Reviews

Isztambul or Istanbul. An attractive & complacent middle aged Budapest housewife goes into shock and despair after her selfish husband suddenly leaves her for a younger model. She walks out of her house in her night clothes, shoeless and armed with a pair of scissors, takes a tram ride to the end of the line and is then admitted to a sanatorium. From here she escapes with only a modest amount of money and begins a journey via various transports to Istanbul where she stays in a low budget hotel and meets a married migrant Turkish worker. The film flips between her family back in Hungary, worried about her state of mind and whereabouts, and her movements and observations in Turkey. There is little dialogue but the film is enhanced by the street scenes of Istanbul. This is a beautifully made film about a torrid situation - one of a breed of recent Turkish, Romanian & Iranian films that rely on the cinematography to paint a picture on celluloid. It comes straight out the the Ceylan school of film-making. Dark and brooding throughout. The closing scenes of Cappadocia are breath-taking. Johanna ter Steege & Yavuz Bingol are superb. The spoken dialogue is mixed Turkish, Hungarian and English, however, the English subtitles are very limited. It is one of those films that you could watch over and over again. If you like the works of Turkish director Nuri Ceylan then you will like this film from Hungarian director Ferenc Török. Well recommended.

Austria is my least favourite European country and this film sums it up a treat. Like Germany or Holland without the humour factor. This is Ulrich Seidl's best film to date. Self parody, like a lot of Austrian cinema, such as Import/Export and most of Michael Haneke's output. Brilliant film-making. An experimental documentary-style study of depressed characters in a depressing suburb in Austria during a summer heatwave. A thought-provoking film and its conclusions are pretty damning on the whole. But not for everyones viewing. There is no plot and therefore the viewer is forced to continue to watch the six character stories or observations in order to see the point of it all. Rather slow-paced, it deals with everyday life's madness. A collection of 6 parallel stories - more like incidents from the most miserable people'e everyday life. It shows people humiliating other people and being cruel to other people. It shows the inability of people to communicate or talk with others. It is also one of those films that you have to watch again and again just in case you missed something. Hundstage is an intentionally ugly study of life in a dreary suburb of Vienna. I could be based in any other tidy and organised Austrian city. As observational cinema it is a little gem - and very challenging.

So much better than the standard Hollywood carp we are all fed these days.

Un été à La Goulette. Political tensions in the Middle East are the backdrop. During the Summer of 1966. La Goulette, a tourist beach town in Tunisia, near Carthage, North Africa is the locale. Tunisia is now independent of France, the arabs have taken control but other religions remain and are tolerated. The background to the film is the pending Arab-Israeli War, although this is not actually mentioned until the end of the film, and the political tensions begin to mix with the sexual tensions. Three nice seventeen-year-old village girls: Gigi, Sicilian and catholic; Meriem, Tunisian Muslim and Arab; Tina, French and Jewish. They would like to have their first sexual experience during that summer, challenging their families. Their fathers, Youssef, Jojo and Giuseppe, are old friends and their friendship will be in crisis because of the girls, while Hadj, an old rich & horny Arab, would like to marry Meriem. When the girls meet three boys of mixed religions the respective girls fathers come to blows and start to question their so far cordial religious Tolerances. A nice piece of cinema that includes moments of farce, pathos and comedy behind a serious undertone. The village idiot owns the only modern transistor radio that can pick up Radio Beirut. He keeps the villagers informed of the situation whilst they continue listening to their old valve radios of local news whilst playing cards, drinking and talking of times past. The cast is wonderful - largely unknown amateurs with a few old hands. It works very well and has a feelgood factor very similar to such films as Cous Cous.

It would be difficult making this film set in the current century.

Well worth seeing.

The scenes generally play out as they do in the novel, including the gaps from the novel, Haneke's view of Kafka's satirisation of bureaucracy. In 'Das Schloss' Kafka is at his usual absurd and pessimistic yet still very realistic idea of the world and the state. Themes and archetypes of alienation, physical and psychological brutality, parent–child conflict, characters on a terrifying quest, and mystical transformations. In existentialism, the individual's starting point is characterised by what has been called the existential attitude, or a sense of disorientation and confusion in the face of an apparently meaningless or absurd world. This is the film of the unfinished novel. It expertly captures the abject, horrifyingly ridiculous, paranoia existentialist view of Kafka. A land surveyor named 'K' is invited to the Castle to do some work for a Count, but when he arrives at a Village where he finds that nobody is expecting him. K's attempts to get into the Castle are as unsuccessful as his attempt to settle into the local village. Greeted but not welcomed by a collective reluctance from the villagers, who with a systematic inefficiency prevent him from any prospects of even approaching the castle. The harder the stubborn K tries, the more he moves from his goals. You never see either the Count or indeed The Castle. The whole series of events is shot during winter with a grainy effect - possibly as a result of a TV transfer to DVD. The film was originally made for Austrian TV. The film ends as the book does - unfinished. The late Ulrich Mühe and Sussane Lothar are exceptional. With respect to perhaps Orson Welles, this film could not be made by mainstream Hollywood - they wouldn't know what to do with it! Although the film is certainly not for everyone, perhaps for Haneke fans only.

