D.O.A. A RIGHT OF PASSAGE BLU-RAY review

Newly re-issued on blu-ray is the classic punk documentary, D.O.A. A Right of Passage.

Shot by Lech Kowalski, D.O.A. followed the Sex Pistols on their notorious 1978 tour of the USA (their last before the filthy lucre tempted them back in the 1990s), as well as document the punk scene that was thriving in the UK in their absence, with bands such as X-Ray Spex, Generation X and Sham 69 all making waves. Added to that, this film heavily follows Terry Sylvester, frontman for Terry and the Idiots, for whom this film is their moment in the spotlight.

It all starts calmly enough, the quiet before the storm at an Atlanta performance by the Sex Pistols attended by the local youth hoping to see the much hyped new big thing over from England, before erupting into Anarchy in the UK, the lyrics appearing on screen and updated to appeal to the American crowd. Following the performance the camera gets instant reactions from the audience, some loving it and some hating it with opinions ranging from "revolutionary" to "garbage". Either way, it would be hard to imagine that both groups aren't still talking about it to this day.

There's a lot to be said about the Sex Pistols and their commodification by Malcolm McLaren in a way that seems to be the antithesis of what they supposedly stood for. This film captures some of that madness, and the capitalist hypocrisy within the fashion world that ran concurrently with the scene. The Pistols' music and attitude managed to speak to disaffected youth on both sides of the pond and was genuine from the point of view of the band members. In particular, Sid Vicious and his relationship with Nancy Spungen and struggles with drug use play an important part in the film. These are some of the hardest scenes to watch as Sid is near catatonic throughout, their sad story ending with some on screen text to say what happened to Sid and Nancy after filming had finished.

Back in England, with Mary Whitehouse's "anti smut crusader" (as she's billed here) going on tv to talk about how worried she was about the children of the time, the punk scene was thriving with fantastic live performances by X-Ray Spex and Sham 69 caught on camera. There's also Terry from Terry and the Idiots reading out his banana bread recipe for our enjoyment, so a lot of bases are covered. The documentary cross cuts between locations on both sides of the Atlantic and speaks to a lot of audience members expressing their feelings of resentment towards the older generation. D.O.A. shows that a lot of things are universal, and given nearly 40 years of hindsight, are also timeless.

D.O.A. A Right of Passage may be a documentary about punk, but in its presentation is it a punk documentary? Passive observers for the majority of the performances, the one occasion where the documentarian's question is audible, asking an unruly youth with a giant X on his face at a Sex Pistols gig "what do they sing?", ends up with them being spat on. The smartest thing director Lech Kowalski chose to do was not just focus on the Sex Pistols as his subject, although this was possibly a choice made out of necessity due to how hard it would have been to capture usable footage from within their concerts and the guardedness of many members of the group. The inclusion of other bands of the era, including ex-Pistols member Glen Matlock's Rich Kids (featuring a young Midge Ure who contributes a lot to the additional documentary found on this disc), The Clash and Sham 69 in addition to the many vox pops and on street interviews helps to give an overall snapshot of the punk scene as it was.

It's a nice, polished upgrade that looks clean, but not too clean given the conditions it was filmed in. Unlike a lot of the key figures involved, the film (shot on 16mm) has aged gracefully and isn't showing too many signs of its age, including in its scattershot structure. Documentaries covering live music or bands on tour tend to follow a strict narrative pattern that's become somewhat predictable, so it's nice to see that to go along with its punk subject, D.O.A. is appropriately unfocused and unbiased on which bands should receive the most attention and at what point to cut off a live show.

One of the great documents from the punk era that truly managed to capture a little bit of magic and raw intensity from the scene, rather than being dead on arrival, D.O.A. A Right of Passage makes its blu-ray debut looking as alive and vital as it ever did.

Verdict
4/5

Special Features -

- Dead on Arrival: The Punk Documentary That Almost Never Was. - An in depth contemporary documentary that tracks the creation of the original documentary, offering new insights into the filming process and the punk scene as a whole.

- A Punk Post-Mortem. - Interview with co-writer Chris Salewicz

- Limited edition booklet

AN ACTOR PREPARES review

In recovery from a heart attack, ageing Hollywood playboy Atticus Smith (Jeremy Irons) and his estranged son Adam (Jack Huston) make their way across country to a family wedding. Could this be the bonding experience both men have been in need of?

