Category Archives: British

Exit Through the Gift Shop-2010

Exit Through the Gift Shop-2010

Director Banksy

Starring Banksy

Scott’s Review #531

70132200

Reviewed December 1, 2016

Grade: B-

Exit Through the Gift Shop is a 2010 documentary. I am a fan of documentaries if the subject matter interests me.

The topic of this documentary is street art, which is not especially appealing to me, but it is also nice to be open to new experiences and perhaps learn a thing or two.

Banksy, who both directed and stars in the documentary, is the main focus, and the film tells his story.

We meet a man from Los Angeles who carries a camera wherever he goes. Through his cousin in France, he decides to do a documentary on street artists.

He is fascinated by the mysterious and secretive Banksy until he manages to meet him one day. He then begins filming Banksy’s street art.

So the documentary has a plot and isn’t the standard type of documentary.

Some claim that the film is staged and that a bit of a hoax has run rampant, but those allegations have not been proven.

I respect this feature as a nice, telling documentary, but it drags a bit, which may be because I’m not very interested in the topic.

Great for anyone into street art.

Oscar Nominations: Best Documentary Feature

Independent Spirit Award Nominations: 1 win-Best Documentary (won)

Lifeforce-1985

Lifeforce-1985

Director Tobe Hooper

Starring Steve Railsback, Peter Firth, Frank Finlay

Scott’s Review #516

699938

Reviewed November 11, 2016

Grade: F

Lifeforce, a film made in 1985, is a film that I did not enjoy at all.

It tells the story of a team of astronauts who find three pods of seemingly human bodies, who eventually return the bodies to Earth and turn said humans into zombies.

That is it in a nutshell.

The story makes no sense whatsoever, and there is no rhyme or reason to the characters’ actions except to further the plot.

No mention or details as to why they are in outer space or anything that drives the character’s motives.

The film is way too complicated for its own good, and it would have been wiser to go for a straightforward action film rather than what we are treated to (a combo sci-fi/horror mess).

The special effects are completely dated and very cheesy.

Lifeforce (1985) is completely plot-driven, and I did not find it gripping at all; it is a waste of time that deserves to be completely forgotten.

28 Days Later-2002

28 Days Later-2002

Director Danny Boyle

Starring Cillian Murphy, Naomie Harris

Scott’s Review #507

60027998

Reviewed November 2, 2016

Grade: B+

Before the influx of zombie-related horror films and television shows filled the land- arguably offset by the success of The Walking Dead series, a little film came along.

Now almost teetering on the brink of being forgotten, this genre presented it with fresh insight and creative storytelling, posing questions amid the mayhem.

28 Days Later (2002) rejuvenated this largely dormant film category with a gritty story of peril among a group of survivors spared from a deadly virus.

The film is smart in how it explores moral issues and society’s need to continue.

We initially are immersed in confusion as chaos immediately ensues.

After a brief prologue of a group of laboratory chimpanzees gone mad, inflicted with rage, being let loose by animal liberators, and killing all present as well as inflicting the humans, we meet a lone man named Jim.

The timing is relevant as it is “28 days later” from the incident.

The young man awakens in a hospital to find himself alone amid downtown London- not a soul in sight. Fortunately, he has been in a coma and missed the crumbling of society due to an outbreak- somehow Jim has been spared.

Gradually, Jim meets others uninfected by the virus, and they forge through the country in search of a military base rumored to be a haven.

The infected humans are not zombies, but rather, violent creatures who destroy anyone in their path.

The film not only presents the grotesque creatures but also challenges the audience to think in a political sense- how will the survivors forge a new society?

How will women be treated differently from and by their male counterparts in a world that now lacks any police force or government?

My initial reaction to watching 28 Days Later- years after its initial release- is that it now seems slightly dated, but that has more to do with the legions of copycat films that have come after it and have been exposed to.

We have become more encompassed by this type of film, both in genre and in style. Appreciation is warranted for its gritty, fast-paced camera-work, extreme violence, and the use of “infected” who turn from human beings to vicious beings.

A fantastic part of this film is that it is not simply a horror film; it is more layered than that.

There are moments of great beauty and tender moments among Jim and Selena, the sole surviving female other than the young, waif-like Hannah, whose world has been shattered by the death of her loved ones.

In one sad scene, a couple has peacefully committed suicide, rather than face what would surely become of them.

There is a sense of a human story in 28 Days Later (2002), which made me find the film heartfelt and almost sweet.

Even the military soldiers- their motivations questionable- are relatable based on the world being turned upside down.

A layered, complex zombie film with some character-driven elements.

45 Years-2015

45 Years-2015

Director Andre Haigh

Starring Charlotte Rampling, Tom Courtenay

Scott’s Review #488

80040147

Reviewed October 1, 2016

Grade: B+

In 45 Years (2015), acting is the film’s clear highlight and the main reason to watch it.

Seasoned veterans take center stage and give tremendous performances and lessons in acting.

Tom Courtenay and Charlotte Rampling carry the film.

