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By midlandsmovies, Jun 10 2018 08:51AM

12 Underrated films that may have passed you by since 2010


Despite your huge collection of DVDs, BluRays, boxsets, collector’s editions and streaming services, have you ever found yourself staring into space struggling to find a film to watch? With so many options available at just a touch of a button, the choice can be overwhelming. However, we’re going to provide a friendly list for your viewing pleasure as we showcase a dozen great films from the last few years that may have slipped under your radar.


Whether it be quirky documentaries, underground sci-fi or a splash of comedy, we have something for you. Take a read of the list below of our highly recommended, but often little-seen, movies – especially if you’re in the mood for something different to the usual multiplex blockbusters or critics’ darlings. And hit us up on Twitter @midlandsmovies with some of your own suggestions!




Coherence (2014) Dir. James Ward Byrkit

Written and directed by James Ward Byrkit this is an 89 minute thrilling sci-fi mystery set at a suburban USA dinner party that pulls at the audience’s emotions and brainstems equally. The film sets up a dinner meal and after discussion of a passing comet, the electricity goes off and the group explore their neighbourhood which leads to a mysterious occurance.. To say too much would be to spoil the surprise but with a similar tone to the low budget film Primer (2004) as well as the confusing and twisting narrative of Triangle (2009) the handheld realism leads to a brilliantly constructed film that demands a second viewing in order to fully appreciate the looping plot.



Stoker (2013) Dir. Park Chan-wook

A tense psychological thriller from the director who gave us OldBoy, Stoker again covers dark family secrets and was written surprisingly by Wentworth Miller of Prison Break. Avoiding any happy ever after clichés, the film has sinister fairy tale imagery from wooded copses, creepy spiders and phallic rocks to heighten the Hitchcockian themes of betrayal, deception and revenge. A trio of Mia Wasikowska, Matthew Goode and Nicole Kidman, bring strangely winning performances in a social drama with a mythic quality. A far-fetched but fascinating fable.




Tim’s Vermeer (2014) Dir. Teller

Directed by stage magician Teller, this documentary gives us a portrait of Tim Jenison, a man who spends 5 years testing his theory which proposes how Renaissance Dutchman Johannes Vermeer possibly used optical instruments to help create such realistic paintings. A friend of Teller’s magician partner Penn Jillette, Tim comes across as a barmy garage-style bonkers scientist who has worked with computer graphics but has no formal artistic training. In his quest to be authentic, Tim also learns to use traditional methods to render not just the painting he admires but the entire room. The doc constructs a brilliant study of one man’s drive and his crazy courage to complete his personal canvas.




Frank (2014) Dir. Lenny Abrahamson

Based on the idiosyncratic UK comedic stylings of Frank Sidebottom, this movie is a fictionalised account of an eccentric musician trying to find his calling in life. The musical journey is seen through the eyes of Jon (a brilliantly naive Domhnall Gleeson) who leaves his humdrum life to work on an album of bizarre instrumentations and unusual compositions. The lead singer Frank (Michael Fassbender) persistently wears an over-sized homemade head and the film follows the erratic interactions and odd relationships between band members. Fassbender delivers a virtuoso performance as the comical yet infectious front man trying to connect with world he’s closed himself off to in a screwball study of creativity and mental hindrances.




White Bird in a Blizzard (2015) Dir. Gregg Araki

Set in a well-designed 80s of big hair, big phones and bigger boom boxes, the film follows the disappearance of unhappy mother Eve Connor (Eva Green) with flashbacks punctuating the modern day narrative strands to show her daughter Kat (Shailene Woodley) as she explains her drunken mother’s loveless marriage. The film may seem like Gone Girl-lite but its mysterious take on small-town life has echoes of American Beauty with its voiceovers, repressed fathers and dinner table silences. The comparisons continue with a sexless marriage and blossoming sexualised teenagers. The movie bounces easily between cold relationships to seduction secrets to create a winning formula of nosey next-door neighbours and night time naughtiness.




Snowpiercer (2014) Dir. Bong Joon-ho

All aboard for this South Korean/USA action film which tells the story of Curtis, a rebel on a fascist train that encircles the globe now that mankind has caused an accidental ice age. The snow train is a prison with the poor and destitute forced to live in squalor at the tail end whilst the rich live like royalty near the locomotive’s front. Curtis (a bearded Chris Evans) teams up with Edgar (Jamie Bell) and Tanya (Octavia Spencer) to overthrow the guards and with Tilda Swinton as a norther- accented minister with a nasty sadistic side, the movie is an original take on a tested formula. Joon-ho delivers the appropriate amount of fist fights and combines this with his artistic Eastern outlook with some inventive Hollywood-style smack downs. Although the premise is absurd, the audience will be pulled along for the wintery ride enjoying the emotional tracks the director lays out for us.