The film starts with Irons's Atticus receiving a lifetime acting achievement award where he belittles the ceremony and proclaims that "there's life in the old dog yet". This is swiftly followed by a heart attack that threatens his ability to attend his daughter Annabelle's (Mamie Gummer) wedding on the other side of the country, and his upcoming role of God in a movie called "God". Unable to fly in his condition and forgoing his surgery until after the ceremony, it falls on Adam to escort his tearaway father across country to the wedding in order to keep him alive and out of trouble. Under strict order to behave himself, Atticus continues to drink, smoke and party like a horny teenager with something to prove. As Ben Schwartz's suffering agent puts it "he's a cocksman", and he's not going to let his reputation down.

Jack Huston (himself part of a Hollywood dynasty) plays Adam, a sometime college professor and feminist documentary filmmaker who has no time for his father's ways and the celebrity that Atticus milks for all he can get. Friction between them stems from Atticus being an unapologetic serial womaniser who blamed the breakdown of his marriage on his son for snitching on him rather than his own actions, but when forced into close proximity with his adult son Adam, he starts to realise that he may have passed up the role of a lifetime... Dad.

On the list of legendary Hollywood bad boys who slept their way around many a film set, you wouldn't immediately picture Jeremy Irons as a member of the club. This is the kind of role you can imagine getting offered to Jack Nicholson back in the day, and perhaps would have benefitted from having someone in the role who wanted to play with his public persona as something of a playboy and with more in common with Atticus's lifestyle. However, there's no doubt that Irons has dove head first into this role, and his portrayal has a certain English charm to offset the rampant misogyny that others couldn't offer.

An Actor Prepares suffers from a title that bears no clear relevance to the story within the film, which would have worked just as well and possibly better if he were a fading rock star of some sort rather than an actor. They even start their journey in a huge, luxurious and spacious bus, the likes of which you could picture Aerosmith travelling in when on tour. It's quickly ditched in favour of a classic car, because you can't make an American road movie by looking out of the window of a tour bus. Of course they meet an array of colourful characters along the way who do little to teach Atticus that his obnoxious bore routine is something of a relic of a time passed, but Huston's modern man Adam at least tries to balance this out with some emotional growth of his own. The decision to make Adam such a vocal feminist has clearly been done to try and offset some of Atticus's bad behaviour that we as an audience shouldn't be celebrating, but it's an aspect of their conflicting relationship that's never properly explored.

There's some sentimental moments that are pulled back from becoming too sugary by Irons's performance, and Irons and Huston clearly have a good rapport with each other that make them never less than watchable. Contrived, cliched and reminiscent of a dozen other, better films, there's no denying Irons's commitment to the role. Get Him To The Greek by way of The Royal Tenenbaums with a sprinkling of Planes, Trains and Automobiles thrown in, Irons's Atticus Smith isn't a man you'd want to spend the entirety of a cross country road trip with, but 90 minutes will do just fine.

Verdict
2.5/5

BRUCE LEE & THE OUTLAW review - Sheffield Doc/Fest 2018

Known as the "King of the Underworld", Bruce Lee has been slowly building a community for Bucharest's homeless men, women and children in the tunnels underneath the city. Among his closest followers is Nicu, a young runaway in search of a place where he can feel a sense of family.

In Joost Vandebrug's new documentary, never has the term 'underworld' been more apt, with this community of street kids, drug addicts and stray dogs occupying the many tunnels under Bucharest in a secret shanty town hidden from street level. Bruce Lee, a seemingly kind and generous man, has become a father figure to Nicu (who he dubs 'The Outlaw'), a young boy who after running away from home has become one of the many youths living on the streets of Bucharest, often selling their bodies to strangers in order to buy food to survive. Filmed over the course of six years and narrated by the Nicu of present day, this documentary aims to lift the manhole cover off this subterranean society of people.

Bruce Lee (sadly not his real name, but a street pseudonym) is quite an enigmatic figure; one who has children and stray dogs naturally drawn to him as he walks down the street. This is partly down to his appearance, often caked in a silver Aurolac substance that almost kills him, and with large, bulky chains shackled to his body at all times for jewellery. He has been painted as a criminal mastermind by the media, but it's hard to reach that conclusion from the evidence here. Never one to be too forthcoming with the camera present and not in search of any form of celebrity, he instead goes on with his day to day business, usually cooking for the many random faces that are in his home.

It's unclear if Bruce is a generous man or master manipulator, coming up with the idea to collect the earnings of the street kids to buy a local abandoned hotel that could house everyone; a plan that never comes to fruition and the whereabouts of the money unknown. A modern day Fagin to Nicu's Artful Dodger? Perhaps. But the twist is this is Nicu's story. As a document of the plight of the homeless Romanians, Vandebrug's film focuses on Nicu to serve as a snapshot of this community, rather than the original group of street kids we are presented with. The role of the authorities and those wanting to help is covered, but such is the draw of the lifestyle that after falling ill and being taken into care by Raluca, the only clearly positive female figure in his life, Nicu is still keen to return to his community where he has a sense of belonging, no matter how dangerous it is.