45 Years follows an enduring marriage tested by an outside revelation that escalates into conflict and mixed emotions.

The film moves at a slow pace and can challenge even the most patient viewers, but that pace is warranted, as the longevity of the characters’ marriage is key to the film.

Geoff and Kate Mercer, a happy couple living in rural England, excitedly plan their 45th wedding anniversary (the 40th was canceled because of Geoff’s heart condition).

They are a popular couple in their town, both kind and decent, and many will attend the event.

One day Geoff receives a letter from authorities in Switzerland- a young woman (Katya) he was once involved with, and presumed dead in 1962, has been found.

After falling into an icy glacier, her body is preserved and looks the same as it did then.

Unsure of the extent of their relationship, Kate is riddled with jealousy, curiosity, and guilt.

Geoff and Kate’s marriage is tested.

45 Years is a mature film involving mature characters. Geoff and Kate are still in love decades into their relationship, but the introduction of Katya becomes an unwelcome conflict.

The film plays out gradually, but realistically, as marriage moves along slowly.

The film shows many scenes of Geoff and Kate’s day-to-day activities: they walk their dog together, travel into town to shop, relax, and read the newspaper.

Like real people do.

This is an asset to the film. Real life is sometimes mundane and dull, but these little tasks are pleasurable and soothing.

Geoff and Kate’s marriage contrasts with the relationship Geoff and Katya briefly had years ago (excitement, risk, youth), and Kate’s point of view is understandable.

As details reveal themselves, Kate feels inferior.

She is no longer young and thinks of Geoff and Katya, and the life they might have had together if the accident had not occurred. Despite being dead, Katya becomes an obstacle in Kate’s mind.

The film wisely doesn’t write Kate as a jealous shrew or a one-dimensional character. She fights her jealousy at every turn and tries to stay strong and realistic.

Charlotte Rampling gives such a good, subtle, understated performance that it is easy to overlook how good she is.

She does not have hysterical moments or a scene where she loses control. Instead, Rampling conveys a range of complex emotions through her facial expressions.

Let’s not forget to mention Tom Courtenay. Imagine being in the golden years of your life and a long-lost lover (in spirit anyway) returns to the fold. Geoff cannot help but imagine a life with Katya if she remained alive.

Kate asks Geoff if he would have married Katya, and he cannot deny it.

Several scenes show the couple dealing with “old people” issues, awkward lovemaking, for example, which highlights how different things are from when Geoff and Katya were in their prime.

Geoff cannot help but be whisked back in time with thoughts and what-ifs.

A standout scene is when Kate and Geoff dance at their anniversary party. Having professed his love during a speech, they casually dance. Kate is both touched and pained, and as the scene goes along, it unravels. She explodes internally.

Sometimes, perhaps a tad too slow-paced, I get the point of pacing 45 Years this way. After all, nearly 50 years of marriage is a long time, and similar days will pass with few important moments.

Thanks to great acting, I overlooked this and was astounded at the complexities both Rampling and Courtenay bring to the table.

Oscar Nominations: Best Actress-Charlotte Rampling

Jimi: All Is By My Side-2014

Jimi: All Is By My Side-2014

Director John Ridley

Starring André 3000

Scott’s Review #487

70292988

Reviewed September 30, 2016

Grade: A-

Jimi: All Is By My Side (2014) wasn’t quite the film I expected. It was better!

I wasn’t expecting poor work, since the film received a Best Male Lead Independent Spirit Award nomination for André 3000 (rapper) in the title role.

I expected an overview of the rise and fall of famed rocker Jimi Hendrix. Instead, I got a more introspective piece than I expected.

The film is a British production.

Interestingly, the film avoided any Jimi Hendrix songs familiar to audiences, using only songs written in 1966 and 1967.

This surprisingly turns out to be positive for the film.

The film’s awesome achievement is its non-conformity and independence; it undoubtedly had a lot of freedom.

This is a good thing.

If this film had been targeted for a showing at local theaters, it might have been a run-of-the-mill affair, focusing on the star and the star only.

It is also shot in a less-than-glossy way, giving it an almost grainy, gritty look that I found added something.

Impressively, the supporting characters, specifically three females with whom Hendrix has relationships throughout his initial rise to fame, are prominently featured, and the story shifts at times to their perspectives and feelings, not just Hendrix’s.

The film does not focus on Hendrix’s untimely death.

We meet Hendrix (compellingly played by André 3000) performing guitar in a sparsely attended bar in New York City.

Linda, the girlfriend of Rolling Stones guitarist Keith Richards, discovers him, becomes smitten, and recognizes his immense talent.

Slowly, he is discovered (mainly in London) and rises to fame.

However, the film is not only focused on his success but also on his personal life.

Besides Linda, Hendrix becomes involved with a volatile groupie and fixture in the 1960s London music scene, Kathy, and cultured American Ida.

Instead of the female characters being written as one-dimensional and dizzy, all three are quite intelligent and layered.

While each has feelings for the star, they are forced to be reckoned with in their own right, and we grow to care about their characters as individuals.