Joe (2014) Dir. David Gordon Green

After a glut of awful b-movie films, Nic Cage gets to tackle headier material by playing a violent loner in the Deep South where he stars as father figure to Tye Sheridan. We get a sizzling slice of Southern life played out amongst rural blue collar workers who turn to violence whilst trying to maintain their dysfunctional family dynamics. Alongside Cage’s muted dramatic chops and the rusty trucks, the two play out a tragic and cruel drama. The director elicits a cornucopia of emotions as we witness passionate kindred bonding and drunken falling. Cage is perfectly suited to the grizzled everyman and shows why he is still a watchable performer given the right material.




Electric Boogaloo: The Wild, Untold Story of Cannon Films (2014) Dir. Mark Hartley

Following Israeli cousins Menahem Golan and Yoram Globus who in the 1980s bought low-budget scripts to make even lower budget films, this documentary explores the ups and downs of the schlock movie business. Remembered for low budget action “classics” such as the Death Wish franchise as well as Delta Force, the film actually exposes some of the creative risks (but with little money) the cousins took as they tried to reflect, and sometimes create, the trends and fashions of the day. They made entertaining, amusing yet ultimately quite dreadful films but despite the low-low budgets, their productions focus on a sense of fun and the film provides a comedic look on how not to run a studio.




Love & Mercy (2015) Dir. Bill Pohlad

This biographical drama follows the life of Brian Wilson during the height of the Beach Boys’ fame in the 60s and his turbulent later years in the 80s where a confused Wilson deals with controlling advisors. The swinging section has a brilliant Paul Dano focusing on his song-writing whilst in the 80s, Cusack plays a more vulnerable Wilson who gets around with his new wife Melinda (Elizabeth Banks) and Paul Giamatti’s creepy psychotherapist. The Beach Boys’ music punctuates the film as Dano discovers his genius pop-hits and Cusack’s understatement is the flipside of Wilson’s fractured subconscious. Experimental in narrative, the film focuses on the brilliant brain of Brian through 2 different actors in a perfect portrayal of the mastermind musician.




Grand Piano (2014) Dir. Eugenio Mira

In the vein of Buried and Phone Booth Grand Piano is a taught ‘one-location’ thriller where a returning pianist protégé Tom Selznick (Elijah Wood) is threatened with murder during his comeback concert. An assassin promises to shoot him if he gets just one note wrong in his performance and the tension rises as a sniper’s laser sight passes over his sheet music. The pianist comes to terms that both he and his wife in the audience are at the hands of this man as he desperately tries to figure a way out using coded messages to escape with his life. A fast rhythm ratchets up the stakes using creative editing, along with a fantastic score coming from Frodo’s fingers himself. Any low-budget limitations are set aside as Grand Piano plays to its strengths like a fine composer.




As Above So Below (2014) Dir. John Erick Dowdle

Academic Scarlett Marlowe (Perdita Weeks) delves into the catacombs under Paris in a found footage horror as she and her cohorts look for the philosopher’s stone, a powerful but possibly cursed historical relic. The jumps, scares and the Descent-style claustrophobia come across in every frame with the cast filming in the real caves and stone corridors under the City of Light. With a shadowy sense of foreboding around every corridor twist and turn, the concept is as old as the hills but the ancient caves contain enough no-frills shocks for a Saturday night scare-fest.




Life Itself (2014) Dir. Steve James

From the director of the Oscar nominated documentary Hoop Dreams comes this film based upon legendary film critic Roger Ebert's 2011 memoir of the same name. From his humble beginnings as a film critic through to the co-writing of the cult film Beyond the Valley of the Dolls, the film covers the major points of his life using interviews and archive footage as well as excerpts from his infamous show with Gene Siskel. A powerful but humorous writer, Ebert not only scored a Pulitzer for his work, he also helped elevate film criticism and established himself as the foremost authority on the subject. The doc later moves to Ebert’s hard fought struggle with illness but show how great his outlook was, not just through his career around the movies, but as a mantra for life itself.


Midlands Movies Mike


By midlandsmovies, Jul 25 2017 07:13PM



I Don’t Feel at Home in this World Anymore (2017) Dir. Macon Blair


A mild-mannered hospital helper who is pissed off by dog-shit, novel-spoilers and rude supermarket patrons is the unlikely hero in this new indie farce from Macon Blair. Despite these tiny annoyances building up, her real problems begin when she returns home to find it ransacked and with the incompetent police taking little interest in her case she takes it upon herself to find the culprits.