This documentary does raise questions about when and if a documentarian should interfere with the path their subjects are on. The children are seen to be doing drugs of varying degrees, some using heroin and most permanently carrying black plastic bags that they huff noxious substances from. They do not appear to be in immediate physical danger, although some of the stories these children tell prove that they have been subjected to things no child should. It's also apparent that director Joost Vandebrug (affectionately referred to as Giraffe by Nicu) isn't surrounded by a huge camera crew, occasionally catching the reflection of himself and his camera when in the tunnels. It's this one man documentary crew approach that has allowed him access and the relative cooperation of the community over a six year period. As for the issue of whether or not to remain a passive observer when faced with the health and well being of these innocents, it is something the documentary covers, to its credit.

Nicu's commentary reminds of someone watching home video footage of themselves as a child, reminiscing about his life, laughing at the happy times and offering sobering words about his life, like "I'm an ordinary child, except God didn't help me because he was busy with other kids". It's a perspective that is tragic and unsettling to hear from one so young, but one that by telling his story this documentary hopes to avoid happening in the future.

Verdict
5/5

THE INSUFFERABLE GROO - Sheffield Doc/Fest 2018

One of the highlights of this year's Sheffield Doc/Fest was The Insufferable Groo, following the exploits of notorious low budget film director Stephen Groo as he tries to raise funding for and then direct a remake of his own elf/human fantasy romance, the Unexpected Race.

Welcome to the world of Stephen Groo, a filmmaker based in Utah who has what can only be described as a DIY aesthetic; writing, directing and starring in his films for a small but dedicated audience of family, friends and subscribers to his YouTube channel. Unlike his most obvious comparison Tommy Wiseau, Stephen Groo is far from a one hit wonder. Firstly, he's yet to have that hit, and secondly, since his graduation from college he has made films constantly. At the most recent count he's at 205 films since the turn of the millennium, not counting his music video tributes to Backstreet Boys and Nickelback.

"I read it to my Mom last night and she felt it was pretty solid". And with that statement you get a fairly good idea of what kind of filmmaker Stephen Groo is. He's a one man Asylum studio, funding unofficial spin offs to Resident Evil and Yu-Gi-Oh, and thinly veiled "homages" to the Twilight and Lord of the Rings series' that would have any copyright lawyer rubbing their hands together with glee. Achieving a certain degree of notoriety and fame through his Kickstarter generated film projects whilst his family lives off his wife's earnings, this doc captures Groo at a turning point in his life; about to embark upon his highest profile film yet, but also in danger of losing the apartment (complete with flooded basement) that he shares with his wife and four boys. Luckily for him he has a fan in Napoleon Dynamite director Jared Hess (who also produced this documentary), who has spread the work of Stephen Groo to his former cast members, including one Mr Jack Black whose schedule has just opened up.

Using a mixture of animation and behind the scenes filming to tell Groo's story, this film is also intercut with some of Groo's previous work, including his acting masterclass/self-help videos that at first appear to show him as completely delusional, but given time persuade you that this is just a person who has complete faith in his abilities, however misguided that faith might be. In an age when people can be rightly celebrated for the effort they put in and not just the end result, Stephen Groo should be championed. This documentary could quite easily make Groo a figure of fun, and whilst the opportunity to gently mock him is always there, the filmmakers wisely keep their distance and let his work speak for itself. At various times during this film he is shown to be an absolute tyrant on set, unwilling to take on board any of the ideas put forward by his first-time director of photography to the point where she almost walks away from the film, but then also a man who is fully aware of what scenes are vital to complete his vision. Never one to consider applying for permits to shoot on location, when asked to pack up and move on by a park ranger his instincts kick in, mobilising his crew and completing about a dozen set-ups in the space of 15 minutes.

With a slightly bizarre wardrobe that consists of a never ending supply of muscly superhero T-shirts and peroxide blonde hair, reputation as someone who's difficult to work with and a strange and immediately identifiable surname, Groo is a ready made outsider artist/filmmaker in the mould of Tommy Wiseau, just waiting to be discovered and revered by students and stoners across the world.  His life, as well as his films, may be chock full of moments of unexpected comedy and dubious filmmaking standards, but his passion is undeniable and thoroughly endearing.This doc is pre-emptive in that Stephen Groo has yet to have that moment where he tips over into the ranks of classic cult movie directors, but on the evidence of this, it's only a matter of time.