A scene involving Jimi violently beating girlfriend Kathy with a telephone during an argument has been refuted by friends as being fictitious- Hendrix was known as a gentle, peaceful man.

A controversy has emerged about the film’s overall accuracy, but I found it introspective and fascinating.

Independent Spirit Award Nominations: Best Male Lead-André 3000

Burn Witch Burn (Night of the Eagle)-1962

Burn Witch Burn (Night of the Eagle)- 1962

Director Sidney Hayers

Starring Peter Wyngarde, Janet Blair

Scott’s Review #316

220px-Night-of-the-eagle-poster

Reviewed January 1, 2016

Grade: B

Burn Witch Burn, retitled for U.S. release from the original British title Night of the Eagle, is a 1962 black-and-white horror film.

It is based on a 1943 novel entitled Conjure Wife.

The film is quite decent and delves into the fascinating and arguably unusual subject of witchcraft. It’s careful not to be too dark a film, and it resembles more of an extended episode of the Twilight Zone. It’s a good episode.

I enjoyed the film’s wit and charm. It never took itself too seriously and added humor and lightness.

Norman, a psychology professor at the local university, is intelligent, successful, and well-adjusted. He has a blonde, pretty, sophisticated wife named Tansy.

The perfect housewife, she coordinates Friday night bridge parties with fellow professors and staff and a Mrs. Cleaver type, the mother character from the famous 1950s television series Leave it to Beaver.

When Norman discovers Tansy is practicing witchcraft and possesses various charms, dolls, and weird things, he forces her to destroy all of them.

This leads to a series of bad events.

Norman is accused of rape by a student, and other dire circumstances occur. Tansy assumes this is a result of the destruction of her witchcraft.

Burn Witch Burn is a fun film that doesn’t take itself too seriously despite its heavy subject matter. Tansy certainly does not look like the stereotypical witch. She is more like a PTA mom; we almost cheer for her.

At the same time, the film is not so over-the-top that it becomes ridiculous, either. I found it entertaining but not a masterpiece or scary.

As the film progressed, I found the action confusing from a story-line perspective, but that was admittedly okay. I went with it and enjoyed it.

For instance, the plot thickens when an enormous eagle affixed to the front of the university building comes into play or the sinister university secretary’s motives are revealed.

The special effects and ambiance of the thunderstorm are worth mentioning. The heavy storm was crucial in making Burn Witch Burn a compelling horror film. It added a heavy dose of spookiness to the events, and the atmosphere was spot on.

Burn Witch Burn (1962) is a fun, late-night horror flick that does not take itself too seriously. It is a worthy film for horror fans to enjoy.

An underappreciated British horror flick.

Horror Express-1974

Horror Express-1974

Director Eugenio Martin

Starring Christopher Lee, Peter Cushing, Telly Savalas

Scott’s Review #311

Reviewed December 30, 2015

Grade: B

Horror Express (1974) is a fun 1970s Spanish/British horror film starring legendary horror actors Christopher Lee and Peter Cushing.

A horror version of Agatha Christie’s Murder On The Orient Express, with a bit of camp thrown in, it is an entertaining late-night experience on a low budget.

It is the early 1900’s, and while traveling from Shanghai to Moscow via the Trans-Siberian Express, a British anthropologist named Professor Alexander Saxton (Lee) brings an enormous, mysterious crate on board containing a creature he discovered in a cave.

What we know is that it has something to do with human evolution.

A fellow passenger, Doctor Wells (Cushing), and other passengers become suspicious of the crate and demand that it be opened.

Things go awry, and victims begin to be murdered by the creature (an ape-like monster) and left with eyes completely white with missing pupils and irises.

The best part of Horror Express is the setting. The cozy train is a perfect backdrop for the events, and it makes the film exciting as the different cars are nicely set-decorated.

This lends itself to a sense of entrapment and being unable to escape the creature as it roams freely from car to car.

For a low-budget film, the train sets are quite believable, as are the train sounds. It feels like the actors are on a real train as the tooting horns and the sounds of the tracks are authentic.

Having actors as big as Lee and Cushing lends the film respect in horror circles, and both deliver believable performances.

This film would not have been as good without the talents (and name recognition) of both.

There are also interesting supporting characters, and I didn’t find the acting to be too over-the-top, as is common in similar horror films.

Specifically, the countess’s role and Telly Savalas’s appearance as a Cossack officer investigating the events are interesting.

Fans of this genre of horror will understand that suspension of disbelief is necessary as the plot gets a bit goofy- something about the creature taking the information from the victim’s brain and the victims subsequently turning into zombies- it doesn’t make a whole lot of sense.

Especially towards the end, as some drunken Russians and some weird resurrections happen, but that is somehow okay.

For a late-night viewing with some spirits, you can’t ask too many questions, and Horror Express (1974) is a decent flick.

Suffragette-2015

Suffragette-2015

Director Sarah Gavron

Starring Carey Mulligan, Helena Bonham Carter

Scott’s Review #291

80046819

Reviewed December 1, 2015

Grade: A-

Led by an excellent performance by Carey Mulligan, Suffragette (2015) is a British film that tells the true story of the fight for women’s suffragette, as a team of women fought endlessly to obtain their right to vote, a vote that today most (men and women) take for granted.