A Humorous Look at the Dark Days of Communist Romania in the 1980's. A look back at Soviet Block Romania before transition - Ceacescu's

so-called 'Golden Age', and told in a series of short stories and

events based on urban legends that used to circulate in Romania

during that period. The dark humour, stoicism and pathos are abundant

and the whole cinematic experience is a true joy to watch. Tales from

the Golden Age can be equally likened to other slow paced cinema

gems such as Lake Tahoe, Vodka Lemon, Goodbye Lenin, The Return, 4

Months 3 Weeks & 2 Days, The Banishment and the wonderful Legacy. It

is one of those films that you can watch over and over again and

still find something new. So much different from standard mainstream Hollywood formula tosh of

today. To me they all provide to an outsider an education and greater

understanding of these peoples and places. An absolute gem.

Frontier Blues is a portrait of an Iranian border Steppes region by the Caspian Sea that has been fought over for centuries and depicted through the eyes of four village characters, each of a differing tribe - a Persian, a Kazak, a Turkman and an Armenian. Added to which is a Tehran photographer trying to capture it all on film, taxi drivers, cafe owner, factory manager etc. All have aimless lives with no real prospects. Mundane existences in a wide barren landscape littered with relics of the past. The dark humour, stoicism and pathos is abundant and the whole cinematic experience is a true joy to watch. Frontier Blues can be equally likened to other slow paced world cinema gems such as Lake Tahoe, Vodka Lemon, The Return, Historias Minimas, The Banishment, Las Acacias and the wonderful Once Upon A Time in Anatolia. So much different from standard mainstream cinema carp of today. To me they all provide to a western outsider an education and greater understanding of these peoples and places.

L'ARCHE DU DESERT or The Desert Ark uses the biblical Noah's Ark as a metaphor against the warring tribes, disputes, family honour, religious dictates and traditional factions apparent in the Muslim desert communities of Algeria. A dispute arises between a nomadic tribe and the townsfolk over two lovers, each from different tribes.

The girl has been promised in an arranged marriage to another but falls instead for another boy. Family honour must be satisfied. The narrative at times is difficult to follow. Some of the characters are played tongue in cheek. The director attempts to show the perspective from all sides and express the futility of such ancient customs in a modern age. At best the film gives an inside look on a hidden society - the Muslim faithful against the heathen Tuaregs, each having their own views on how society is structured and the law upheld. In what seems to be a convoluted and fractured narrative throughout, the closing scene somehow brings all the viewers questions to a conclusion. Beautiful desert landscapes and colourful backdrops make this well worth viewing.

A visual narrative on ordinary folk with a simple but instantly recognisable theme - loneliness. Argentina of late has produced some magical road films featuring the lives of everyday characters - and they are all a joy to watch. It matters not that the dialogue, what little there is of it, is in Spanish. It could be a silent film or dubbed in Arabic. The film speaks for itself. It is so well crafted. A roughneck lorry driver who has travelled the highways of Argentina for 30 years and used to his own space, is ordered by his boss to take one of his journeys south to Buenos Aries with a passenger - a young mother and child. Gradually, as the journey progresses and he becomes more and more frustrated with the noise and demands of the child, but a bond slowly comes through. This is a very touching film and very well made. The open road is shown not as dramatic backdrop in panorama - but as a close-up with each of the characters in the shot. There are a number of comments made by reviewers here that liken the film to watching paint dry etc. I think these people went to the cinema expecting another Die Hard, Steven Seagal, Van Damme, Terminator shoot em up Hollywood rubbish. Suggest that in future they read the poster before venturing further.

Cinema isn't just there to entertain (or make money) it is also to educate and generate thought. Well recommended piece of social realism.

A visual narrative on ordinary folk with a simple but instantly recognisable plot on family responsibility. Children and women are often the victims in male dominant third world societies. This film aims to express this through the eyes of children in a fragile society. In the aftermath of post-colonial and civil war-torn Muslim state Chad, a father leaves home for Morocco, leaving behind his wife and two boys, presumably to make money for his family. Their mother becomes stressed and cannot assert full parental responsibilities alone and so hands her children over to a nearby Koran school. Here, the boys plot to venture out and find their estranged father, not realising the extent of the journey or indeed where Morocco is - other than by the sea. As most people in the desert region of Chad have never seen the sea, their quest becomes a dream not to be fulfilled.