As a study of that special kind of madness that filmmaking stirs up in people, the Insufferable Groo is up there with American Movie, Best Worst Movie and The Disaster Artist. Sure, it's quite probable that Groo's ambition of walking the stage at the Oscars will forever be a pipe dream, that is unless they start to give out awards for perseverance. Then he's a shoo in.

Insufferable? Occasionally. A mad man? Maybe. Admirable? Definitely.

Verdict
4/5

SKATE KITCHEN review - Sundance London 2018

From the director of The Wolfpack comes this semi-biographical story of a group of teenage female skateboarders in NYC, and the constant hassle they face when trying to find their place in the male dominated skate park.

The film follows Camille (Rachelle Vinberg), a talented but shy skater who lives with her single mother in Long Island, but after making friends with the Skate Kitchen skateboard group via Instagram, travels into the big city to skate with these other young women. As Camille quickly becomes a part of the group, they skate from park to park, bonding over uniquely female perspectives and experiences of life as a skater, such as the embarrassing "credit carding" injury that Camille experiences at the start of the film, but that I won't dare to explain here. Needless to say, ouch.

Skate Kitchen is directed by Crystal Moselle, who previously gave us the fascinating documentary The Wolfpack, about the Angulo brothers who had spent the majority of their lives confined to their family's NYC apartment, making amateur recreations of their favourite movies, like The Dark Knight and Reservoir Dogs, with little more than duct tape and a basic knowledge of filmmaking. Moselle happened upon the Angulo's in NYC's subway system, and the genesis for this film is similarly happenstance. After encountering some of the young female skaters on the subway, she became acquainted with the whole Skate Kitchen group at the skate parks and used them in a sort of short film/fashion commercial for the Miu Miu brand that's available on youtube. Now separate from those corporate ties that wouldn't quite be in the spirit of Sundance, this quasi-documentary feature film takes the basic premise of the short and expands it by creating newly named characters that stick pretty close to their real-life counterparts but with the dramatic freedom for Moselle to play with.

Possibly the most obvious facsimile of her real self is Nina Moran's Kurt, who is the most vocal and has the bolshy attitude needed to stand up to the boys in the parks. This is a group without an elected leader, but they all know it's Kurt who's fighting back most effectively. However, she is not the focus of the film, as most of the action revolves around Rachelle Vinberg as Camille. Again, her character closely mirrors the actress playing her, but she is a much shyer, introverted person, preferring to silence the misogyny of the boys by showing how good of a skater she is. Camille does show some classic teenage rebellion, like sneaking out to go skating by lowering her board out of her bedroom window on a rope, and letting her mother think she's at the library studying by sending her old photos of books. It's this strained relationship with her mother that kickstarts the story, but as things progress and Camille moves into the city with Janay (Deedee Lovelace), there's a moment where it's a simple hangout film, and all the better for it, until the need for a dramatic arc introduces Jaden Smith as love interest Devon who sows seeds of division in the group.

The problem the film has is that you become so enamoured with this cast of unknowns, that when Jaden Smith turns up about a third of the way through the film it has quite a jarring effect that pulls you out of the real world aesthetic that the film has spent so much time establishing. That's not to say that Smith is bad in the film; on the contrary, he's the best he's ever been, but his presence and the narrative turns that take place around him steer the film away from the other members of the Kitchen, which is a shame, as there's plenty of interesting dynamics in the core group. Dramatic storylines aside, the strength of this film lies in the performances of its raw, untrained cast. Showing us a street level New York City that appears to be ruled by youth, there's a real Raising Victor Vargas or Larry Clark's KIDS feel to the film, although thankfully it's a much more joyous experience than the latter.

The film is strongest when the focal point is the female friendships of its young cast, who, although they all look ridiculously cool and would not look out of place at a fashion show (the cast were in attendance at the screening, having spent the morning in London's skate parks and now looking like complete movie stars), are never fetishised or objectified in the way women skaters may have been had the director not been a woman. Their skating is not about tricks or fails, but is instead about freedom and camaraderie to be found with other young women who don't want to conform to the expected 'feminine' pastimes.

There's many joyous transitional scenes where we join the Skate Kitchen as they weave their way through the New York traffic without a care in the world; but the most indelible moment for me was as they glide along the sidewalk and pass a young girl walking the opposite direction who can't not turn her head in awe of what she's seeing. It's easy to agree with that assessment.

Verdict
4/5

HEREDITARY review - Sundance London 2018

Sundance London took place at Picturehouse Central a couple of weeks ago, delivering a wide array of films that made a big splash in Utah at the main festival. Settled in for a weekend of hopefully high quality films, first up on my list was the much hyped horror Hereditary.

