Only God Forgives: quick review...

What's it about?
An American drug dealer living in Bangkok is sent into the criminal underworld by his domineering mother to seek revenge for the murder of his brother. Bloody, stylish, straight-faced chaos ensues.
Who would I recognise in it?
Ryan Gosling, Kristin Scott Thomas, Vithaya Pansringarm, Tom Burke.
Great/Good/Alright/Shite?
I recently posted my thoughts on Nicolas Winding Refn's latest film - The Neon Demon - and found it to be extraordinarily stylish and obsessed with obtuse symbolism, but I was disappointed by how it sought to dispense with as much plot, story, characterisation, and redemption as possible (and it was decidedly over-long at an indulgent two hours). So I figured it was time I caught up with Only God Forgives, the film that sits between TND and Refn's 2011 film Drive (a richly textured, yearning, ultra cool modern classic). Where, I wondered, would it fall on the scale between those two films...

Click "READ MORE" below to continue...

Flavours of the Month: January 2012...

LOOKS:

The Angelos Neil Epithemou Show - seemingly just a pilot at this stage (along with Milton Jones' "House of Rooms"), but being a huge fan of his character as-seen on the now cancelled Shooting Stars, I loved it. Hopefully Channel 4 pick it up for a full series.

Apocalypse Now (Blu-Ray) - Franis Ford Coppola's Vietnam war epic just got even more vast - on 3-disc collector's edition Blu-Ray. It's crammed with extras too.

Forgetting Sarah Marshall (Blu-Ray) - Jason Siegel wrote a killer script and gave a brilliant comedic performance. I loved it when I saw it in the cinema, and I figured it was about time to give it another spin.

The Golden Globes 2012 - last year Sky Movies broadcast them in the UK. This year it was E! Entertainment - and boy did they make a pig's ear of it. The feed was all over the place in the first 30 minutes, missing half of Gervais' intro speech, an entire category, half of a winner's speech, and it kept cutting away to the same glitchy package of adverts that just seemed to keep coming back like a friggin' zombie. Add in the incessant, wimpy bleeping out of every punchline (and even entire sentences!), and it was just a weak sauce showing all round.

Shameless Slasher Nasties Box Set DVD - as you'll have seen already, this month I've been reviewing this excellent 3-disc box set of 1970s Italian genre flicks. Killer Nun, Torso, and Night Train Murders.

Kevin Smith - Too Fat For 40 (his latest stand-up Q&A DVD) finally makes an appearance more than a year after it happened, but in an unexpurgated form. Hilarity ensues as he once again manages to capture my imagination with well told yarns from his personal life (the main feature is 3 hours and 20 minutes long!) Plus at long last, a full year-to-the-day after it's Sundance Premiere, Smith's deeply twisted realist horror movie Red State comes to a wide UK release on DVD and Blu-Ray - it has some flaws, but I really dug it. Finally, another viewing of Clerks: The Animated Series.

YouTube hopping - my love for The Big Bang Theory has excelled thanks to it being on constant repeat on E4 nowadays (since they let Friends go to the Paramount Comedy Channel), and I've found myself skimming around YouTube watching numerous gag reels, interviews and Comic-Con panels to do with the show. What's more I've also got into watching various small clips from season five of Robot Chicken - a season that, at this time anyway, has no release date on DVD (even though it's been out in America for ages - before it's even finished airing on Adult Swim).


SOUNDS:

Chase Status ft. Liam Bailey "Blind Faith" - as heard in Dirt 3.

The Walker Brothers "The Sun Ain't Gonna Shine Anymore" & Wye Oak "Civilian" - the time is nearing for the second half of season two of The Walking Dead (the best show currently on TV in my view), so I've been psyching myself up with these tracks which appeared on the full trailers for seasons 1 and 2.

Red Dead Redemption OST

Ringo Deathstarr "Colour Trip"

Alessandro Alessandroni "Suor Omicidi" - otherwise known as "Killer Nun". Like so many stand-out pieces from the soundtracks of Italian genre flicks, this one gets pleasingly lodged in your head.

Stelvio Cipriani "La Polizia Sta A Guardare" - as heard in the flick "What Have They Done To Your Daughters" (and briefly heard in "Death Proof").

