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By midlandsmovies, Aug 28 2019 10:13AM

Review - Movie catch up blog 2019 - Part 4


In this collection of recent reviews we take a look at ANGEL HAS FALLEN, KILLER'S ANONYMOUS, IN FABRIC and THE STANDOFF AT SPARROW CREEK.


Read on to hear our thoughts on some of these new 2019 cinema and dvd releases.



Angel Has Fallen (2019) Dir. Ric Roman Waugh

A frankly out-of-shape Gerard Butler returns in this third instalment in the Fallen film series following Olympus Has Fallen (the number 10 entry of our worst films of 2013) and London Has Fallen (the number ONE entry in our worst films of 2016) again playing secret service agent Mike Banning. Suffering from a form of PTSD, he protects US President (Morgan Freeman) from a drone attack but is implicated in the crime itself. Cue a tedious game of cat and mouse between an on-the-run Banning and his previous colleagues. He’s also chased by forces “unknown” (it’s so obvious from the outset who the culprits are) who want to get to Banning to finish the job and execute their conspiracy.


What we have then is an unexciting, monotonous and dreary “action” film whose 2-hour runtime feels like 2 weeks. Jada Pinkett as an FBI agent spouts tedious action-film clichés passing itself off as dialogue and its plot has been done numerous times before as seen in the Bourne franchise, Sentinel (2006) and most of M:I series as an operative is framed for a crime he didn’t commit whilst others attempt to bring them to justice.


Positives? Although I’m struggling to find many, when Banning meets his father (Nick Nolte) in his remote wood cabin, the film is given some much-needed pleasure with a tongue-in-cheek tone and some nifty banter. A mid-credits scene has to be seen to be believed too, so if you manage to make it to the end, stick around for that. I also thought the explosions were pretty spectacular with some stuntmen really taking a battering as they are thrown around. But the woeful quick editing on the fights makes them hard to follow and one brawl in a car at night is frankly unwatchable and shouldn’t be in a movie with this budget. In the end it may just be the best of the series, stay with me on this, as the others were beyond terrible and this is simply mostly bad. Action fans may find something in this that I didn’t get out of it, but for general audiences, the franchise should fall into retirement as soon as possible.


Killers Anonymous (2019) Dir. Martin Owen

This American crime thriller film directed by Martin Owen tells the story of a group of assassins being brought together in a secret hideaway situated in a London church after the assassination of an American Senator on UK soil. Opening with an elongated conversation between Gary Oldman and Jessica Alba – filmed strangely, as characters talk to the camera Peep Show-style – the group finally congregates in a small set of rooms as they share their backgrounds and “days since last killing” stories like an AA meeting. The film wastes its talented cast which includes a delicious Tommy Flanagan as Markus, an excellent Rhyon Nicole Brown as Alice, a subtle performance from MyAnna Buring as Joanna and stalwart Tim McInnerny as Calvin who all did their best with some awful dialogue. It could have worked as a more serious chamber piece like 12 Angry Men (1957) or pushed the envelope and gone further into the knowing horror of the more recent Would You Rather (2012) but in the end it sticks to a bland unsatisfying middle-ground. How Oscar-winner Gary Oldman got involved in this is anyone's guess and it most reminded me of the darkly comic Inside No. 9 both in flat TV look and its eclectic soundtrack. In the end though, what could have worked as a one-off ITV drama is not cinematic enough for the ideas it has. And sadly this more than tiresome movie tries to be a big screen blockbuster but is much more of a lacklustre little screen disappointment.