Struggling to deal with her grief in the aftermath of her mother's death, Annie (Toni Collette) seeks strength from her husband Steven (Gabriel Byrne) and two children, Peter (Alex Wolff) and Charlie (Milly Shapiro). When things take a turn for the worse and loss becomes too much for the family to bear, dark secrets come to light that will forever change the way Toni thinks about her mother and challenge her maternal instincts.

Toni Collette was present at the start of the screening, along with the film's director, first-timer Ari Aster. Although Aster has been quick to state that he doesn't consider this to be a horror, let's take that as a marketing ploy to entice the trepidatious off the fence and into a cinema seat. This may be riding a wave of "post-horror" titles (including other A24 releases like It Comes At Night and The VVitch) that have managed to appeal to audiences outside of the traditional multiplex crowd pleasers, but there's no doubt in which genre this belongs to. A more accurate statement about the film came from Collette, who signed off her introduction with "I apologise for appearing in your nightmares".

At the start of the film Annie is grieving for the loss of her mother, a woman she had a complicated relationship with that also affected her relationship with her own children. Annie has always held a grudge against her mother for being a bad parent who cared more about her friends than her, and struggled to allow her back into her life when she needed help. Her youngest, Charlie, was especially close to her grandmother, and starts to exhibit worrying behaviour, cutting the head off a pigeon that flies into the window with a pair of scissors, and then carrying it around it her pocket. Charlie also has what can only be described as a nervous tick, clicking her tongue inside her mouth to create a "tock" sound that is destined to burrow its way into your brain and freak you out every time you hear it.

What sets this film apart is its approach to finding ways to scare you. Although one early scene that may or may not feature a ghostly apparition in a darkened corner of the room is classic haunted house fare, the remainder of the film finds new, more interesting ways to create horror, namely by letting you get to know these characters and toying with your affections to them. Audiences expecting something along the lines of recent horrors like The Conjuring or Insidious may find Hereditary's pace frustrating, as this film is not afraid to take its time in setting up its scenes of terror, avoiding cheap spine tinglers or jump scares. Instead, you are allowed to appreciate and care for these characters before the film's narrative completely side swipes you unexpectedly, delivering what for me was one of the most unexpected and disturbingly brutal scenes (and its aftermath) I have ever experienced in a cinema. Whilst avoiding spoilers about which moment I'm referring to, what I'll say is that in the screening I was in there was a collective sound of disbelief and awe at the audacity of it. This is a filmmaker who knows how to push his audience's buttons.

This is a film that is able to deliver well crafted shocks from a technical standpoint, but it must also be commended for the work of its stellar cast. Milly Shapiro, already a Broadway star from her turn as Matilda, is an incredible presence on screen. As Charlie, she has such an interesting face and way at looking at the world, permanently curious and perplexed by the world around her. Having started his career in tween television and appearances in Jumanji: Welcome to the Jungle and My Friend Dammer, this will be the breakout role for Alex Wolff who, as the grieving teenage son with issues piling up in front of him, runs the gamut of emotional frailty and unimaginable guilt and is fantastic in the role.

But there's no denying that this is Toni Colette's film, in what may be her best performance yet. We've seen her play in the horror genre before, notably as Cole Sear's mother in M. Night Shyamalan's The Sixth Sense; but here she delivers an entire spectrum of grief, from the sound of her discovering earth shattering truths that will change her family dynamics forever, to crafting her ornate miniature sculptures that depict the most traumatic scenes of her life, or in what is one of the highlights of the film, berating her eldest child in one of the all time great dinner table confrontations. This is a difficult, immensely challenging role for Collette, but her performance, particularly in the film's head-spinning final act, is nothing short of astounding.

Hereditary arrives with a huge amount of buzz, with some dubbing it the scariest film for generations. Although it's hard to be completely in agreement with the Hereditary hyperbole that has created a massive weight of expectation for the film, this is a damn fine horror with some truly unsettling imagery that will stay with you for a long time. Generations, maybe. There's so much to study and dissect about Hereditary that it is already being lined up as a future classic, and there is a danger that it will become a victim of its own hype, to which I can't help but contribute to. But for audiences in search of new scares that are more insidious than Insidious, this debut feature offers something new and deeply disturbing.

Verdict
5/5

SPACE TRUCKERS BLU-RAY review

An intergalactic journey involving square pigs, sex dolls, killer robots and Dennis Hopper's surly truck driver, Stuart Gordon's Space Truckers is now available on blu-ray.