M83 "Hurry Up, We're Dreaming"

Drive OST - Kavinsky ft. Lovefoxxx "Nightcall", Desire "Under Your Spell", College ft. Electric Youth "A Real Hero", Riz Ortolani "Oh My Love", and The Chromatics "Tick of the Clock"

Kavinsky "Pacific Coast Highway"


VIBES & FLAVOURS:

Call of Duty: Modern Warfare 3 - a nice rounding off of a trilogy arc. The third act isn't quite as thrilling or epic as the first two acts, but as a fan of the franchise I really enjoyed myself. The additional "Special Ops" content has also been tweaked for the better (although I do find it strange that "Recruit" mode isn't included for the Spec-Op missions).

Dirt 3 - the 'mini pyramids' felt a bit like a chore after a lengthy career mode, but then on the other hand you aren't left wanting for content. It's still been a spiffing racer to play, mind you.

The Walking Dead: Volume 9 & 10 - slowly but surely I'm catching up on Kirkman's excellent comic series. Still another five to go, however.

Damned by Chuck Palahniuk - the author's latest book, and it's his most inventive outing since Rant. The central character is a 13 year old daughter of a celebrity couple, who is damned to hell after suffering an apparent 'marijuana overdose' and bands together with a veritable 'Breakfast Club' cast of teenage stereotypes to plead her case to the authorities of Hell itself. I enjoyed it immensely - if you're a fan of Palahniuk's work, you definitely need to check this title out.

The Top 50 List - it was an exhaustive process re-jigging the list (less-so than creating the list from scratch back in 2009, mind you) but I had been meaning to do it for ages. Well - I've compiled my own Top 50 list of personal most favourite-favourites ... but even still a beloved title or two is going to slip your mind (such as the utterly arresting The Shawshank Redemption, or the endearingly laid back and meandering The Big Lebowski).

Double Bill Mini Musings: Catching Up on 2011...

Red State:
I've been hearing about this movie for absolutely sodding ages - particularly as I'm a frequent and consistent listener to numerous podcasts featured on Kevin Smith's "SModcast Network" (and as such I was subject to a few spoilers over the last year-or-more). Indeed, I had got to the point that I was utterly sick of listening to yet another all-too-familiar 45 minute rant about the state of modern movie advertising, that I'd just switch off entirely ... needless to say I was damned ready to see the movie already.

I've also heard very mixed things about the flick - some love it, some hate it, and some whinge specifically about the ending for not 'going the whole Dogma hog' - but considering Red State is a realist horror film, such flights of fantasy wouldn't fit in too well with the overall tone, which feels terrifyingly close to reality at times.

Another thing that some haters of the flick didn't like was the constant shifting of tone, genre, and focus - which was very much intended by Smith - and I can understand how it could wrong-foot some, and how it can mean that some characters remain a bit underdeveloped over the extremely efficient 85 minute running time ... but nevertheless I really dug it.

I dug it so much in fact that I wanted to watch it again straight away - surely a very good sign (I had the same reaction to Clerks II, come to think of it) - although I'm specifically starving myself of it for a little while before I re-view it.

Ranging from teen sex comedy one minute, to Wrath-of-God preaching the next, to Waco-esque shoot-out after that, pretty much nobody in the cast is safe ... and boy, do some of them go in extremely chilling ways. Indeed, the fear is so palpable on many of the victim's faces that a chill genuinely tears up your spine and dances across the base of your neck; seeing one smut-talking teen reduced to a dribbling wreck pleading that he just wants his mother packed a surprising punch. The film's 'Five Point Chuch' - led by a Phelps-to-the-most-extreme patriarch - preach such seething hatred that it makes you sit most uncomfortably in your chair, all-the-more-so because Michael Parks' performance is simultaneously disarming and utterly enrapturing. Suffice to say the man owns the entire film, with a fantastic performance that turns what could have easily become a pantomime villain, into a remarkably fearsome fun-time fanatic. As he beams with joy at the Popeye impression of one his youngest followers, you can't help but grin from ear-to-ear, and therein lies the excellence of Parks' performance: he constantly disturbs your balance.

Moving on, this is most definitely unlike any other Kevin Smith film to date - returning to his Indie roots for the production and distribution (albeit with the connections and sway of a long-time player with a loyal, long-established fan base), Smith's film displays a sense of vibrant flair which he hadn't previously explored. Using the Red Camera system, the film takes on a rampaging sense of immediacy, while looking utterly gorgeous and endlessly crisp on Blu-Ray.