★★



In Fabric (2019) Dir. Peter Strickland

A horror comedy infused with Italian ‘Giallo’ genre stylings, In Fabric is a new movie featuring, bear with me, a killer dress. A ridiculous conceit, the film in fact uses this far-fetched idea to look at consumerism, desires and hypnotising capitalism. It stars Oscar-nominated Marianne Jean-Baptiste as Sheila, whose awful managers and worse dates increase her feeling of loneliness since her recent divorce. She purchases a crimson dress at the enigmatic Dentley and Soper's store from assistant Miss Luckmoore (an incredibly creepy Fatma Mohamed) who appears part of a ritualistic coven. The cursed dress leaves a strange rash on Sheila as the supernatural piece of clothing causes havoc with a washing machine and attempts to murder Sheila’s son’s girlfriend – played by a welcome but all too brief appearance from Gwendoline Christie. A sharp turn in the narrative though is where the film started to lose its way a little. The dress ends up in possession of washing machine repair man Reg Speaks (Leo Bill) whose story of hypnotism is far less interesting and developed than Sheila’s. In Fabric’s tone however seems not only to be hinting at classic Italian horrors but also by very British influences too. I saw hints of the satirical website Scarfolk Council, who is in itself influenced by the panic-filled sensibilities of 1970/80s government health and safety films and iconography. And In Fabric at times seems to be what Matthew Holness was attempting in Possum (2018) which was a snail-paced disappointment. A beautiful looking film of strong colours and lighting and a terrific cast playing bizarre and peculiar characters, In Fabric suffers most with its plotline switch at the halfway point, dismissing almost all of what came before it. Fans of the cinematic influences will lap it up but for me, it’s a slightly missed, but to be fair with a lot to like, opportunity to bring Suspiria to suburbia.

★★★



The Standoff of Sparrow Creek (2019) Dir. Henry Dunham

Written and directed by Henry Dunham in his feature debut The Standoff at Sparrow Creek tackles current U.S. obsessions with gun ownership, responsibility, media blame and political and social paranoia. Throwing us straight in, James Badge Dale plays ex-cop Gannon who has joined a local militia and ends up investigating his own group after one of them is suspected of a mass shooting at a police funeral. Information comes in sporadically over the police radio meaning a time limit is set, and in their secluded warehouse base one of their machine guns is suspiciously missing. Creating a sense of dread and hidden motives, the film is set almost solely in this location and using the fantastic conceit, the group is faced into confronting this situation with the audience trapped in this mystery along with them. The cinematography mixes dark shadows and spotlights as the questions fly and these help create the best scenes which involve Gannon interrogating members using his previous experience. A small but powerful indie feature, its 88 minutes gives the movie a swift pace with more depth than most small dramas. But it doesn’t let up either with a multitude of talented performances from the excellent cast playing distrustful characters obsessed with protecting their “freedoms”.

★★★★



Michael Sales



By midlandsmovies, May 15 2019 02:06PM



Loro (2018) Dir: Paolo Sorrentino


Stylish. Decadent. Captivating. Loro, the latest film from Paolo Sorrentino see’s the Italian director reunite with Toni Servillo, with whom he collaborated with on The Consequences of Love and The Great Beauty, in a satirical take of Silvio Berlusconi.


Now to describe Loro as a biopic is perhaps a little misleading as the film itself is a fictional account of what might or might not have happened behind closed doors during this period of his return to politics and the breakdown of his marriage, although Sorrentino covers much more than that in this layered yet somewhat confused societal and political comedy. However the fact that the film was released in two parts in its native land, with the UK receiving a combined version lacking an hours worth of material may perhaps explain this.


The film itself is imbued with symbology, for instance at the very beginning a lamb dies in a villa, no doubt a reference to rival Agnelli, which is balanced out by the more explicit, quite literally in some cases, visual excesses which may or may not work on several levels depending on your knowledge of the characters, Italian politics and culture. This unfortunately, like many other foreign releases that do not cover universal themes, means that Loro suffers from a lack of transferability and that layers of meaning are lost.


To further complicate matters, a significant portion of the first act focuses on Sergio, a small-time and unscrupulous business man who seeks to win favour with old Silvio. However as compelling as this story is, Sorrentino appears to lose interest part way through and poor Sergio is relegated to barely even being a supporting player.


If some storylines are seemingly tossed aside in the UK version thankfully the visuals remain consistent in their beauty and alongside Servillo’s perhaps too-charming performance, there is enough for the rest of us to enjoy.


Sorrentino once again delivers excess and style in a high-brow and artistic manner, some of which is certainly questionable but perhaps apt, and while entertaining for the most part, Loro is one perhaps only for his committed fans, Italophiles or those who want an overly sympathetic story of partying Silvio.


★★½


Midlands Movies Marek

@CinemaEuropa



By midlandsmovies, Apr 27 2019 07:20AM



Suspiria (2018) Dir. Luca Guadagnino


Having just discovered the original Suspiria 1977 two years ago (yeah, I know) I was impressed with the Giallo style and music of the cult classic but a tad underwhelmed – perhaps as a result of high expectations.