To try to describe the plot of Space Truckers is an exercise in madness, but here we go. Hauling a truck of genetically modified square pigs (easier to stack) across the galaxy, Dennis Hopper's trucker John Canyon gets into a contract dispute with his bosses and is replaced in his delivery duties by the new kid on the block, Mike Pucci (Stephen Dorff). When that plan goes awry, they team up with Debi Mazar's waitress Cindy to ship a load of sex dolls back to Earth, encountering a gang of space pirates and Charles Dance's cybernetic enhanced mad scientist, and wait... those aren't sex dolls. They're deadly robot ninjas!

To say that Space Truckers has dated is an understatement. Thanks to the blu-ray transfer the zero G wire work is immediately, comically, visible, the costuming is sub par Super Mario Bros: The Movie (also starring Dennis Hopper) and the set of the Pachyderm (Hopper's rig) wouldn't look out of place in a second season episode of Red Dwarf; but there's an unescapable charm to Space Truckers, particularly if you are accustomed to Stuart Gordon's oeuvre. A director with a varied career, Gordon made his name with the Lovecraftian horrors Re-Animator and From Beyond, before giving us the Christopher Lambert dystopian prison classic Fortress and the schlocky-as-hell Castle Freak. Space Truckers, clearly made on a super low budget, has a few notable Gordon staples including an approach to genre classification that swings like a metronome and even a brief cameo from Barbara Crampton, who has appeared in a number of Gordon's films.

Made at that point in the 90s before Star Wars returned with The Phantom Menace, where CGI was becoming more and more prevalent and often used for its cheapness and logistic practicality than any aesthetic appeal. Space Truckers is a mix between practical effects and CGI, and to be honest, it's a judgement call as to which holds up better in the high definition era. It's abundantly clear through the front window of the Pachyderm that "space" is just a black backdrop with tiny lights attached, but there's a certain charm to that DIY look that can't be said about some of the rendering of the CGI effects.

But what about the cast? Well, Hopper is surprisingly game in his role of a grumpy old trucker who just wants someone to love him, namely Debi Mazar's Cindy. His John Canyon is a season vet who can handle being boarded by space pirates and knows how to talk his way out of the situation with all of his appendages attached. Hopper, a man whose career saw many highs and lows across the decades is apparently having quite a lot of fun with this role and this crew, and even when things take some ridiculous turns he keeps this unwieldy beast moving. As the younger members of his crew, Dorff and Mazar are perfectly fine as the loved up pair, taking the first opportunity they can get to fool around with each other (when the cooling system breaks on the ship and Hopper heads out on a spacewalk, leaving Dorff and Mazar to strip off in zero gravity like a couple of sweaty Barbarella's).

But what is undoubtedly the jewel in the crown, the lightning strike ornament or mudflaps with ladies on of this film is Charles Dance's Macanudo, a half robot, half man evil villain who not only delivers his lines with a straight face, but with gusto, all whilst revving up his motorised... organs. He's not in the film enough, but when he's on screen he's fantastic, and hammier than an intergalactic haulage vessel filled with square pigs. In Charles Dance's pantheon of on screen bastards, Macanudo is up there with the best.

Space Truckers is a bizarre, uneven film that struggles to find the balance between the sci-fi, body horror and adventurous trucker movies it draws inspiration from. There's weird, Guyver-esque killer robot ninjas who can incinerate enemies with a single laser blast, a finale that liberally steals from Alien but with Dennis Hopper donning a spacesuit to fight a robot with a microwave, Vernon Wells popping up as a ponytailed henchman with a face tattoo and, particularly for Stuart Gordon fans, the most ludicrous final act twist you will ever see.

Slightly naff, wholly stupid and adorably 90s, Space Truckers is a trucking good time.

Verdict
3/5

Special Features
- An extensive interview with director Stuart Gordon
- The Art of Space Truckers, an interview with the art director
- The Score of Space Truckers, an interview with the composer

KILLING GUNTHER review

Written, directed by and starring long time Saturday Night Live star Taran Killam, this mockumentary sees a camera crew follow Blake (Killam), a contract killer out for revenge against his old rival Gunther (and the deadliest assassin of them all) for stealing his girlfriend.

Hiring the camera crew so that he will have proof that he bettered his longtime rival, Blake spends a large amount of time trying to track down the mysterious Gunther, only to be constantly taunted and toyed with by him. If you don't want to know who plays the titular assassin I'm not going to spoil that for you here..... jokes, it's obviously Arnold Schwarzenegger, taking up the entire frame of the poster you've already scrolled past, featuring prominently in the trailer and (no disrespect to Taran Killam's fans) is most likely the only reason why you'd be interested in seeing Killing Gunther.