One problem though - and it's the extra features on the Blu-Ray - whoever encoded them did a piss poor job. Every single one of them is in letterbox (so the image is surrounded on all sides by black on a widescreen TV), and whatever settings were used for encoding have rendered the extras subject to an annoying amount of interlacing and even strange image ghosting at times. They're not unwatchable by any means, but considering the sheer high quality of the main feature's presentation, it's unfortunate that the extras haven't been given the same care when being ported over to the disc. I'm not sure if this is only a problem with the Region B disc or not.

Despite receiving a few spoilers along the way from numerous podcasts on Smith's network, there were still a few good shocks left in it for me. Furthermore, good lord, there are countless fantastic performances throughout. Great character actors of various levels of repute populate the cast so that it's fit-to-bursting - there's always somebody new to see, and another dark twist to be taken in the ever-changing plot. While there are occasional pacing issues (which could conceivably worsen if you're one who disagrees with the ever-shifting focus of the script), I really enjoyed the flick - it's ruddy good to finally see it, but in my view it's also Smith's most interesting film since Dogma and his most enjoyable since Clerks II.


Drive:
Nicolas Winding Refn (who has previously given us the stonkingly stylish Bronson) gives us the most stylish and achingly cool movie of 2011. Some didn't like it - no doubt because the title could prove a bit misleading (and the marketing sold it the wrong way) - it's not so much about driving, as it is the existentialism surrounding Ryan Gosling's grippingly-performed stuntman ... but I absolutely loved it.

The opening getaway car sequence (seen entirely from the passenger seat) is nail-bitingly, hold-your-breath tense, exhibiting the sort of patience, skill, and shark-like determination that sums up the character of Gosling's 'Driver'. A man who spends most of the movie not saying an awful lot - indeed, as was the aim of the filmmakers, he is akin to the lone wolf American hero who uses stoicism and skilled use of extreme violence to preserve innocence. Speaking of innocence, the focus of that is Carey Mulligan's mother Irene (whose jailbird husband gets the Driver into an awful lot of trouble with some gangsters and a bag full of money). The relationship between Gosling and Mulligan's characters is sweet and chaste - it truly is an examination of love as an innocent and precious thing, where entwined fingers on a gear stick, and one kiss before an eruption of shocking violence prove to be far more potent than getting your kit off and going all the way.

Speaking of violence, it's no Rambo, but on the other hand it does feature moments of stunningly graphic violence - no doubt because the beauty of the build-up is so involving. Finally, on the issue of style - this film has it in spades. From the titles in pink cursive, to the lush and twinkling neon of the streets at night (a highlight of the superbly composed cinematography), and to the exceedingly cool 1980s soundtrack, it's nothing short of breathtakingly beautiful. One part B-Movie with an A-Movie look, one part masterclass in cool, and one part thrill ride; if I had seen this in 2011 it would have most definitely been on my Top Ten list of that year.

Flavours of the Month: April 2011...

LOOKS:

Hot Tub Time Machine - still a bloody good laugh. "Great White Buffalo ... Great White Buffalo ... Great White Buffalo."

Event Horizon - I hadn't seen this for years, so it was a nostalgia trip as I used to watch this all the time when I was in high school (when it originally came out). Me and my mates loved it, and the fact that it featured "Funky Shit" by The Prodigy made it all the more appealing to us. I tell you what as well, it's a damn sight better than Pandorum, that's for sure.

Blue Velvet - there's a certain tone and vibe to a David Lynch project that makes them stand out from the crowd, and Blue Velvet is one of his strongest films. I'm rather looking forward to the Blu-Ray release, now that a whole load of deleted content has been recently discovered.

Jackass - I had another skim through the Jackass flicks, being that the third one recently came out on home video, for old times' sake. Now roll on whenever Jackass 3.5 comes out.

Mulholland Drive - I'd not seen it until this month, but the Blu-Ray was released not too long ago, and coming hot on the heels of another viewing of Blue Velvet, it felt like the right time. It looks nothing short of seductive on Blu-Ray, and the extra features (which are mostly in French, somewhat curiously) are intriguing - particularly the one that uses Lynch's own list of 10 clues to decipher what the movie is (most likely) about. I loved it.