The pace of the film is deliberately slow. The narrative is mainly visual. The use of non-actors gives it that realistic edge. To me it is another fine example of indigenous African cinema that aims to bring home the reality of life. Cinema isn't just there to entertain (or make money) it is also to educate and enhance thought. Well recommended piece of social realism.

Minimal Stories is a thoroughly engrossing and enjoyable simple road movie where the emphasis is on the characters, rather than the story.

Argentina seems to excel in this genre. Three people set off on a journey - each looking to fulfil an expectation - and all end up satisfied. The feel good factor is in abundance. It compares well to similar road movies such as Bombon and Las Acacias, where the directors uses a largely non-professional cast, who in turn give that honest portrayal of simple folk in a landscape. In each case the main character tends to be an old man on a journey looking back in time and observing the younger generation. When watching these movies I am always looking for a political or religious undertone and in every case it does not exist. These are simply great feel good movies and very well made. Well recommended.

A French gangster film set in Paris with a very thin plot, lots of blood & gore, little or no character studies or plot lines, violent misogynist sex. I kept watching this and waiting for a plot to emerge. It didn't happen. The film starts with episodes of the various factions or gangs involved. One gang member is imprisoned. From then the film simply becomes a series of killings and murders until few of them are left. Reservoir Dogs it is not. Meserine it is not. Ronin it is not. The screenplay appears merely to be a pastiche of the best and worst of American gangster genre. The characters here are portrayed as cold violent individuals. Some characters have no apparent place within a thin plot - just filling up road kill. All this violent mayhem in a capital city and not a single policeman in sight? I found this film to be without much merit and not one that I would watch again, or indeed recommend.

The long awaited DVD release cover gives equal billing to Rodney Bewes and Fulton McKay. Why? Bewes only has one line and I cannot recall Fulton McKay at all. Surely Patrick Magee should have taken a billing slot? Apart from that I consider this film to be on a par with the likes of Hell Drivers, Hell is a City, Villain and Robbery - all finely cast gritty crime dramas of that era. The tight direction, army camp locations, vehicles used and military discipline & bull all add to the reality. The film is gripping throughout and keeps you in suspense. Although Stanley Baker and Tom Bell are again typecast as villains, it would be difficult think of other actors who could have carried this off, except say for Michael Craig. Well recommended.

In the early years of the 1980's when video was in its infancy I watched some of those sensationalist 'nasties' such as Driller Killer, Texas Chainsaw and I Spit on Your Grave. Low quality, poor acting, bad plot lines, grainy colour et al. They held a curiosity factor but were of little merit when compared to the likes of Straw Dogs. These cheap movies had a limited market and exposure. So it begs the question as to why these should be re-made? If the theory goes that you re-make a movie to make something better than the original, then that is fine. However, in most cases the re-make is nearly always inferior. That refers to both mainstream cinema and gore/horror low budget flicks. This re-make of I Spit, although it has better camera work and production values, is nevertheless a like for like piece of work with elements of the original flimsy plot excluded. If you haven't seen the original then the plot would seem weak.

The first half of the movie builds up to the violent rape scene followed by the girl throwing herself into a river, presumed drowned. Not a comfortable viewing experience. But then the second half immediately delves into the individual acts of revenge by the girl, despite a month having lapsed without her body being recovered. The original movie showed the girl having returned home to get well before she returns to exact her revenge. In this movie her acts of revenge are just standard gore. The movie ends with many questions unanswered. Above all, why did these actors agree to make this rubbish. They surely will not be invited to appear in mainstream movies of any merit when this flick is on their CV's. I would not recommend this movie to anyone, except for those who like shock horror gore. If you must see it - try the original first.

I have attempted on several occasions to watch this film from beginning to end, but without success. The problem is the language barriers. The dialogue is in Portuguese and Finnish with a little English. Not even the DVD version has the option of subtitles. How many people can translate between Finnish English & Portuguese? The viewer can still follow the story but much is missed without the interaction dialogue. The screenplay, grainy photography of Rio, characters and backdrop music all add to an atmospheric and interesting story. The close-ups of the poor of Rio, the markets, street scenes, gangsters, children and old folk gives a glimpse of the crime ridden city. The main character is a Finnish girl searching for her lost sister with the help of a non-Finnish or English speaking black gardener, who takes a shine to this red haired foreigner well out of her depth. European art-house cinema probably not aimed at a mainstream world audience. Worth persevering with.