However, as stylish as Dario Argento’s film was, this film – which is “inspired” by that horror of the same name – goes to much more complex and dark places than Argento’s slasher.


The story is familiar as Dakota Johnson’s expert dancer heads to Berlin to enrol in a dance academy in the 70s but finds there are dark forces behind the façade of the respected school.


Stylistically Guadagnino avoids the extreme colours of the original – bar some fantastical dream sequences – and shows Berlin as an oppressive and grey city rocked by terrorist atrocities. And although these ideas aren’t fully formed – some going nowhere – the constant presence of outside public news is as oppressive as the oppressiveness featured within the mirrored walls of the school itself.


Despite her unquestionable talent Susie Bannion (Johnson) begins to exhibit traits of a missing student and a parallel story sees psychotherapist Josef Klemperer investigate the mystery. Sadly one of the biggest drawbacks is the decision to cast Tilda Swinton, an actress I love, as the very male doctor. Each of her appearances – in what has to be said is fantastic make-up – took me out of the movie and seems an excellent experiment in the wrong film for it.


Swinton does the best she can caked in prosthetics BUT also appears as stern matriarch Madame Blanc – the lead choreography teacher and away from the sex-swap role is much better in delivering a strict matron – but one with a layer of sensitivity and doubt by the film’s conclusion.


The film’s editing begins chaotically and Radiohead’s Thom Yorke provides a soundtrack that echoes some of the original’s melodies but in fact sets itself apart from it in the best way possible. From full songs that contain his inimitable falsetto, Yorke also seems to have delved into horror music’s past. With orchestral segments reminiscent of Bernard Herrman’s Psycho score to repeated piano refrains influenced by Halloween and The Exorcist, Yorke keeps the score diverse, layered and yet unobtrusive throughout. A phrase not echoed in the original’s bombastic and totally over-powering music.


One of the best scenes in the film occurs when a student threatens to leave but is locked in a rehearsal room and Johnson’s dance moves in another room are replicated – voodoo doll-style – by the trapped woman. Smashing her bones into the mirrored wall and with joints flying out of sockets, the beauty of the dance shapes are contrasted brilliantly with the nastiness of the injuries being inflicted.


Disgusting, shocking and bloody, it’s a masterclass of visual storytelling and horrific aesthetics, and is one of the best scenes of 2018 without question and has to be seen to be believed. Brace yourself people.


As the teachers are slowly revealed to be part of a witches coven, the film explores issues of motherhood as they try to “re-birth” the spirit of Markos – currently contained in the body of a disfigured corpse-like woman.


The dancing is fantastic and the dull-colour palette of the film is punctuated by the vivid reds of dance costumes, dresses and, of course, plenty of the red stuff as Johnson uncovers awful goings-on in the hidden catacombs of the academy building.


As the film comes to a physical crescendo the ending is a slight let down with a new twist on the original. And with the good work delivered to that point it becomes frustratingly unfortunate that clichéd operatic music and a seen-it-before ceremony brings the film to a slightly drab conclusion.


That said, despite a 2 and a half hour run time – which certainly doesn’t feel like it – Suspiria is a gory piece of art from start to finish. Themes of guilt, history and power are all thrown into a mix of dark passions and the body horror/beauty of contemporary choreography. Whilst not all of them gel together, the film dances to its own ritualistic chaos in a distorted orgy of cinematic pleasures.


★★★★ ½


Michael Sales



By midlandsmovies, Jul 6 2016 06:04PM

Suburra (2016) Dir. Stefano Sollima


Based on the novel by Carlo Bonini and Giancarlo De Cataldo this Italian neo-noir has soundtrack echoes of Drive and a seedy night time plot of politics and crime in Rome. The title comes from the name of a suburb of Ancient Rome and follows an Italian MP Filippo Malgradi who is involved in a real estate project complicated by his close relations with a local crime boss. After a sex and drugs night with underage prostitutes, one dies of an overdose and Malgradi leaves it to the surviving call-girl along with her gypsy money lender friend Spandino to get rid of the body into the Tiber.


Malgradi is played well by Pierfrancesco Favino who has starred in Ron Howard’s Rush and as well as the director’s Angels & Demons also set in Rome. His menacing screen presence contrasts with a sleazy vulnerability of a wayward man making the wrong choices at the wrong time. A convoluted plot then sees various crime bosses attempting to waive debts by seizing property and Spadino blackmailing Malgradi as he threatens to reveal his secrets.