Mixing domiciles and homicides, this great movie stars 2 and a Half Men’s Melanie Lynskey as the protagonist Ruth who thinks “everyone is an arsehole” and her existential nihilism turns to positive action as she attempts to recover her stolen goods.


Along for the ride is the ever enjoyable Elijah Wood (who has been excellent in his eclectic post-Frodo films like Sin City, Maniac and Grand Piano) and here he plays a weirdo ninja-neighbour who Ruth initially uses as ‘muscle’ on her journey. The film’s humour mixes with a dark story and as Ruth follows the trail of her valuables she falls deeper into a more sinister plot involving a group of cult-like criminals. One of their members is Devon Graye as Christian who looks a cross between Eminem and Alfred E. Neuman of Mad Magazine and his gang plan to extort money from his rich father.


Directed by Macon Blair (the star of Blue Ruin), it contains familiar themes of an unlikely suburban hero mixed with violent criminals and Blair throws in some great sequences including a thrilling chase at an antiques market and a melancholic comedy scene with the police – who continually refuse to fully involve themselves in the case. The darkly comic scenarios make the gore and blood all the more shocking when they arrive and the movie has a great balance of over the top characters with realistic decision making.


One of the biggest and best surprises of the year so far, a superb central performance shows how one frustrated nobody can go almost full-on “John Wick” in the face of an apathetic society. Funny and fascinating, this indie gem uses the reluctant hero trope to perfection as an awkward misfit becomes involved in crimes just by circumstance and bad luck. Yet, there’s no bad luck in the execution by the filmmaker who delivers a knock out punch of hilarity and humanity.


8/10


Midlands Movies Mike

By midlandsmovies, May 27 2016 09:55AM

The Trust (2016) Dir. Alex Brewer & Ben Brewer


Nicolas Cage? What happened man? The actor has an Oscar and a trilogy of the best action films of the 90s (The Rock, Face/Off, Con Air – made back to back no less) but is now a straight to video star alongside such luminaries as Steven Seagal. That said, the odd gem shines through and The Trust is (close to being) one.


My love of the fun Disney National Treasure films has been mentioned before (see this article of best Nic Cage films) yet unfortunately some impressive indie fair like Joe and a supporting role in Kick Ass gave way to such “classics” like the The Dying of the Light (2014), The Runner (2015) and Pay the Ghost (2015) – most have barely heard let alone seen these stinkers.


With a rollercoaster of good-to-bad films, you never know what you’re going to get with Cage but The Trust however sits in the mostly good pile rather than the god-awful ones he’s currently known for.


This crime film sees Cage as Lieutenant Jim Stone (sounds like a first draft script name) whose moustachioed visage harkens back to Kick Ass’ Damon Macready (aka Big Daddy) and who works with Elijah Wood’s Sergeant David Waters in Las Vegas’ Police Evidence department. After spotting clues that a drug dealer was bailed on $200k cash, Cage goes undercover to find out how they made their loot. Roping in a reluctant Wood, the twosome get hold of blueprints and discover a large safe at a gang’s hideout and use money gained from a corrupt cop (played well by a creepy Ethan Suplee of My Name Is Earl) to buy equipment to break in.


The film has a slight CSI “television” vibe with nothing being particularly cinematic but it adds to the realism of a simple narrative. I’ve enjoyed Wood’s quirky film choices post-LOTR (Maniac, Sin City, Eternal Sunshine) and he plays a put-upon dupe quite well and repeats the same performance here. No bad thing. Cage is all over the place (pretty standard) but the dynamic between the two is solid, with the grizzled down-and-out Cage contrasting nicely with Wood’s more innocent stoner Sergeant.


After breaking in, their fractured relationship takes a turn for the worse as an unexpected woman becomes an unwanted hostage and the previous jovial tone of the movie switches to a more serious and bloody drama. This shift may be jarring for some but I was glad it didn’t turn into an Ocean’s 11. Taking a few bold risks in the film’s short (but appropriate) 93 minutes, the filmmakers have taken some regular genre tropes and mixed them up. Not always satisfyingly but a worthy attempt to avoid pigeon-holing.


In conclusion, the two leads are immensely watchable with good chemistry but this film of two halves (lightweight trendiness then deadly serious) may not be to everyone’s tastes. A crime caper that admirably gambles on a few eccentric creative choices, The Trust is a harmless drama that shows Cage-fans glimpses of his former skills, whilst others may find it bland and flavourless. Trust me, I’m hoping it’s the former for Nic’s sake.


6/10 Midlands Movies Mike

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