There's a long history of comedy classics released by former and current stars of the long running topical sketch show, Saturday Night Live. The Blues Brothers and Wayne's World started life as sketches on the show, whereas Tina Fey's Mean Girls showed that post 2000, it was still a fertile breeding ground for talent eager to make the leap to the big screen. The high benchmark for films released this millennium by the SNL alumni is, of course, Hot Rod, starring Andy Samberg, Jorma Taccone and directed by Akiva Schaffer. They hit the comedy jackpot by imbuing its central character with a charming but idiotic innocence and surrounding him with an array of colourful supporting roles. Killam tries to replicate that formula here, but only with a modicum of success.

Killam's character is pitched somewhere between Dan Aykroyd in Grosse Point Blank and Jon Hamm in Mad Men, dressed to the nines in some sharp suits but also clearly a tad unhinged. He veers between clueless buffoon to unrelenting fanboy of his prey, Gunther, just like the apparent relationship between Killam and the Austrian Oak. Despite his quest for revenge, Blake is clearly in awe of Gunther (even going to the lengths of hiring the crew to document it for posterity), and is happy to be on his radar if not too happy to be in his crosshairs.

Surrounding Killam's main schemer is fellow SNL alum Bobby Moynihan as an explosives expert and New Girl's Hannah Simone as a legacy assassin out to prove her independence to her father. There's also a fleeting but crucial appearance from Killam's real life wife Cobie Smulders as the cause of all this fighting. They're fun additions to the band of mercenaries, along with a professional poisoner and a man with a bionic arm, just to hammer home the Roger Moore Bond level of realism the film is pitched at. As you would expect from an action comedy there's stunts and explosions aplenty, although it's clear that budgetary restrictions can only buy you a certain quality of digital fire and blood, and that it should be used sparingly.

The major problem with Killing Gunther is that, despite what the trailer would have you believe, Arnie isn't in it very much at all. In fact, "Gunther" is quite obviously played by some large-framed stuntmen until the last half hour of the film. This is very much a case of creative filmmaking to accommodate the big reveal of one of the most famous action movie stars there has ever been, but then their efforts nullified by the necessity to put him front and centre of the marketing in order to sell the film to people. To be honest, I would struggle to believe anyone would sit down to watch Killing Gunther without knowing that it features Arnie (most probably as the distinctly Germanic sounding Gunther), and I say that as someone who would have sought this out for its SNL pedigree alone.

On the plus side, once Arnie eventually does turn up he's having an absolute whale of a time bouncing off this talented cast of comic actors, and his appearance raises the film in the way you would expect a star of his stature would. His extended cameo, which sees a tittering Arnie show why Gunther is a master manipulator and the best assassin of them all, is by far the most enjoyable part of the film and delivers more laughs than were present in the preceding hour. If there's a lesson to be learned here, it's that if you gamble the relative success of your action comedy on the weight of expectation for the appearance of a big, big, movie star, don't complain if you get crushed by a 200 pound Austrian Oak.

Is Killing Gunther going to become a well-loved comedy classic? No, probably not. But thanks to Arnie it ends on a bizarre, giggle-worthy high, and if you can allow yourself to get swept up in the overall silliness of it all, there's fun to be had.

Verdict
2.5/5

BECKS - BFI FLARE FILM FESTIVAL review

Screened as part of the BFI FLARE LGBTQ+ Film Festival, Lena Hall stars as musical Becks, returning home after a break up to reacquaint herself with her past and her mother.

Returning to your childhood home may be an indie movie staple at this point (Garden State perhaps the most obvious example), but for Becks (Lena Hall) there's an added element. Away from the judgement and conflicted feelings of her mother, Becks has been allowed to live her life as she wishes without having to justify herself. Moving back home, both to recuperate after her separation from girlfriend Lucy (Hayley Kiyoko) and because she's broke, she's once again under the roof and the watchful eye of her mother (Christine Lahti).

Feeling creatively stifled, she takes her friend Dave (Dan Fogler) up on his offer to perform live music at his local bar Perfectos, where she meets bored housewife Elyse (Mena Suvari). Agreeing to help tutor her on guitar, soon the chemistry between Becks and Elyse leads to a complicated romance. As a veteran of the LA dating scene Becks is well aware that Elyse may just be a bored housewife, using her to fulfil a longstanding lesbian fantasy, but soon starts to feel a real connection with her, despite their wildly different lives. Whereas Becks has struggled to live as a touring musician, Elyse has a huge house, close friends and a seemingly ideal relationship with husband Mitch (Darren Ritchie). Basically, as straight and white as their picket fences.