A solid European thriller, the film suffers from far too many characters and keeping tabs on their motivations and allegiances would have been easier with a more straightforward narrative. Editing is slightly haphazard reflecting the fractious nature of alliances made by the gangs in the city and the gangs in parliament.


As revenge spirals out of control from both sides, bad-tempered rivalries across the city are settled by money, drugs, murder, violence or “debt recovery” in the way only Italians can.


“It’s dangerous to even cross the street in this city” says one character (a literal fact I found out on my trip there) but this great line of dialogue sums up the film’s focus. Why resolve your differences in a well-mannered (and legal) fashion when you can simply kill, main or extort others into seeing things your way.


Everyone is a criminal, everyone’s father is a criminal and everyone gets criminals to sort out their criminal business. Joking aside the film lacks character development in favour of plot but the plot lacks any coherence so when all your main players are unsympathetic you ultimately care less about the consequences to anyone. Jumping from low level lackeys via prostitutes and politicians, the film is clearly unsure of the protagonist and the overbearing electronic soundtrack by M83 frankly (and I know it’s not professional saying this) got on my tits.


The films skirts around the political affairs of the streets and the state and fans of A Most Violent Year (our review here) may find some satisfaction with Subarra’s similar themes. Funded by Netflix this is a film that shows the new production kid on the block will take chances but its rather uninteresting spotlight on property planning (with added violence) will be frustrating for most audiences.


5/10


Midlands Movies Mike

By midlandsmovies, May 16 2016 11:37AM

After a brilliant trip to the Italian cities of Pisa, Venice and Florence in 2013 (click link) I was itching to get back to the land of perfect pizza with a trip to their capital city of Rome.


For a full album of photos to accompany this blog please click here


Leaving on my birthday May 3rd, the city itself has a rich history of cinema – both as a location, a studio system and a place to film a wide variety of movies throughout history. With my walking boots on (a mere 15km was tracked on a running app on just my first day) I was looking forward to exploring the beautiful city streets without too much planning but also not missing the major sights.


It is with these tourist sites that I will begin with. A city of immense faith and religion, the focal point is the Vatican (technically its own separate state) and has appeared in numerous films over the years. It is destroyed in the cataclysmic 2012 and that CGI model was “borrowed” by Ron Howard and the makers of Angels and Demons. Adapted from the Dan Brown novel – it’s a literary prequel but they made it a sequel for the film – Angels and Demons follows symbologist Robert Langdon (a strangely coiffed Tom Hanks) investigating the secret Illuminati sect. Whilst speaking of St. Peter’s Basilica, it shows up in Mission: Impossible III – another “chase” film where the team successfully infiltrates Vatican City to capture a villain.


A pulp piece of nonsense, the novel has its word-play charms for a holiday read but the film wisely ditches The Da Vinci Code’s literal adaptation and puts Hanks in an on-the-run adventure more akin to the National Treasure movies. Criss-crossing Rome, the death of the Pope sees a number of cardinals kidnapped and tortured throughout the city with Hanks and company using codes to track down their mysterious disappearance as a dark-matter bomb ticks down. Yes, that serious. I therefore tried to find at least some of the monuments for the "Path of Illumination," which are marked by statues of angels in locations relevant to the four elements.


The first cardinal (“Earth”) is held at the Church of Santa Maria del Popolo which was part of a lovely piazza in the north east of the city whilst the second location of Saint Peter's Square was truly one of the great views of Europe to behold. This cardinal represented “air” and I found one of the markers on the floor near one of the city’s many obelisks. For “fire”, Langdon ends up at Santa Maria della Vittoria where I found the statue of ‘The Ecstasy of Saint Teresa’which depicts an angel with a burning spear before the final cardinal is saved at Bernini’s Fountain of the Four Rivers. The fountain also appears in The Talented Mr. Ripley.


Each church was an amazing building with ancient architecture, art and history and are enjoyable even for the atheist holidaymaker like myself. The Illuminati's lair turns out to Castel Sant'Angelo (a towerin cylindrical building commissioned by Emperor Hadrian and later used by popes as a fortress) and the movie ends in and around the Vatican as the real villain is uncovered.


