Category Archives: Film

Blade Runner (1982) is back.

Just think, Blade Runner (1982) predicted that by 2019 we’d have flying cars, replicants, and offshore colonies. We’ve got just over a year to go and your average human, i.e. me, still thinks doodling a cock on a steamed-up bus window is an act of comedic genius.

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What did that seminal movie get right about the world we live in today? Rick Deckard’s hover car – No; Synthetic humans – No; Private-sector space exploration – No.

The movie does anticipate Skype, if only with the added surrealism of an interaction occurring in a bar. Skype in public? I’m too scared to answer my phone on the bus. There are exceptions in my neck of the woods. Only last week, for example, I listened with great curiousity to a bloke who appeared to be on methadone scream down the proverbial dog & bone at his girlfriend for a good five minutes, instructing her in meticulous detail to purchase chicken (“Any fuckin’ kind”) for din-dins.

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The movie nails a few things, though. The late 20th century question and present-day conundrum that’s still a wee bit off being ‘hot topic’ – the moral and ethical consequences of creating intelligent life forms and how we can treat ‘them’ considering the consciousness on display. We’ve had Dolly the sheep, and that appears to be the apotheosis as of writing.

From a purely cinematic standpoint, the movie still holds up. It’s more dense and packed with breathtaking imagery than a thousand motion pictures since. I find parallels with Taxi Driver (1976). Someone (I don’t know who) once said that big cities breed loneliness, and I agree with such a sentiment. Deckard is one sad individual with not an ounce of self-awareness who ends up falling in love with a robot. There’s a lot to be said about that – the modern male’s fear of isolation and introspection. It’s easier to put your energies into someone else than figure out what you are or wish to be.

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Blade Runner 2049 (2017) is released next month. It’s been 35 years since Rutger Hauer chased Harrison Ford around those teary rooftops. I fully expect the real-life denizens of Earth circa 2049 to be driving cars using their eyelids and I also predict a gram of cocaine being a compulsory 50p breakfast choice (no more Weetabix). That’s my vision of the future.

Further reading:

http://www.denofgeek.com/us/movies/blade-runner/253027/blade-runner-how-its-problems-made-it-a-better-movie

http://www.bbc.co.uk/news/magazine-18026277

http://www.telegraph.co.uk/films/2017/08/12/sci-fi-got-right-15-films-correctly-predicted-future/2-blade-runner-skype/

https://www.spectator.co.uk/2015/03/how-ridley-scotts-sci-fi-classic-blade-runner-foresaw-the-way-we-live-today/

http://www.huffingtonpost.ca/2016/02/27/blade-runner-future-predictions_n_9302946.html

https://www.wired.com/2017/09/behind-the-scenes-blade-runner-2049-sequel/

 

 

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Frank Vincent – an appreciation.

From as far back as I can remember … I always thought highly of Frank Vincent.

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He just dominated scenes, even if his appearances in films were fleeting. He was the archetypal ‘heavy’ because he looked the part so well, but he had a gravelly charisma that was so natural it elevated him above his character actor peers. His violent interactions with Joe Pesci are his legacy:

In Raging Bull (1980) Joe Pesci repeatedly slams a car window into his noggin.

In Goodfellas (1990) Joe Pesci doesn’t take kindly to being asked to go home for his shine box.

In Casino (1995) Frank Vincent belatedly enacts revenge by burying Joe Pesci alive in a cornfield.

Such were the charming cinematic highlights of my youth.

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It was in the final two seasons of The Sopranos, though, that Frank Vincent’s acting chops were finally rewarded with a meatier role. His antagonist Phil Leotardo was the most complex in the show, a tragic combination of envy, hubris, and self-loathing. He should have got an Emmy for his performance.

Salud, Frank.

Further reading:

https://www.theguardian.com/film/2017/sep/14/frank-vincent-obituary

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Bantz on the Orient Express.

As long as Europe has a pulse there will be the Orient Express. It’s the essential connect to the not entirely apocryphal ‘glory days’ of continental travel. My bucket list includes doing the Orient in a Farage pinstripe, though this travelogue without a ghastly murder on the train. There’s something about the combination of stunning landscapes and sordid intrigue that ensures Agatha Christie’s classic is still being revisited some 80 years after the book’s first edition (1934).

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Anyway, an excellent piece of writing here in The Telegraph ahead of Sir Kenneth Branagh’s November release:

http://www.telegraph.co.uk/travel/rail-journeys/orient-express-mystery-and-history/

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Bus CCTV – the accepted Panopticon.