I wasn't familiar with Lena Hall before this film, but she's quite a multi-talented presence. It's a compelling performance that makes you wish for Becks to come out on top, even when she's less than likeable. The film is peppered with musical performances from Hall, bringing to mind the emotional heft of other musical films like John Carney's Once. It's quite clear the filmmakers know that it's best to just put the camera on Hall and let her do her thing.

Of the supporting cast, Becks has an interesting friendship with Dan Fogler's Dave, a former teenage flame who sees Becks potential but is also aware of her ability to sabotage herself. It's not a huge role for Fogler, but he and Hall have great interplay in all of their scenes. Top of the supporting cast is Christine Lahti as Becks' mother. It would have been quite easy to play her as a one note, judgemental religious stereotype, but Lahti sees the layers in her character and the conflicts she has between her beliefs and her love for her daughter.

But at the core of the film is the relationship between Becks and Elyse. Mena Suvari, looking like an all American girl cliche doesn't at first appear to have too much depth to her, but she does keep you guessing as to what her long term intentions are. Is she conflicted about her sexuality? Is she using Becks as a way of escaping her unhappy marriage? In what direction does she want her life to go? There is real chemistry between Mena and Lena, although their liaisons do lead to what might be the films only real mis-step, in a sex scene that although admirably frank, tips over into the kind of 'comedy of embarrassment' scenario that would be more suited to the American Pie series.

Although Becks might be walking a well-trodden indie film path, it does it well enough to be a standout. There's a sweet, endearing romance at the centre of the film, but it's the performance of Hall, whether behind a microphone or not, that makes this one worth seeking out.

Verdict
4/5

BREATHLESS BLU-RAY review

After stealing a car and shooting a police officer, small time crook Jesse (Richard Gere) tries to convince French student Monica (Valerie Kaprisky) to abandon her future and start a new life with him in Mexico. Hoping to conceal who he really is from Monica, Jesse continues to lie, cheat and steal to fund their escape, all the while with the police hot on his trail.

With its charismatic leading man and stylish visuals, you could be understandably concerned that Jim McBride's Breathless might be nothing more than an Americanised remake of the French New Wave classic; but fear not, as there's some real substance to this under-appreciated gem. That's largely thanks to the performance of Richard Gere, still working his way up to the height of his star power (this was the capper to his one, two, three punch after American Gigolo and An Officer and a Gentleman) and revelling in the opportunity to play an anti-hero with real depth. As Silver Surfer obsessed Jesse, Gere is able to hustle his way through life, hook up with the beautiful French student Monica and evade the authorities without breaking too much of a sweat, figuratively. That's because at its heart, this sun drenched LA odyssey is a sexy, 'beads of sweat on a shirtless chest with a bleeding heart tattoo' kind of movie, and plays to its film soleil strengths at every given opportunity.

If you're unfamiliar with film soleil, it's best categorised as an update on the well-worn film noir genre, taking in beautiful, sun soaked vistas with quite often a boy and a girl on the run at its centre. Breathless may not be as recognised as David Lynch's Wild at Heart or Dennis Hopper's The Hot Spot, but it's a key film in that run of films that appeared in the 80s and 90s. This film shares the almost artificially hazy, dreamlike sunsets and outrageous wardrobe of some of its genre-mates, but although there is a lot of style on show, it would be wrong to consider it style over substance.

The basic plot of Breathless may concern Jesse's attempts to avoid incarceration and to cross the border to Mexico, but there's long scenes where little else happens except Gere and Kaprisky play cat and mouse flirting games in a hotel room, and these are as equally engrossing. It's the chemistry between these two that not only sells the romance, but the raw sexual power and the allure of the film. Special praise should be given to Kaprisky, who at only 20 years old at the time of production, puts in a star making turn against the established Gere. She ultimately opted to continue her career in her native France, but her relative obscurity only helps to make her character of Monica stand out all the more. It's also worth noting that McBride went on to direct The Big Easy and the Jerry Lee Lewis biopic Great Balls of Fire, so he's clearly a director able to project a particular style to all of his work. His career took a down turn in the 90s, but this will be the film he is remembered for, and not just because of its relationship to its French older brother.

1960's Breathless will always be heralded as the more important film, but director Jim McBride should be commended for doing something new with the set up. Okay, so a guy and a girl on the run is a familiar tale, but I've never seen LA look like this before (it's rare that a wall is passed without some exotic fresco painted on it), and as a real rock and roll rebel, I've never seen Gere this compelling a screen presence before. For fans of hip, sexy road movies, this is a must.

Verdict
4/5