WATCH: Tim Sutton on the sorcery of MEMPHIS at Sundance London
How he spent Gucci money on his poetic ode to broken city blues.
Monthly Archives: July 2015
Why MEMPHIS is the film that should be remembered at Sundance London 2014
★★★★ A compelling and challenging work, which like all great works of art feels instantly familiar, yet hard to pin down.
GOODBYE WORLD is a different kind of disaster movie led by a first-rate cast
★★★ Offers a reminder of the importance of tragedy in life (apocalyptic or otherwise) for making us see the true value of the people we surround ourselves with and who matter most when everything else is torn away.
THE MIDNIGHT SWIM is a first-person psychological mystery tinged with horror
★★★ Bearing comparison to its high art influences on such a small budget – even having those aspirations in the first place – is both impressive and encouraging given the present mumbley, lo-fi landscape.
WATCH: writer-director Rowan Joffe on adapting bestseller BEFORE I GO TO SLEEP
The screenwriter of Brighton Rock and The American talks about how he made cinematic sense of the intricate web of deception weaved by S. J. Watson’s novel.
SIN CITY: A DAME TO KILL FOR is all about Eva
For all the gun-toting hookers enforcing Sin City’s mean streets, the likes of Jessica Alba, Rosario Dawson and Juno Temple barely register against Eva Green’s enticing manipulative mistress, whose character is the dame of the title and to whom the film nakedly belongs.
FOREVER FEMALE is a blisteringly funny peak behind the Broadway curtain
★★★★ Cutting when it wants to be, but nowhere near as cynical, Forever Female is All About Eve, Sunset Boulevard and Sweet Smell of Success as a backstage romantic comedy.
In INTIMATE SEMAPHORES, three women fight to see past themselves
★★★ Hitting on moral truths with uncommonly sharp clarity, casual conversation is anything but, and key to deciphering these character’s secrets.
Alexander Avranas on MISS VIOLENCE, the darkest film yet of the Greek New Wave
I spoke to the co-writer/director about the film’s economic symbolism, the so-called ‘Greek New Wave’, his abstract way of shooting and how he went about directing children in this story of domestic abuse.
THE MEND is maddening yet mesmerising
★★★ A deeply inebriated, experimental film with a low hum narrative motor, it stumbles around in drunk and disorderly circles, occasionally punching the air in moments of angry clarity, before groggily flopping back down into depraved delirium.
Timothy E. RAW 