Several characters are real-life portrayals, however, Mulligan’s central character Maud Watts is fictional. She is assumed to be a hybrid of other real-life characters.

Perfectly shot and giving a fantastic impression of life in England in 1912, the film centers around a bevy of working-class women- many of whom work endless and thankless hours in a sewing factory, working for and forced to tolerate a vicious, unkind man.

Their lives are bleak.

A women’s movement has developed, led by the mysterious Emmeline Pankhurst (Meryl Streep) and Edith Ellyn (Helena Bonham Carter), both financially successful, but very passionate women, spearheading the “women’s movement”.

The main character is Maud. The film is told from her perspective.

She is a hard-working laundress in her early twenties, married to her husband, Sonny, and with a young son. Plain, yet pretty, the audience knows this is all her life will ever be.

She has worked at the same sewing shop since a young age and has been sexually abused by her boss for years. While delivering a package, she witnesses a co-worker smashing a window protesting the women’s movement.

Initially reluctant to join the movement, Maud realizes the importance and loses her family and job because of her devotion to the cause.

When women were finally granted the right to vote in England in 1928, sixteen years after the movement began,  this took a brave group of women who risked (and lost) their families, and jobs and were imprisoned, and in one heartbreaking scene, loss of one’s life, all in powerful devotion to what they felt was right and just, despite numerous powerful figures beating them down.

How sad to think this happened.

The film accurately portrays the might and courage that the women possessed.

One of two of the most powerful scenes in the film is as follows and belongs to Mulligan. Left by her husband and community and having been imprisoned more than once, Sonny decides to give their son away to an affluent couple. The boy is ripped from Maud’s arms and we realize she will likely never see the boy again.

It is tragic and painful to watch and Mulligan nails it from an acting standpoint. I have always admired Carey Mulligan, she chooses wonderful and challenging parts, never succumbing to mainstream mediocrity.

Think portrayals in Shame (2011), Never Let Me Go (2010), and An Education (2009).

The second powerful scene comes at the end of the film. When a character sacrifices her life (a real-life person, mind you) at the Epsom Derby where King George V is present, simply so that the women’s movement can get major exposure by running onto the track and wielding a sign, she is brutally trampled to death.

Subsequently, a funeral parade results, finally leading the masses to take notice and realize how important an issue this was.

The filmmakers of Suffragette wisely dedicated real-life footage of the parade that occurred at the time.

An important film with a message, Suffragette (2015) is beautifully shot and led by bravura acting and a true, real-life historical story, to be appreciated for its honesty.

Sexy Beast-2001

Sexy Beast-2001

Director Jonathan Glazer

Starring Ray Winstone, Ben Kingsley

Scott’s Review #286

60020863

Reviewed November 13, 2015

Grade: B+

Sexy Beast is an interesting little indie gem that has garnered quite a cult following, deservedly so, since the year of its release, 2001, and I have recently viewed it for the first time.

In large part, the film belongs to Ben Kingsley, who gives a bravura and frightening performance as a crime lord attempting to convince a retired hitman, now sworn to the straight and narrow, to resurrect his career for one last heist.

The other principal characters are wonderful in their own right, as the film successfully mixes elements of Quentin Tarantino with Ocean’s Eleven- bank heist meets quirkiness, with smart and witty dialogue sprinkled in.

Gary Dove is happily retired and living a life of contentment with his ex-porn-star wife, Deedee, and his best friends, Aitch and Jackie.

Having all been involved in “the biz”, they are long since removed from their respective careers. They now enjoy evening parties of wine and martinis, and days relaxing by the pool in their Spanish villas.

One day, a former criminal associate, Don Logan (Kingsley), who is also a sociopath, arrives to disrupt their peaceful lives and to coordinate a bank heist in London, hoping to lure Gary back into the game.

As Gary and company nervously decline Don Logan’s offer to participate in his sinister plan, a wonderful and important scene unfolds early in the film.

The quartet sits around the dinner table at a swanky Spanish restaurant, anticipating a scrumptious meal.

Jackie reveals that Don has contacted her, and the scene’s tone immediately shifts to dread. All of them both fear and despise Logan.

They agonize over this sudden disruption to their lives, and we, the audience, fear Don Logan before he ever appears on-screen.

What fantastic storytelling.

Kingsley portrays a menacing character and brilliantly so. The character harbors frightening brutality beneath his normally calm demeanor, making the viewer shudder when he appears on-screen.

Lest we forget, Ian McShane also gives a nuanced performance as Teddy Bass, Logan’s right-hand man and wise businessman.

The cat-and-mouse scene towards the end, as Teddy and Gary have an important discussion in a car, is both chilling and integral to the film’s plot.

As Teddy slowly figured out certain events, I was left intensely anticipating his reactions.

The film introduces an intriguing sub-plot involving Don’s long-ago fling with Jackie and subsequent love for her, which adds layers to the plot and the dynamic and tension between Don and Gary.