It’s the year 2017 and I don’t look out of the window when I’m on a bus. This is because I’m too busy staring at everyone (and myself) on the bus through its CCTV feedback screen.

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Me on the No. 3 bus to Gorgie (Edinburgh) this afternoon.

I am specifically talking here about the Lothian Buses device, Edinburgh’s own slice of PG-13 voyeurism. Officially, I have no active interest in the other people joining me in the ramshackle vessel’s journey, but the screen is just … there. I even play a game: I sit at the back and pick my nose when the camera isn’t on me, and attempt to unearth something green and solid before I’ve been framed. If the contraption were on the Orient Express I’d be doing this instead of gazing through the glass and marvelling at the changing landscape.

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David L. Ryan/Globe Staff.

I’d like to see the crime statistics for bus assaults, and measure them against the introduction of cameras with their feedback display. I maintain my hunch that there is no doubt a correlation between knowing you’re being watched and committing a crime. A lot of scum frequent buses – these cameras are our psychological protection against the most cautious riff-raff.

I once again come back to Jeremy Bentham’s Panopticon, which appears to be my obsession of late.

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The Presidio Modelo prison in Cuba, closed in 1967.

So many of our external endeavours – by this I mean our post-house interactions – are oriented within a Big Brother framing device. The only difference between Orwell’s all-seeing eye and our ‘real-life’ one is that we’re complicit in the game, inspecting ourselves in the frame and often inhabiting our own watered-down (or up) voyeur’s gaze. The amount of times I’ve acted the paparazzi in the presence of a midget, for example, is frankly beastly.

Further reading:

https://www.theguardian.com/technology/2015/jul/23/panopticon-digital-surveillance-jeremy-bentham

http://www.tate.org.uk/whats-on/tate-modern/exhibition/exposed/exposed-voyeurism-surveillance-and-camera-exhibition-guide-4

Your generic shop for equipment: https://www.videosurveillance.com/buses.asp

 

 

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Budapest Metro is an underground sketch comedy from hell.

In late January and early February 2011 I spent eight days in Budapest. I hated the city and almost everything about it – it was just replete with scum who would literally do anything for a dollar. On every other street corner you had a hustler or a beggar or an alleged drug dealer peddling Daz washing powder as if it were cocaine fit for Hunter S. Thompson in his prime. The highlight was a Tesco and a ‘cinema hostel’ I stuck around at for the banter, i.e., alcohol and movies. I still meet up with (now) close pals I made on that trip, and we are all in agreement that the metro was, as Alex DeLarge would put it, a real horror show.

306453_10150797955890691_1579151984_nI’d never until that trip seen such shamelessly corrupt ‘authority figures’ as I did their ticket inspectors. They’d swagger around in packs – they reminded me of the Toon Patrol weasels from Who Framed Roger Rabbit (1988) – the ugliest, shortest, most unshaven specimens you’ll ever witness wearing a uniform. If it were the early 1940s they’d be volunteering for a stint in a death camp. Weirdly, so many of them were the spitting image of Georgy Zhukov. I took about 25 metro journeys during my time on the Danube, and on each occasion was privy to these mutants harassing half the train. I had the impression most of them were mentally compromised individuals on work experience. If you’re expecting commuters to be deferential, though, at least try and look like you’ve not just crawled out of bed.

 

Anyway, there is a film about them called Kontroll (2003), and it essentially sums up these plonkers, with a bit of magical realism thrown in. I saw it the other day and it impresses. Budapest Metro is apparently the oldest electrified subway network on the continent … which is just great. I’d have the staff replaced by robots.

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The movie is good, though, and better than the real thing (a common occurrence).

Further reading/viewing:

https://welovebudapest.com/en/2015/11/10/kontroll-issues-budapests-public-transport-ticket-inspectors/

http://www.rogerebert.com/reviews/kontroll-2005

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Gordon Gekko had the best phone ever.

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When someone says the 1980s to me this is the visual I conjure: corporate raider Gordon Gekko just chilling on his wee private beach, making plans at dawn to change the world with Bud Fox. Those were the days when the mobile phone could be utilised as a weapon. I need this in my life.

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Patrick Batemans are among us.

I was on an Edinburgh bus the other day (it’s a twice-daily slice of masochistic trauma) and overheard two geeky types talking about their mobile phones for 30 fucking minutes in the most detailed and scripted way imaginable, emphasising every nook and cranny of their devices. Two thoughts popped into my noggin: 1. These semi-hipsters really adore their smartphones. 2. This sounds like something Straight Outta American Psycho (book and film).