Rome is a city of wonderful old buildings, streets and many (many) staircases. There’s also lots of fountains of which a tour guide said were all drinkable (I didn’t try) and none is more famous than The Trevi Fountain – seen in Fellini’s iconic La Dolce Vita. There cannot be a film fan alive who doesn’t know Anita Ekberg’s frolics in the fountain and after a recent restoration the huge structure looked great during the day and even better at night.


With only 4 full days, I attempted to get to as many places as I could but I wanted to savour one of the things I’ve been wanting to experience for years. Since I can remember I’ve dreamed of seeing Rome’s Colosseum in the afternoon sun. Maybe a cliché but the ancient building (seen reconstructed in Ridley Scott’s Gladiator) has been of interest since my school days and when I finally saw it I was not disappointed. Its looming presence over Rome’s historic area (the Forum is close by) was a joy both outside and inside. The building’s current state, where the floor has been excavated to show underground cells below, is seen in the 2008 film Jumper. A guilty pleasure of mine, Jumper sees Hayden Christensen (remember him?) using superpowers to teleport around the world and a particular action scene has him fighting alongside Jamie Bell in the ancient ruins.


Also filmed at the Colosseum was Bruce Lee’s The Way of the Dragon, the 1972 Hong Kong martial arts action film where the climax is held at the location in a fight against b-movie legend Chuck Norris.


Parts of Rome are also seen in the truly awful (watched once, never again) Ocean's Twelve and returning to The Talented Mr. Ripley, The ‘Vesuvio’ nightclub, supposedly in Naples is actually the Caffè Latino in Rome. Confusingly, the ‘Rome’ opera house, where Ripley poses as Dickie, is the Teatro San Carlo in Naples!


When Ripley returns after Dickie’s murder he surveys the ruins of the Forum from Capitoline Hill. From here you can view the monumental sculptures of the Capitoline Museum and Piazza del Campidoglio. Ripley then stays in an apartment which was filmed in the 14th century Palazzo Taverna on Via di Monte and the terrace café he meets friends is Cafe Dinelli at the foot of the Spanish Steps. Unfortunately for me the Spanish Steps were closed for refurbishment but this was the only restoration work at the main attractions and gave me a good excuse, if I even needed it, to return again in the future.


Also of note, the most unlikely of films can use Rome for its historic look as well. Bill and Ted’s Excellent Adventure uses the Greek-inspired architecture to create the ‘Athens’ of 410BC which is mostly the white marble Victor Emmanuel II Monument (Il Vittoriano), on Piazza Venetia.


More recently, James Bond visits the city in Spectre (2015) where he is chased by henchman, Mr. Hinx. Their car chase around the narrow alleys of Rome was of particular relevance when I had to constantly move out of the way of vehicles driving down cobbled walkways. What I thought were tiny protected pedestrianized alleys, only just wide enough for a small group of walking tourists, were actually busy thoroughfares. I didn’t just have to I step out of the way for scooters and Smart cars, but large lorries and vans actually made their way through smaller and smaller roads, giving you a beep if you failed to spot them. Bond’s car chase continues down the Tiber River – a beautiful city waterway (“waterway to have a good time”) that snakes through the centre.


Obviously no trip to Rome could not mention the 1953 romantic comedy Roman Holiday. Gregory Peck plays a reporter and Audrey Hepburn a royal princess out to see Rome by herself. Hepburn won an Academy Award for Best Actress for her performance as did the screenplay (written by a then-blacklisted Dalton Trumbo). Shot at the Cinecittà studios and on location around Rome it features the Spanish Steps, the 19th century Palazzo Brancaccio and that infamous ending was filmed in the Sala Grande Galleria in the Palazzo Colonna. One of the film’s most unforgettable locations must be the Mouth of Truth (Bocca della Verita) which can be found in the church of Santa Maria in Cosmedin, Piazza Bocca della Verita.


1966 Spaghetti western The Good, the Bad and the Ugly was a truly international effort with co-production split between companies in Italy, Spain, West Germany, and the United States. The filming began at the Cinecittà studio in Rome including the opening scene between Eastwood and Wallach but the production soon moved on to Spain which doubled for the south-western United States,.