Upon finishing the film, I loved the foreshadowing it contains. I found myself rewinding the events in my mind, pleasurably so.

From the pool to the young Hispanic kid to the thunderous boulder- all of these elements were crucial to the conclusion and fit like a puzzle.

A dark comedy of sorts, I chuckled after the film at the final reveal involving a double-heart insignia and a pool that gives the villain comeuppance and pleases the viewer.

Having alluded to viewing Sexy Beast (2001) over the years, I am glad that I finally found the time to witness a darkly comical gem that, admittedly, may take repeated viewings to absorb and therefore fully “get”, and I look forward to doing just that.

Oscar Nominations: Best Supporting Actor-Ben Kingsley

Independent Spirit Award Nominations: Best Foreign Film

A Little Chaos-2014

A Little Chaos-2014

Director Alan Rickman

Starring Kate Winslet, Matthias Schoenaerts

Scott’s Review #269

Reviewed August 22, 2015

Grade: B-

A Little Chaos (2014) is a difficult film to review.

The film does not kick into high gear, or much of a gear, until the final thirty minutes or so, as the drama hits a crescendo and past events are suddenly explained.

At this point, it becomes a very entertaining film.

Until then, it is largely a bore and slow-paced.

Starring Kate Winslet, Matthias Schoenaerts, and Alan Rickman, who also directs the film, A Little Chaos is a good film with beautiful period-piece costumes to marvel at, and it feels great. Still, it misses the mark with a lack of momentum balance throughout.

It is also largely fictionalized, which makes it less enjoyable to watch.

A period drama set at the gorgeous Versailles in France, in the late 1600s, when King Louis XIV of France is in power and lives on the illustrious estate.

Landscaper Andre Le Nôtre hires unconventional gardener Sabine (Winslet) to create one of the gardens.

Sabine is progressive and does not live in the past. Rather, she has ideas for creating a unique pattern. Sabine is instructed to incorporate a wonderful fountain within the garden.

She faces hostility from staff members for simply being a woman, and they refuse to work for her.

Others admire her creativity.

As the plot unfolds, Sabine has romantic feelings for Andre, a man trapped in a loveless marriage with Françoise, and they begin a tender courtship.

The past haunts Sabine, and she frequently hears cries in her dreams. The audience does not know what her past life was, only that she is widowed.

The final act brings everything together nicely. We learn about Sabine’s past, and her suggested dalliance with Andre comes to fruition.

After the film, I was left thinking how exceptional it was, but then I remembered most of it dragged.

The themes of A Little Chaos are class systems, feminism, and societal views. At first, snubbed by some for being a commoner, Sabine is slowly accepted by the royal figures, including the King himself, whom Sabine humorously mistakes for the gardener at one point.

Ideally, it would have been lovely if a woman had been hired to create the garden.

Sadly, events do not happen this way, but it is someone’s fantasy.

A Little Chaos (2014) has great potential and looks beautiful- my main complaint is that, for most of the film, nothing happens.

Also disappointing is that the film was not filmed at the historical Versailles, nor was it even shot in France. Every exterior scene was filmed in England.

This isn’t a deal-breaker, but some authenticity would have been nice.

Another major detraction is that Sabine De Barra is not even a real-life figure, but rather is fictionalized- sort of how the past should have been but wasn’t really.

If she were a real person, the film would be more interesting. What is the investment?

From an acting standpoint, the film succeeds. Winslet, a highly talented actress, is well cast, and the chemistry between her and Matthias Schoenaerts is palpable. Both actors are believable in their roles.

Stanley Tucci, typically great in whatever he appears in, plays Philippe, a silly, slightly effeminate Duke who does more to annoy than to amuse and is a trivial character.

Throughout the film, I kept thinking it was the kind of movie you should like because it looks great, but something was missing.

The royal drama, sexual dalliances, and antics were fun, but I felt like the film could have been much more than it ended up being.

The Nanny-1965

The Nanny-1965

Director Seth Holt

Starring Bette Davis

Scott’s Review #256

70089620

Reviewed July 11, 2015

Grade: B

The Nanny is a 1965 Hammer productions thriller starring legendary film icon Bette Davis as a mysterious nanny caring for a ten-year-old boy named Joey.

Joey has recently been released from a mental institution and returned home to resume everyday life, but has he been “cured”?

There is obvious tension between Joey and Nanny, but the audience doesn’t know what that tension is precisely. Why do they dislike each other? Why is Joey afraid of her?

As the plot unfolds, the suspense and tensions thicken as various events occur and Joey’s parents and Aunt Pen are further fleshed out. Past events are revisited, and the story becomes thrilling.

At one point, long before Joey’s return home, his younger sister has drowned, and the circumstances are vague. It has devastated the family, including Nanny. Joey has been blamed for her death, though he insists that Nanny is the culprit.

Nobody except the neighbor girl believes Joey, and the audience wonders who to believe and who to root for: Joey or Nanny. Davis, like Nanny, brings a warmness to her character, but is she sincere? Is it an act? Is Joey a sweet boy or maniacal?