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Bateman talks with such gusto about his suits, haircuts, business cards, and other trivialities of the material world in a way which seems completely manufactured, as if he’s reading verbatim from a magazine spread. And it really is how many people converse these days. It’s a mass regurgitation of accepted gospel strewn over the pages of lifestyle mags or celebrity endorsements through visual media. In recent conversation I’ve seen a person’s eyes flicker to their top-left to recall key lines of a Guardian newspaper review of a hit movie. They essentially parroted the critique word for word.

It’s why Bret Easton Ellis’s magnum opus satire continues to be relevent. It’s not the murders that captivate decades on, but the novel’s spot-on depiction of how much of our everyday language is fed to us on a consumer basis. And how we use it without even realising.

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Here’s a Pat Bateman belter:

‘“Well, we have to end apartheid for one. And slow down the nuclear arms race, stop terrorism and world hunger. Ensure a strong national defense, prevent the spread of communism in Central America, work for a Middle East peace settlement, prevent U.S. military involvement overseas. We have to ensure that America is a respected world power. Now that’s not to belittle our domestic problems, which are equally important, if not more. Better and more affordable long-term care for the elderly, control and find a cure for the AIDS epidemic, clean up environmental damage from toxic waste and pollution, improve the quality of primary and secondary education, strengthen laws to crack down on crime and illegal drugs. We also have to ensure that college education is affordable for the middle class and protect Social Security for senior citizens plus conserve natural resources and wilderness areas and reduce the influence of political action committees.” The table stares at me uncomfortably, even Stash, but I’m on a roll.’
― Bret Easton Ellis, American Psycho.

There’s a lot of poetry in that.

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Dunkirk (2017) – a brief appraisal.

Dunkirk (2017) is a new kind of war movie.

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There are no gratuitous blood-and-guts sequences, nor are there any overtly saccharine attempts to sentimentalise the drama (think Spielberg). It was wound like a spring, and shot with such precision and clarity of vision. The film is a non-linear impressionist snapshot of the evacuation, and it was so refreshing to see a picture made of that great escape bereft of nonsensical German accents or extended scenes of generals and statesmen at conference tables. It’s the anti-genre constraints war movie, more akin to a peak Michael Mann picture – Heat (1995), The Insider (1999) – than your generic battle flick.

Operation Dynamo - men wait in an orderly fashion for their turn to be rescued.

Fear predominates – fear of being smothered by a relentless enemy, this claustrophobia reflected in sometimes mere facial expression and the economy with which Nolan employs the classic close up. And in small acts of heroism characters occasionally perform, the film explodes with such unexpected emotion that it occasionally reaches the cinematic heights of the transcendental. The last twenty minutes of Dunkirk (2017) are among some of the most prolongedly intense in modern cinema, hope (and home) the against-all-odds outcome. Masterpiece.

Further reading/viewing:

http://www.historytoday.com/patrick-wilson/dunkirk-victory-or-defeat

https://www.theguardian.com/film/2017/jul/23/dunkirk-review-terrifyingly-immersive-christopher-nolan

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Locke (2013) – one man *in* his car.

Locke (2013) is a high concept movie without the Bayhem explosions, like Phone Booth (2002) in its situational drama but set in our everyday more altogether maudlin and depressing British existence ….

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One man, one car, one mobile phone with hands-free kit, one 90-minute journey. Seldom do we see a ‘travel’ movie in which the visual exterior landscape is totally irrelevant to the protagonist’s crumbling world. It’s a film as much about sound as the image. And it makes a concrete pour seem quite the arresting topic. A must see.

 

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Iconoclasm and ‘truth’ – challenging the official narrative.

Iconic moments of recent history are inseparable from the defining image which catapults them into popular consciousness – the Moon Landing, ‘Tank Man’ at Tiananmen Square, that famous kiss on VJ Day.

It’s only through viewing other photographic sources that we can escape the prism of these force-fed yarns and experience events three-dimensionally.

 

I see some accompanying images of articles and do wonder why, time and time again, the same stock image is used. It’s as if the rest have been erased and this one is the last Malteser in the box.

Every single piece I’ve ever read about the JFK Assassination is accompanied by stills of the Zapruder film, which has served as the basis for conspiracy theorising and debunking. No one denies its value, but it has to a large extent conveniently encapsulated and simplified the entire discourse (the ‘death’ of the American Dream, the dawn of cynicism) into a singular artefact.

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It’s in our nature to seek easy explanations. What happened immediately before and after the event has been sidelined (with the causal factors and consequences), the icon seemingly enough to digest. They say a picture is worth a thousand words. That’s the problem. There’s only one picture doing the rounds.

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