MacGruber - I'm totally unfamiliar with the SNL sketch on which this is based, but we laughed hard at the cinema when we went to see it, and I certainly enjoyed it a second time around. "KFBR 392, KFBR 392, KFBR 392."

Iron Man 2 - it was about a year ago that we saw this in the cinema, and we were insanely psyched to see it. It's a shame then that it just didn't live up to the excellent trailer, nor the very enjoyable and well paced first movie. The sequel's pace is too uneven, the final battle with Vanko is bizarrely short, and it gets a bit distracted by establishing the wider Avengers franchise. There's still some cool action, but here's hoping that the third movie - apparently under the tutelage of Shane Black - re-asserts the quality factor of the first flick.

SOUNDS:

CKY "An Answer Can Be Found" - I was a little bet let down by this album back in 2005, but it's definitely better than I remembered it as being. However, Infiltrate Destroy Rebuild, and Carver City, were both superior albums in my view.

The Prodigy "Invaders Must Die" - I think it was the use of "Run With The Wolves" in the trailer for Paul that inspired me to give this a few more spins.

Angelo Badalamenti & BlueBob - there's something about the vibe, that music produced for David Lynch projects, gives off that helps get my mind into a certain place that helps me write.

Foo Fighters "Wasting Light" - after being a little bit underwhelmed by their last two albums (although I still enjoyed them, just not as much as their 2nd, 3rd and 4th outings), this is a return to form in my view. A stripped back sound with catchy songs. Make sure you check out the 'Live at 606' version of the album on the band's official YouTube channel.

Scream 2 - I gave the soundtrack CD, which I bought back in 1999, another spin after seeing Scream 4 in the cinema. It's a rather mixed album - the good comes in the form of "Eyes of Sand" (Tonic), "Dear Lover" (Foo Fighters), "Red Right Hand" (Nick Cave & The Bad Seeds), "I Think I Love You" (Less Than Jake) and "She Said" (Collective Soul) ... but the bad comes in the form of the absolutely dreadful opener "Scream" (Master P), and a series of mediocre offerings filling out the rest.

White Zombie "Astro-Creep:2000", and "La Sexorcisto: Devil Music Vol. 1" - the former is definitely my favourite White Zombie outing. Every now and then I swing by these albums in my collection and give them another spin.

VIBES & FLAVOURS:

Brownies & Apple Juice - a recurring snack choice for this month.

Battlefield Bad Company 2 - it's been a while since it was released, but I got around to it for the PC. It's good fun with some pretty cool levels and a nice sense of scale. Plus, naturally, the sound design is superb, and how could you not enjoy blowing holes in buildings and then rinsing the military occupants with bullets?

Hobo With A Shotgun - trailer contests, trailers, featurettes, music, there's been a decided Hobo vibe to this month.

Allen Bridge - having broken the back of the central idea (which originated in June 2010), I finally got into writing it, and as you'll have noticed here on the blog, I've been doing a series of posts specifically about it. Inspiration has come in the form of Blue Velvet, Mulholland Drive, Twin Peaks, and the music connected to those flicks, but that's not to say that this drama mystery of mine is particularly Lynchian. Those just happened to be the influences that got my mind into a particular space that allowed me to head off into my own directions and generally set a sort of tone ... if that makes sense. Continue to follow my progress with this script here on the blog.

Red Dead Redemption - replaying the story missions, ahead of L.A. Noire out later in May, I really enjoyed heading back to the dying days of the wild west with John Marston. It's possibly the best thing that Rockstar have thus far produced, even if certain elements feel very familiar from the likes of GTA.

Do Androids Dream of Electric Sheep? - I've seen Blade Runner numerous times over the years, but I've never read the book. Now though I'm into the second half and I'm really enjoying it - especially as it's decidedly different to the film, so it's pretty cool to see how Blade Runner developed out of Philip K. Dick's android hunting paranoid vision.

Quiz Cocktail Supreme - it's that time of year when spring is slowly morphing into summer, and that means cider and pub quizzes. Teaming up with some chums of mine, with a name inspired by a Jackass 3D skit, we've been doing better than we thought we might.