These questions race through the audience’s minds as the film progresses. When Virginia, the mother, eats tainted food, the obvious conclusion is that the Nanny poisoned it since she prepared it. But why? Did she do this?

As the plot is slowly explained, there are a few chills, though the ending is not too surprising.

Any film starring Bette Davis is a treasure, though admittedly, it is not her finest work. Still, her finest work is challenging to match.

The Nanny is a good film, though not great. It is shot in black and white, which is a nice touch for a thriller.

The main reason to watch Davis’s performance is that it is always mesmerizing. Traditionally playing gruff, mean, or bitchy parts (especially in her later years), The Nanny allows Davis to play a sympathetic role.

She is seemingly sweet, proper, well-organized, and a perfect nanny on paper.

The role of Virginia, played by Wendy Craig, is a bit too neurotic and slightly over-acted. She is rather one-note as the fretting mother worried about her son. The character of the father is also a bit one-dimensional.

The Nanny is more of a classic thriller from the 1960s that is often lumped together with some of Bette Davis’s other films around the same period (Dead Ringer-1964, Hush, Hush, Sweet Charlotte-1964, and Whatever Happened to Baby Jane? -1966), and are in large part superior to The Nanny. As a stand-alone, it is a decent film.

Madhouse-1974

Madhouse-1974

Director Jim Clark

Starring Vincent Price, Peter Cushing, Adrienne Corri

Scott’s Review #233

220px-Madhouseposter[1]

Reviewed April 3, 2015

Grade: B-

Madhouse, a 1974 British horror film, stars horror icon Vincent Price, who portrays a sympathetic Hollywood actor who is unsure of his sanity after the grisly murder of his trophy fiancée, whom he may or may not have been responsible for murdering.

Mainly set in London, Madhouse also stars famed British actors in the latter stages of their careers, such as Peter Cushing, and is a treat for classic British horror fans.

The look of the film is stylistic and effective in the mood- the story, while silly, is also fun.

Paul Toombes (Price) is a renowned actor best known for his portrayal of Dr. Death in a successful film franchise. He seemingly has it all and is the envy of his contemporaries- wealth, notoriety, and a glamorous blonde fiancée named Ellen.

After Ellen is murdered by someone dressed as Dr. Death, Paul is unable to remember the circumstances or his whereabouts during the murder.

After spending years in a mental institution in a confused state, he is summoned to London to mount an acting comeback of sorts, reprising his Dr. Death alter-ego.

As the bodies begin to pile up, a whodunit commences- is Paul Toombes the killer, or is someone impersonating him?

The film itself is quite pleasing to a horror fan like me. The deaths, while silly, are fun and campy.

Mostly all female victims, a comical aspect is how the victims, when cornered by the killer, simply scream and stand there waiting to be sliced.

Wouldn’t they fight back in real life?

This film is certainly not realism at its finest, but it is a fun horror film. It is a bit exaggerated and over-the-top in a campy way, but it is also true to the 1970s style, with point-of-view scenes from the killer’s perspective.

A wonderful aspect of this film is the inclusion of real clips from old Vincent Price films (The Raven, The Pit and the Pendulum, and House of Usher), to name a few, featuring the deceased horror god Boris Karloff and Basil Rathbone.

Since the plot features Price as a former horror actor, this is a wonderful opportunity to showcase classic horror films from long ago, and it works perfectly.

I enjoyed the television scenes within the film plot as Paul revives his career and shoots a series for the BBC. The film chooses interesting, haunting sets, and Cushing’s character, Herbert Flay, and his zany wife reside in a spooky, vast mansion with eerie spiders that the wife is obsessed with.

The set pieces are great and very Halloween-like. And the spider-eating-flesh scene is excellent!

The tag team of Price and Cushing is fun to watch- both horror stalwarts connect well, and both actors play off of each other successfully.

They had a ball while making this film.

Towards the end of the film, the plot becomes confusing, and the big reveal of the killer’s identity and the surrounding motivations is a disappointment.

The conclusion to the film is silly and makes little sense, although that is secondary to a film of this genre that borders on camp.

Madhouse (1974) is an enjoyable midnight flick starring two of the classic horror genre’s top icons.

Theatre of Blood-1973

Theatre of Blood-1973

Director Douglas Hickox

Starring Vincent Price, Diana Rigg, Ian Hendry

Scott’s Review #230

220px-Theatreofbloodposter

Reviewed March 23, 2015

Grade: B

Theatre of Blood (1973) stars Vincent Price, a long-time fixture in the classic/campy horror scene, as a demented Shakespearean theatre actor who enacts revenge on critics who fail to recognize him for a coveted award he cherishes.

Price, as always, frighteningly good, delivers a campy, but not ridiculous, turn as the crazed actor.

Price’s appearance alone- tall, wiry, with sinister facial expressions- poises him perfectly to believability in any dastardly role he portrayed in his heyday, and the performance he gives as Edward Lionheart is no exception.