Normally I would not waste my time watching celebrity TV chefs and general foodie shows BUT The Hairy Bikers I just find fascinating and compelling viewing. The cooking side is just a small part of the shows. There is much much more. The banter between these two northern friends is a joy to watch, a Cumbrian from Barrow in Furness and a Geordie from Newcastle. In this last series I learnt more about the hidden side of those countries in Europe in which they travelled, baking and cooking recipes along the way, than I have by watching boring travel shows such as Michael Palin. They are very funny, often using self parody. The way that they interact with ordinary folk they meet along the way is a delight. Thoroughly recommended viewing - not just for this Bakeation series but all their previous adventures. I haven't bought a white loaf of bread since!

Although a very well crafted and watchable film that stays close to the historical characters and events, without the usual Hollywood treatment of such period war movies - action heroes, love interest, bangs and explosions etc., however there is some strange castings. Notably Manfred, Rommel's son, who looks like a 1950's geeky American college kid. Jessica Tandy, a much underrated actress is superb. Mason could act the pants of any other actor and shines in this film, as indeed he did playing the same role in The Desert Rats. Richard Boone in a rare non-cowboy role makes me wonder why he never prospered in mainstream cinema. For once Hollywood manages to make a factual film without distorting history in order to get bums on seats and sell popcorn.

This long lost classic is out there somewhere. During the last Christmas break I joined a group of people in our local pub to watch Norman Wisdom in The Bulldog Breed on someone's laptop. It was from one of those streaming sites. At the end of the film someone mentioned TWACM and this chap brought it up on his screen. I sat and watched it right through - full titles, music, credits etc. Therefore if it is available to screen on the internet then surely it must be available to buy on DVD? I have tried to find a copy without luck, however, on the Darwen, Lancashire web site there is mention of this film being screened recently in the town hall in celebration of films made in Darwen - Brief Encounter etc. Apparently the town hall scenes in TWACM were filmed there.

Having just watched again this superb film on DVD after many years it still leaves me with the same questions that it did on the last viewing. Why did Fellini choose Baseheart and Quinn? Neither spoke Italian and both had to be dubbed sinked. Both neatly fit the bill but why not have Italian actors in what was to be an Italian film. The close up shots of Baseheart clearly are out of sink. Quinn of course naturally speaks with the head turned or mouth masked by his hand. The use of American actors does not take anything away from the film but at a time when Italian cinema was at its' very best it does seem a strange director choice.

Not since Francie & Josie has a series been so profound and loved. A very warming and funny show that endears. Brilliant writing, superb acting, sound characters, great dual story lines. Whenever a new series is screened I have that fear that this will be the last. But it grows and grows, as does it's characters. My one fear is that some London pinhead will tempt the lads into making a cinema version. Please don't do it lads - we Brits can produce superb TV but we are carp at the big screen. The movie often kills the TV show. Keep the formula going on the small screen, make the occasional diversion to an earlier age - like Jack & Victor as teddy boys or middle aged or even as youths - but keep the series going. The BBC don't give this series fair space or promotion south of the border - why I don't know? Search eBay or Amazon and they are loaded with DVD's of the series. You can buy the Vicar of Dibley or Last of the Summer Wine or Only Fools & Horses & similar guff for pennies. Still Game remains a premium buy at home and abroad. Oz and NZ love it. When Greg & Kiernan appeared as guests on Radio Five Live earlier this year it was clear to all that the presenter hadn't a clue who they were. Shocking.

This extremely fine & funny Scottish comedy series is seldom seen or noticed or even promoted south of the border. Very much underrated in England. Reason probably is that the pinheads who run the BBC these days do not understand the Glasgow dialect or appreciate what the series says. They still have their heads into carp like the Vicar of Dibley. Truth is that Scotland consistently produces some of our finest comics and writers. The Big Yin excluded, the roots of Still Game comes from the earlier Absolutely and Chewin the Fat series. Scots produced but fielding numerous English, welsh & other performers. Still Game has grown over the six series to become a very warm hearted and lovable must. You can watch the episodes over and over again without loss. The characters just grow on you. Apart from the two main characters, Isa the gob, Tam, Navid, Booby the barman and the excellent Winston really shine. The best description I have heard of the series is: it's similar to Last of the summer wine - but funny! 'thebrokendrum' comments posted earlier are as expected from a scouser. Afteral scousers are famed for thinking themselves as the funniest, best music, best football etc etc. Well boys - you are not! You have the worst accent, the poorest comedy, football is mediocre et al. But you do have the biggest mouths and, above all, you kept the shellsuit fashion going well into the 21st century. Well done. In a region where the standard accepted local currency is stolen videos/cars/you name it - any comments on Still Game should be read with caution. Ken Dodd, Jimmy Tarbuk - hah.