any film (An example- Liz Taylor’s character at one point says to no one in particular- ‘Hot sun, cool breeze, white horse on the sea, and a big shot of vitamin B in me!’)
After the film Waters spoke about the making of the film, why he likes it and how it has influenced his own work. He then opened up the discussion to us so that we could all talk about it.
We then talked about film in general and specifically his films. It was amazing. We could ask him anything. I’d be here all day if I tried to recall all of the anecdotes but I’ll tell you one. Waters was asked about the song he wrote for Serial Mom that L7 (called ‘Camel Lips’ in the film) called Strait Jacket. He said that he still received sizeable royalties from PRS because he wrote the song. He then said that if that was the case imagine what it must be like to be Madonna and the royalties she must receive!
This was such an amazing event and I felt so privileged to be there.
I was looking forward to this movie. Someone who had seen it in the States said that it was ‘grim’. Another said that it ‘stayed with you long after you’ve finished watching it’.
Having watched the movie I can now say that it is grim. But not in a good way. It’s the most pretensious, overly dramatic and ultimately vapid film I think I’ve ever seen.
In fact it reminds me of when I was at university studying film analysis. There was a drama department within the arts faculty. You just knew that the small minority of quiet and introspective drama students would go far whilst you got the feeling that those who were loud, strutting and attention seeking weren’t interested in acting at all but only in being centre stage. At the end of the year the drama students had to write and stage their own production which they would also act in.
Hereditary felt like the kind of end of year production that one of the extroverted dramatists would have produced if it had then been picked up by a film production company and allowed to pollute cinema screens worldwide. Hysterics are ramped up to the max whilst tension and depth, y’know the things that good horror should hinge on are nowhere to be seen. In fact, the only tension I experienced were by a couple near me who insisted on talking during the film. And they left halfway through. I was gutted and felt like running after them to try to persuade them to come back in.
With Hereditary the film also seems to throw so many ideas into the pot that it really is a case of ‘Let’s throw all these ideas at the wall. Some are bound to stick!’ It didn’t work. In this age of remakes, sequels and reboots, especially within the horror genre, original and new ideas are paramount. It can still be done. Some critics and reviewers think this film might be the start of such a renaissance. It isn’t and I pity them.
I’m now going to watch Muriel’s Wedding- a genuine masterpiece that doesn’t squander Toni Collette’s considerable acting chops.
Hereditary is loud, hysterical, hyperactive and desperate for your attention. It’s clearly the James Corden of horror films.
I actually went to see Lady Bird because the trailer was so good. Any film that uses ‘Days of Steam’ by John Cale instantly grabs my attention.
Lady Bird is a quirky film that makes me want to punch the air with delight. Thank Christ for all of the filmmakers who see things from a different perspective and dare to portray events by thinking outside of the box rather than just following the herd.
The lead character of Lady Bird is finishing up at school and waiting to go to college. The netherworld period of transition just before the bird leaves the comfort of the family nest is poignant, restless and full of conflicting emotions- a fact which doesn’t escape the filmmakers.
There are gorgeous observations concerning family relationships and dynamics. One scene involves Lady Bird and her mother having a very serious and embittered argument in a thrift store. But this all ends abruptly on the discovery of a beautiful dress. Suddenly all resentments and grievances evaporate as mother and daughter bask in the glory of this maroon lace concoction.
Another thing about the film that I loved was the Catholic setting. It was refreshing that we have such a setting in a film and it isn’t full of cruelty and abuse (OK- maybe thats me as I’ve watched both Spotlight and Silent Night, Deadly Night recently). Watch out for the inspirational Mother Superior, the all too enthusiastic play director/wannabe football coach and the drama teacher. All great characters which compliment this unique film.
The entire cast are awe-inspiring. Saoirse Ronan owns the role of Lady Bird and is perfect. And its great to see Laurie Metcalfe on our screens again after years of watching Roseanne.
Offbeat, innovative and original. Lady Bird deserves all of the praise its receiving at the moment.
Like many people the only thing I knew about ice skater Tonya Harding before this film was the incident of violence that she inflicted upon Nancy Kerrigan. This film deals with Tonya’s upbringing and her life in general leading up to this point.
One striking feature of the film is that it well and truly breaks down the fourth wall with characters speaking to the audience and even disputing their version of events as the alleged events are being played out. Theres even one sequence in which Tonya’s mother admonishes the film’s screenwriters as she seems to have dried up in the film’s narrative.
The film depicts the sheer insanity of the events that led up to the fateful encounter with Kerrigan but it never feels like this has been exaggerated or that it descends into farce. Theres an air of authenticity as we see the craziness and dysfunction unfurl before our bewildered eyes.
The setting of working class America also feels real, warts and all. The film depicts the obstacles to true success and the snobbery that Tonya has to endure and overcome. Theres an irony to the nouveau riche mothers, skaters and judges of ice skating looking down on Tonya for being cheap and trashy when all of the contestants are encouraged to look that way but without the actual poverty. The mainstream world of the sport doesn’t like the real thing but rather a contrived and affluent ‘faux’ version of it. It reminds me of a Dolly Parton quote- ‘It takes a lot of money to look this trashy’.
But whilst many events in the film are hilarious and surreal, the incidents of domestic violence depicted are as harrowing and serious as they deserve to be. These sequences still disturb, as well they should.
There are amazing performances from the central three actors of Stan, Robbie and Jenney as Tonya’s mother- a force of nature who is great entertainment on the screen but would be a nightmare in real life.
A special mention is needed for the soundtrack- any film that features both Siouxsie and the Banshees and Fleetwood Mac is something very special indeed.
A documentary about Danny Fields, the record industry A&R man/artist liaison/cultural barometer who was the friend of so many great bands and artists and more importantly, had a hand in making sure they could get record deals and record their music so that their genius could be shared with the world.
This documentary gets it just right- there are moments of animation to illustrate the narrative but these don’t overpower the film, there are many musicians and personalities who are either interviewed or spoken about but it doesn’t feel like some kind of bragging rollcall. There are also perceptive and very interesting insights into being gay in a small town and also when Danny had left home and was carving his adult life.
As for the artists, all of the groups and singers who changed my life are here. From hanging out with The Velvet Underground to working and socialising with The Doors, The Ramones, Jonathan Richman, The Stooges, Nico, MC5…This is a life spent in the thick an alternative American musical history and you feel privileged to be a part of this. There are also hidden gems that are priceless- a taped phone call with Nico, a recording of the first time Lou Reed is played The Ramones and how elated he is by it.
I bought Raw Power by Iggy and the Stooges at the age of 14 and it changed my life. And Danny Fields is partly responsible for this. This documentary helps to shed light on a hidden force who made this possible.
A film that was on my ‘Haven’t got round to seeing it yet’ list. Until now.
Journalists at the Boston Globe investigate sexual abuse of children by local Roman Catholic priests- and uncover much more.
This is based on a true story and feels authentic and not over-dramaticised for the big screen.
The locales are pinpoint perfect too. Note the cramped offices of The Globe compared to the splendid locations frequented by the higher echelons of the church and those paid to defend them. Corruption pays well- but only if you have no soul.
Notice also the Boston street scenes- this is a film that loves the city.
The performances are also amazing. Mark Ruffalo deserves special praise here- the best performance I’ve seen in a film in a long, long time. Batman was pretty damn great too 🙂
A brilliant film that indeed casts the spotlight onto the darkest of places. This deserves all of the many accolades it received and continues to receive.