Not solely a campy, melodramatic horror film, Theatre of Blood rises above that categorization with humorous tributes to Shakespeare and a unique chronicle of the Shakespearean works used to systematically take out the critics one by one, about the Shakespearean story, quite frankly, in a comical and witty way.

Price eerily dresses in many different elaborate costumes to commit the murders- a wine-tasting expert, a television host, among other interesting characters, and oftentimes, taunts his victims before permanently dispensing them.

The film is quite British in tone and humor, and is done in a tongue-in-cheek manner, so that the murders are not to be taken at all too seriously.

The critics themselves- seven or eight of them- are deliciously fun. One is a loud, boisterous, fat man who always has his beloved poodles at his side.

What happens to him and the dogs is better left unsaid.

Another is an uptight, sophisticated woman (played by Price’s real-life wife Coral Browne). Several of the critics are depicted as comic villains, so their demises are not particularly devastating for the audience, as they are, to begin with, rather unlikable.

I found myself rooting for Lionheart and looking forward to the next murder!

One criticism involves Diana Rigg, who plays Price’s daughter Edwina, accomplice to his dirty deeds. Well known for her starring role in On Her Majesty’s Secret Service and the 1960s Avengers series, Rigg has little substance to do in Theatre of Blood.

Perhaps by 1973, her film career was on the decline, and she was no longer winning the coveted roles. I would have loved to see her sink her teeth into a meatier role.

A sidekick, Edwina, could have done much more.

The film belongs to Price, and the unique storytelling of Shakespeare’s works was made possible only by this great actor.

Not overly serious and played for some laughs, Theatre of Blood (1973) is successful in its telling of an interesting British horror story.

It’s a nice late-night treat for fans of the British horror genre, especially.

Pride-2014

Pride-2014

Director Matthew Warchus

Starring Dominic West, Ben Schnetzer

Scott’s Review #215

80013480

Reviewed January 17, 2015

Grade: B-

Pride (2014), based on a true story, deserves props for delivering a nice message about inclusion and groups of vastly different people coming together as human beings.

While it’s a nice film, the filmmakers play it a bit too safe, and it has a definite formulaic feel to it.

Surely the real story of Pride wasn’t as simplistic as this film felt at times.

The setting is 1984 England. A group of British miners goes on strike over wages.

A group called Lesbians and Gays Support the Miners, made up of gay men and women, became interested in the strike and decided to help the miners and their families.

Why they decided to take on this cause is not fully explained. The National Union of Mineworkers hesitates to accept funds because it fears the publicity a group thought to be perverts would bring.

The film is riddled with clichés- the macho miners resist the help from the gays, many of whom are portrayed as effeminate. The characters who are lesbians look as though the filmmakers wanted to “butch them up”, thereby overdoing the stereotype.

There is a subplot of one gay young man who has not come out to his parents, a well-to-do, pretentious couple. When the truth inevitably comes out, the parents are angry and turn their backs on the teen.

He leaves home to join the gays and lesbians who accept him into their lives with open arms.

The female head of the committee is homophobic and vows to do everything in her power to make sure the gay and lesbian group does not succeed in aligning with the miners.

These clichés seemed way too overdone to make the film more dramatic. As a result, some characters come across as one-dimensional.

Even the story revolving around a character with AIDS seems watered down and soft.

On the plus side, casting the brilliant Imelda Staunton as the sympathetic, maternal Hefina is a strong point.

A huge supporter of gays and lesbians, she comically befriends all of them and is curious about their lifestyles. Bill Nighy is also excellent as Cliff, the older miner who turns out to be gay.

Margaret Thatcher, the Prime Minister at the time, is presented as greedy and selfish, with little regard for the miners or labor unions.

Pride (2014) is an earnest, sentimental, feel-good film that deserves adoration for bringing different communities together.

I would have liked to see the film take more risks.

Quartet- 2012

Quartet-2012

Director Dustin Hoffman

Starring Maggie Smith

Scott’s Review #122

70243583

Reviewed July 20, 2014

Grade: B+

Quartet (2012) is a fantastic little British film, directed by Dustin Hoffman, and starring the always wonderful Maggie Smith, whom one might argue could be watched in anything.

I certainly could.

Smith stars as a stubborn retired opera singer who begrudgingly settles in at Beecham House, a luxurious senior retirement home for former musicians in their final years.

There, she reunites with colleagues from years past who try to reunite for a concert to save the home from foreclosure.

The cast of senior citizens in Quartet is quite likable, and it’s one of the few smart films that handles aging gracefully.

Comedy and drama mix as the intelligent characters are treated as such in their final years, with a hint of soap opera, since some were intimate with others in years past, and the current hijinks are hysterical.

The film treats aging with respect and dignity, not as a joke, which is one aspect I adore.

A talent-filled cast of British theater actors, along with some real-life musicians, makes this film a treat.

It is terrific to see Pauline Collins (Upstairs/Downstairs) in a large role.

