The Running Man

 

Having been an avid fan of Edgar Wright’s, my curiosity peaked with his adaptation of The Running Man. Having only seen the 1987 version and enjoyed it well enough, I was keen to see how this film would turn out. But as the release date grew closer my interest began to drop, the main reason being Ben Richards’ motivation. In the 80s version Richards was escaping a labour camp and wanted to clear his name of crimes he didn’t commit, but the latest Richards has a sick child and family to look after. I find this motivation a dull over used cop out. Longing for the days the reason a so called hero does something is save his own skin and everyone else’s by accident. But this is my own issue and moving that aside I delved into the film.

Needing to take care of his family, blacklisted labourer Ben Richards signed up to take part in the deadliest TV show on the Network, The Running Man, where contestants have to last 30 days on the street, while hunters and members of the public, hunt them down. The winner is awarded a hell of large sum of money if they last the full 30 days. Taking the chance, Richards meets people along the way that help him hide and outwit the ruthless hunters, as well as discovering just how manipulative the Network is, changing his whole personality to fit in with the show.

Overall, this was as entertaining as the 1987 film. There were plenty of fight sequences to shock and awe as well as some very kooky side characters that stole the film almost, in particular Michael Cera’s rebel Elton who has been trying to get the truth about the Network out. Colman Domingo makes an impression too (as always) as the show’s enigmatic host and again, Lee Pace proves he can do more to steal a scene while wearing a mask for most of the film than Glen Powell does the whole film. Not to say Powell doesn’t do a good job as the ‘good guy’, its pretty much a one note character and he does well. And yet, Powell doesn’t feel like an action star. He has a style that worked so well in Hitman and Set It Up, but this really didn’t feel like the right fit for him. Along those same lines, this did not feel, look or sound like an Edgar Wright film in any shape or form, which was probably the most shocking part of the whole film experience. The film had a great cast, great elements but didn’t quite hit the heights of a great film.

Hostages

 

The driest of dry comedies, Hostages, feels as if this was tailor made for a British audience. The attitudes and weird awkward interactions shared between the characters (except for David, the most useless security guard you’ll ever find), all scream ‘this is very British’.

After an explosion in a hotel near London Bridge, the majority of the staff and guests are quickly evacuated. But due to the confusion and clarity of where to actually exist, four guests find themselves holed up in one of the rooms unsure what to do, especially when it seems everyone on social media and indeed the news say it's a terrorist attack. What follows is a series of frustrating phone calls to the police, with each other and debate about whether they should actually be tweeting any of this.

Full review over at Filmhounds.

The Ice Tower

When watching a Lucille Hadzihalilovic film, even when you have no idea what the story is, you can expect something very different each and every time. Though there are stories to play out, full of mystery and existential dread, the atmosphere is set, the tone is understated and you can bet there will be a memorable character and an uncomfortable feeling in the pit of your stomach. The Ice Tower, slightly different from Hadzihalilovic’s previous offerings, in that the setting feels more definitive. Starting in the mountains, then travelling to a city and finally a studio where a film is being made. But this is not a story about the film industry, this is about infatuation and desire.

Teenage orphan Jeanne decides to run away from the current home she is in. Ending up in a city she recognises from an old postcard, she takes refuge in a studio. A film adaptation of The Snow Queen is currently being shot, starring the enigmatic actress, Cristina. As Jeanne slowly becomes infatuated with Cristina, she finds her way to being part of the production. Cristina equally is fascinated by Jeanne, though her motives become more and more unclear as the film nears its end.

Full review over at Filmhounds.

Pearl

 

Some may say that Pearl is the most beloved, if that word can even be used, film in Ti West’s trilogy. The villain from X has own story to tell and it is as dark as her soul. Thankfully we can now enjoy it in 4K. Second Sight’s releases of Pearl (and MaXXXine) are fantastic as always. Complete with extras on disc, art cards, booklet with various essays all presented in rigid case with brand new artwork and the film itself on 4K. Whether you’re a die-hard fan for the film or new to Pearl’s bloody beginnings, this is a release that worth having on your shelf.

Waiting for her husband to return from war, Pearl dreams of becoming a star, dancing on stage or in movies. But as her dreams are stifled by her overbearing mother, her sick father and her duties on the family farm, Pearl’s inner thoughts and desires start to break through with violent and bloody consequences.

Full review over at Filmhounds. 

Edwards Scissorhands

 

As Tim Burton’s previous masterpieces are being released in 4K, it was only a matter of time before one of his most beloved, now considered classics, made its way to our small screens in all its 4K glory. Edward Scissorhands, a character synonymous with director and actor alike, the film won us over with its bizarre charm and stylised design, one that could never really truly be replicated, except by the creator itself. Though we did get some version of this in a car advert during the Superbowl a few years back with Timothee Chalamet donning the scissorhands. The character made famous by Burton and Johnny Depp as the man himself, has been parodied, idolised by gothic millennial teens everywhere, especially at Halloween, but looking back at the film on its release on 4K, there is much more to be explored.

Full review over at Filmhounds.

The Testament of Ann Lee - BFI London Film Festival

 

Though there have been biographies that try to offer another way to tell a story, biographical films end up in the drama or comedy arenas with fair to middling results. But add in the founding of religion, a lot of choral singing and chanting and most importantly, dancing that will keep you captivated from start to finish and you have the making of something completely different. Directed by Mona Fastvold and co-written with Brady Corbet, The Testament Ann Lee is unlike anything you’ve seen in a very long time. 

This is the story of Ann Lee, or Mother Ann as she was eventually known as. From her harsh beginnings to her going on to becoming a founder of the Shakers religious sect in the 18th Century, starting in Manchester, UK and taking her followers to America.

Full review over at Late Night Picture Show