The Royal Wedding - while I wasn't all super-psyched about it, or especially looking forward to it, I remain in favour of the Royal Family for numerous reasons (which I've gotten into elsewhere, so I won't get into it here). I ended up watching the whole thing and actually quite enjoyed it, particularly for the sheer military precision and organisation of the entire event. Besides, it's not often that an event like this happens, and we Brits are reserved in our patriotism - saving it up for grand gestures and events, such as this, every once in a while - and we really show a global audience (estimated at two billion) just how to pull off pageantry properly.

Double Bill Mini (and Cine) Musings: Groundhog Action and Hollywood Dreams...

Source Code:
Duncan Jones didn't half make an impressive splash when he touched down with his wonderfully intriguing and charmingly produced 70s-vibe, existential sci-fi debut Moon, so it's great to see he hasn't suffered difficult second album syndrome with sci-fi actioner Source Code.

Jake Gyllenhaal plays military pilot Colter Stevens who mysteriously finds himself within the titular code, committed to repeat the last 8 minutes of life afforded to a passenger on a train that was just blown up by a terrorist madman who plans to go all-out in the centre of Chicago, which is hurriedly being evacuated. The source code is all to do with residual memory ... or something like that ... the sci-fi element is a touch woolly, but being that the film moves with a swift pace and talented direction, the plot holes and "but what about?" questions don't particularly get in the way.

While some recent movies that repeat a period of time for dramatic effect got a bit grating (Vantage Point), Source Code fortunately keeps things fresh throughout with new ideas to explore. It's an interesting flick that could have easily, in the wrong hands, become a silly paranoid sci-fi direct-to-DVD venture ... but in the hands of Jones, with committed performances from the key players on screen, it's an enjoyable ride with some nifty ideas to keep things fresh and moving along - even if you're left with a few plot holes come the end.


Mulholland Drive:
A decade might be pushing the term "fashionably late", but I know for a fact in January 2002 (when Lynch's mournful Hollywood dream first came to the UK) I wouldn't have been prepared, let alone suited, for viewing it. So I'm glad that I've come to it with an entirely different outlook on life and cinema than what I possessed a decade ago.

Picking it up on the recently released StudioCanal Collection Blu-Ray, it's a regret-fuelled dream/nightmare for the most part, backed up by a scattered reality. Inspired by the golden age of Hollywood, the mysterious charm of the eponymous road, the difficulties of getting a film made, and even the Black Dahlia case, Lynch's film is a haunting neo-noir mystery.

You can't half-watch this film, you can't skip bits, and you shouldn't dismiss it. Fair enough, it's certainly not for everyone, but all you need to do is pay attention and decipher what information you're provided is key and what is extraneous - indeed Lynch released a list of 10 clues to help you understand more about the film. Furthermore, as illustrated on one of the disc's special features, some French fans of the film - using the 10 clues - pulled together a convincing deconstruction of the film's plot. I'd have to agree with their findings (but do see the movie before you watch that featurette) and was well on my way to a similar conclusion after my first viewing - however it's most certainly one of those films you need to see more than once in order to appreciate the myriad of information thrown your way, and how the seemingly disparate mysteries and symbols tie together.

Furthermore it's a beautiful film, both visually and aurally, and it's haunting atmosphere is one that sticks with you afterwards. It rewards, like most of Lynch's projects, active participation and attention from the viewer. You've got to be in the mood, and you've got to have the time set aside (thanks to the lack of a traditional scene selection), but if you're willing to invest in it, and dive into the beguiling atmosphere, you'll remember it for a long time - and quite possibly become obsessed with it.

Double Bill Mini-Cine Musings: Stoner aliens and Amber Heard in 3D...

Paul:
Compared to the comedic writing style of Simon Pegg and Edgar Wright (which is often intricate and fast paced in terms of call-backs, observations and references), that of Simon Pegg and Nick Frost (who co-wrote this action/comedy/sci-fi/road movie) isn't so much about intricacies. Rather it's more about a central concept - two British nerds (Pegg & Frost) go on a road trip across America's alien-related sights after their visit to fanboy central (the San Diego Comic-Con), and end up having to escort an alien - named Paul - to a certain site (kudos to those who figure out the loving reference an hour before it occurs) so that he can get home.