Other films from the city? Strangely, Super Fly T.N.T. (1973), a blaxploitation flick directed, starring, and co-written by Ron O'Neal was shot in Rome whilst “Conan” spin-off Red Sonja (1985) was shot on location in Celano, the Abruzzo region and in the Stabilimenti Cinematografici Pontini studios nearby to Rome. In order to create the mid 19th Century sets that Scorsese envisioned for Gangs of New York, that production was filmed at the large Cinecittà Studio and designer Dante Ferretti recreated over a mile of historic New York buildings.


In Guy Ritchie’s 2015 The Man from U.N.C.L.E. various locations throughout Italy were used including Kuryakin and Teller's first outing as a couple which was shot below the Spanish Steps as well as at the Grand Hotel Plaza, in Via del Corso and in the gardens of ancient Theater of Marcellus.


Finally Chevy Chase’s Griswald family also take a trip to Rome in 80s comedy National Lampoon's European Vacation. Watch their Italian clothes shopping trip here which ends with Rusty Griswald (a euphemism to look up on Urban Dictionary if there ever was one) exiting the store looking like a cross between Shakespeare’s Benvolio and a renaissance version of Rufus from Bill and Ted.


An absolute marvel of a city, there have been hundreds more films, both from Hollywood and Italian productions filmed in the city and nearby locations. From the horror of Argento to the obvious Roman epics the city has an attraction like no other. Despite its romantic inspirations, Rome has lent itself to Westerns, blaxploitation, martial arts, comedy, action and much more in a history steeped in passion and pizzazz. Oh, and pizza.


Midlands Movies

By midlandsmovies, Jun 28 2013 12:47PM

Midlands Movies Marek braves the nihilistic and notrious Salo by Pasolini


Salo or the 120 Days of Sodom (1975) Dir. Pier Paolo Pasolini

Pasolini’s final film before his untimely murder, combines elements of Mussolini’s fascist Italy with the work of the Marquis De Sade into a piece of brutal and bleak artform. Compelling yet repulsive, the story is set in 1944 and shows four fascist libertines and their guards kidnap eighteen boys and girls and take them to a palace in the northern Italian state of Salo, (the area Mussolini made his base).


The victims are forced to re-enact the perverse stories as told by the middle-aged aristocratic women of the group, for the sexual pleasure of the male libertines. This repeats for three circles until the remaining youths are further tortured and executed as the libertines share turns in participating or watching, with a particularly cruel end to the third, albeit one with an underlying theme of voyeurism and dare one say the equivalent combination of today's reality TV and torture porn movies.


This is a film that was banned in so many countries for a reason, yet to simply see it as perverse titillation would be an injustice, it is a politically and socially ferocious film which radiates despair and disgust at the changing society and it manifests itself almost quite literally in certain scene.


In almost a juxtaposition to the visual imagery is the audio scored and performed by Ennio Morricone, which stays with you long after the film has ended and adds a sinister feel to the proceedings, thus increasing the powerful impact of the film.


Not one for repeated viewing or even to provide an entertaining night in but a critical piece of social commentary film making that deserves its subject matter to be researched and contemplated by the viewer and as such as it is impossible to score such a film for its importance is balanced by its true depravity. Just thinking about this film still makes me queasy.


Midlands Movies Marek



By midlandsmovies, Jun 19 2013 04:42PM

Midlands Movies Marek headed to Derby's ID Fest last month and checked out the recent reissue of "Investigation of a Citizen Above Suspicion". Currently only available on import, hear what he has to say about this 1970 classic from Elio Petri


Investigation of a Citizen Above Suspicion (1970) Elio Petri


Recently reissued this multi-award winning film features an impressive cast including Italian cinema regulars Gian Maria Volonté, more well known for his work in westerns such as 'A Fistful of Dollars', and Florinda Balkan (Don't torture a duckling, Lizard in a woman's skin).


Encompassing a multi-layered approach, allowing the viewer to enjoy on several layers, as Petri combines social satire and black humour to great effect as he depicts the chief of homicide murdering his lover and leaving ever more blatant clues as to his guilt for his colleagues to investigate, but would they ever suspect him?


This is a fantastic piece of work as the viewer never knows what is going to happen despite knowing who the killer is almost immediately. But this is no ordinary cat and mouse detective movie, in fact quite the opposite and it is this, alongside the stab at corrupt and repressive authority, that elevates the film and makes compelling viewing. To say anymore may ruin the experience for some, however, I implore all film fans to check out this treasure.


9 out of 10


Midlands Movies Marek.



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