And Then There Were None-1945

And Then There Were None-1945

Director René Clair

Starring Barry Fitzgerald, Judith Anderson

Scott’s Review #66

255772

Reviewed June 24, 2014

Grade: C+

And Then There Were None (1945) is adapted from a famous Agatha Christie novel of the same name from the 1930s, the first of 3 film adaptations over the years.

A group of 10 individuals from all walks of life is summoned for a weekend of merriment at a secluded mansion on a lonely island.

The premise is perfectly set up for a fascinating whodunit as the characters are knocked off one by one in sometimes bizarre fashion- the bee sting death is great.

There is a wide range of characters- the rich movie star, the spinster, the doctor, the house servant, and his wife). I was very disappointed with the DVD quality (no Blu-Ray is available for this film).

The picture and sound are abhorrent. The quality is quite grainy and faded making watching an unpleasant experience. However, a great film might withstand those issues.

The film has some appeal that the novel had- an interesting whodunit. The character histories are similar to the ones in the book and, to be fair, the film is well-acted, and the wonderful Judith Anderson (Rebecca) is always a treat to watch.

But the most disappointing aspect is the blatantly changed and completely upbeat, romantic comedy ending, vastly different from the dark novel ending, and lost major points with me for the adjustment.

Anne of the Thousand Days-1969

Anne of the Thousand Days-1969

Director Charles Jarrott

Starring Richard Burton, Geneviève Bujold

Scott’s Review #56

60010091

Reviewed June 22, 2014

Grade: A-

Anne of the Thousand Days (1969) is one of the better historical dramas I have seen.

One can become absorbed in the history of royalty and learn a lot. It has a clear Shakespearean quality to it (tragedy) and is compelling in many ways.

It tells the true story of the tumultuous relationship between Henry VIII of England and his second wife, Anne Boleyn, whose union produced one of the most famous queens, Elizabeth I.

Henry VIII’s first wife, Katherine, was discarded amid much controversy and political intrigue.

The drama is part of what makes this film so enjoyable, along with the historical element. It is dramatic, but not a soap opera, and the acting is superior.

The film also has gorgeous costumes and cinematography.

Unfortunately, the finale of the beheading left too much to the imagination, and a more graphic scene would have put it over the top.

The film is near excellent, though.

Oscar Nominations: 1 win-Best Picture, Best Actor-Richard Burton, Best Actress-Geneviève Bujold, Best Supporting Actor-Anthony Quayle, Best Screenplay Based on Material from Another Medium, Best Original Score for a Motion Picture (Not a Musical), Best Sound, Best Costume Design (won), Best Art Direction, Best Cinematography

Golden Globe Nominations: 4 wins-Best Picture-Drama (won), Best Director-Charles Jarrott (won), Best Actor-Drama-Richard Burton, Best Actress-Drama-Geneviève Bujold (won), Best Supporting Actor-Anthony Quayle, Best Screenplay (won), Best Original Score

The Anniversary-1968

The Anniversary-1968

Director Roy Ward Baker

Starring Bette Davis

Scott’s Review #52

70047116

Reviewed June 21, 2014

Grade: B+

The Anniversary (1968) is a British film based on a play of the same name.

The story centers on the Taggert family reunion, celebrating the anniversary of the matriarch (Bette Davis) and the deceased patriarch.

The film is set like a play, and most of the action takes place inside the Taggert family mansion.

The film is all Davis, and she gives a deliciously over-the-top performance as a vicious mother intent on controlling her son’s life and terrorizing their wives or significant others with cutting remarks and insults.

Davis must have had fun with this role, as her storied career was clearly on the downturn, and this role allowed her to let loose.

One must wonder if Davis chewed up the actors in the cast as much as the characters- rumor has it she was pretty intimidating to her fellow actors and a terror to work with, which adds to the macabre enjoyment.

Her physical appearance, with an eye patch, wig, cigarette, and bright red lipstick, all work in her favor. Her maniacal laugh is incredibly campy and wonderful to watch.

Bette Davis is one of the greats, and The Anniversary (1968) serves as a late-career romp that is fun to watch.

Girly-1970

Girly-1970

Director Freddie Francis

Starring Vanessa Howard, Michael Bryant

Scott’s Review #11

70132676

Reviewed June 14, 2014

Grade: B-

Girly (1970) is an unusual British horror film about an affluent, clearly deranged family who kidnaps victims and forces them to become “members” of the family by participating in game-playing escapades for their delight.

The premise of the film is appealing and intriguing, and it’s unclear how it will play out. The family members (Mumsy, Nanny, Girly, and Sonny) are played with gusto by the cast but are never over the top.

My favorite is “Mumsy”, wickedly played by British actress Ursula Howells.

The film itself has a fairy-tale quality, with the sets of the house they share. The primary victim (a male gigolo) is a miscast (too old, not sexy enough). It begins a cat-and-mouse game of trickery, plotting the family against one another until the inevitable bodies pile up.

The film loses steam midway through, and its ending is unsatisfying.

Why are the victims not able to escape the vast property, which is weak (a 7-foot-tall flimsy fence??)?

“Curious” film that becomes a tad boring towards the conclusion.