Where Paul shines are the characters - from Pegg and Frost's loveable duo of alien-obsessed nerds, to Kristen Wiig's Darwin-denying Creationist (whose entire belief system is exploded in one moment), to a certain sci-fi legend cameo that's damn good fun in the third act. In between it all though, for added enjoyment, are a series of cameos and bit-parts ... and then there's Paul himself, as voiced by Seth Rogen - possibly the most fun-loving alien ever on-screen.

While it may not have the wall-to-wall, frenetically-paced chuckles, guffaws, and gaspers of Shaun of the Dead, or Hot Fuzz, it's a movie that can't just be slotted into the comedy genre and left. It's as much a road movie as a comedy, and there's a decent slice of action, and sci-fi, drizzled on top.

It's bloody good fun, and I'm hoping that there'll be an extended cut for the home video release - because by the end of the film I wanted a little bit more of the little character moments and interplay that no doubt had to be left on the cutting room floor for the theatrical release - so we'll have to see what's what, but this is a definite DVD/Blu-Ray purchase no matter what.


Drive Angry 3D:
Using 3D like it's supposed to (shoving guns, baseball bats, skull fragments, and bloody stumps deep into the lens), this romper stomper of a genre flick is good fun from-the-get-go. It's not meant to be deep, so if you were expecting anything remotely like that, then you're a fool - it's clearly about muscle cars, guns, Nic Cage doing his badass thing, and Amber Heard in Daisy Dukes ... in 3D.

Speaking of which, even though the 3D is a bit of fun, I'm really starting to lose interest in it. It's not just the bloody glasses you have to wear, nor is it just the damned cheek of charging a considerable slab more on your ticket for 3D, but it's just how damn-near-pointless 3D is. If a movie is shit, it's shit, be it in 3D or not, and vice versa. 3D isn't necessary to tell a story either, far from it, so it becomes either unimportant or a gimmick - and neither path is going to mean it properly taking off.

Moving on though, Drive Angry 3D was - at times - a little disappointing. William Fichtner's "The Accountant" is a thoroughly entertaining baddie, but there needed to be more of him throughout, meanwhile all the Satanic Cult stuff wasn't as developed (and therefore not as interesting) as it could have been, so that all became a case of generic bad guy cannon fodder for the third act. What does work are the exploitation elements - the cars, the sex, the violence, and the black humour.

Compared to Lussier & Farmer's previous 3D outing (the underwhelming remake of My Bloody Valentine, also in 3D and also featuring genre icon Tom Atkins), this is a decided step up in all respects ... it's just a shame that the pacing and plotting faltered throughout, and that some of the dialogue seemed lazy ("I'm going to kill you" - intentionally ironic in its simplicity or not, such lines came off as damp squibs when the audience was all expecting a much more creative kiss-off).

The flick would at times have a real sense of purpose propelling it forward, but then it would inexplicably lose it from time-to-time throughout (times when I'd be waiting for Fichtner's scene-stealing Accountant to turn up). Indeed, the aforementioned Satanic Cult was the most undercooked element of the script, lead by a one-note bad guy, who was entirely trumped by, yep, Fichtner's grin-inducing Accountant-from-Hell.

So it's a mixed bag, but ultimately it gets a thumbs up from me because - several scripting and pacing faults aside - it's just a bloody good time. It is called Drive Angry after all, and features sexy cars, sexy chicks, badass dudes and pounding jolts of violence ... in full-on gimmick-driven 3D.

Sex Drive...

I figured this would be good for a laugh with my mates when I saw the trailer, but wasn't expecting much from it - and while it's not got that little extra something which the likes of American Pie exhibited - Sex Drive is actually pretty good, and it certainly entertains, achieving what it sets out to do.

This is the sort of movie where our geeky-ish lead gets into all manner of embarrassing situations involving jizzy pants, flung johnnies, and big black dildos secretly attached to his giant donut work costume ... Citizen Kane it most definitely isn't - it's mainly gross-out, low-brow yuck-yucks, and it does that well.

Not the best in show, so-to-speak, but far more convincing than other movies in its territory.

Were "teh lulz" had? Yes. It's not the dawn of a new era, and it's not a pile of garbage either - plenty of juicy low-brow moments throughout makes it ideal fodder for a bunch of mates in search of a good old chuckle to distract them from the pressures of modern life.