Film Reviews by AER

Stuffed with information about the FBI's attempts to discredit and defame Martin Luther King jr during his time as 'most moral leader' in America during the early to late 1960s, this documentary offers much but confirms very little. Hard facts are seen as if through a zoetrope - documents whipped under our noses so fast that we have to catch the talking heads (some survivors of MLK's entourage) as they layer on memories and theories. It's a dizzying, fascinating addition to the welcome myriad of documentaries on the American Black experience. An interesting comments come towards the end that reminds us that the American Black has only enjoyed equal citizenship right for around 60 years... That is no time at all. The ghost of slavery and endemic racism in America casts a very long shadow. Intriguing but densely presented.

Channing Tatum's comeback movie (which he has also co-directed and co-wrote) is a likeable, simple tale of companionship with man's best friend, the dog! A US Ranger is charged with taking the former canine US Ranger (Lulu - a Belgian Maloise) to the funeral of its former owner. The pair are predictably antagonistic towards one another before, through a series of encounters begin to bond. After the funeral, Channing Tatum's ranger is charged with taking the hound to be destroyed so he can recommence his overseas military career, but will it end up that way? You don't need to watch it to guess correctly, but the film's predictability doesn't work against it. The only downside is that it packs a lot into a slim running time and some adventures are given short shrift or are tonally amiss (and in one case badly-judged). With the dog's past as a killer, when she is triggered by the sight of a Muslim in Middle-Eastern style attire, the incident is played for fun and more or less brushed off. Dog's like this cannot be retrained or broken without a lot of time and care - so this whole section of the film almost topples the film's good will. However, the dog is (three dogs play Lulu) convincing and very winning (said scene ahead), and Channing Tatum is a very easy going lead that delivers the drama and pathos just as well as the comedy here.

5.5 out of 10 - Fun and moving. Predictable and it's a shame about 'trigger' scene as this could have been a 4* out of 5, easy.

Back in the 90s, this was the first made for cinema Steven Seagal starrer to go DTV in the UK. It came out at cinemas around the world but the Brits saw sense to bypass this one, and this is also the one that saw Hollywood call time on this waste of space. With an eco-message years ahead of its time, it still fudged the science... An EDA agent goes to the Appalachian Mtns to uncover big-business skullduggery and 'fish acting weird' and finds himself on the wrong end of Stephen Lang and Kris Kristoffersen's ire.

This is p**s weak, with terrible action scenes (excepting a truck plunging off a deep cliff), a soppy romance, and dopey villains (Stephen Lang is terrible in this).... The fight scenes look like they were made in the edit - its just plain duff and from the school of 'one-at-a-time fighting' on ketamine. It's easy to see why audiences gave up on Steven Seagal as he can't fight, cannot act and even for the 90s, looked very silly.

Crap Down Below 0.5 out of 10

Gaspar Noe is a singular filmmaker continuously pushing technical and tasteful boundaries. There are two versions of ENTER THE VOID on this DVD/Blu Ray, I watched the longer cut screened at Cannes in 2008 or 2009 -> at 2.5 hours+ it is an immersive unique experience - however, I found the first person POV of the first 20 minutes very off-putting and a steep way into the film - once this angle changes the film gets easier to enjoy and follow. You certainly won't see another film as handsome, sonically impressive or neon-soaked as this - but I just didn't click with it because the characters were drug-dealing losers with zero personality.

Sorry.

Imagine a John Carpenter-directed feature-length episode of Cheers cast to the brim full of aged character actors who have been a mainstay of big action films (albeit in supporting roles) and you'll have something resembling VFW. If you like Assault on Precinct 13 and Z-grade schlock done well, then this is for you. Director Joe Begos and his imaginatively assembled cast of actors bring the carnage to great effect and it's never less than entertaining. Led by Stephen Lang (Don't Breathe / Avatar), the old-timers find themselves under siege when a girl with a cache of high-value drugs take refuge inside their 'pub'... They are more than a match for the leather-clad zoned out punks that come in attack waves. The cast features William Sadler (Die Hard 2 / Bill & Ted's Bogus Journey), David Patirck Kelly (The Crow / The Warriors / Twin Peaks), George Wendt (Cheers / House), Fred Williamson (Original Gangstas / From Dusk Till Dawn), and Martin Kove (The Karate Kid / Cobra Kai)... It's so good even though it's very, very predicatable.

American director John Sayles' strangest film The Secret of Roan Inish has a beguiling and spooky storyline. Sadly, any chance of immersion in the enchanting story is scuppered by a lousy child actress (sorry). But I am so tired of watching films ruined by bad child actors. The story of selkies is perfect and the old folk rumours in this are convincing and magical - the acting from all the adults is serviceable to great - look out for real-life brother and sister John & Susan Lynch in important roles. I saw this at the cinema back in the 90s and I didn't mind it, watching it today, it felt old fashioned yet it might have worked with a better lead actress. Also the fiddles and pipes on the soundtrack never relent - it got a bit annoying after a while - however, this was the style of films 25+ years ago.

4 out of 10 - Good story, great atmosphere, terrible child actors

Boiling Point was directed by Philip Barantini, whose previous film, Villain, was an above-average thug-flick starring Craig Fairbrass. It didn't really give us an inkling of what would follow though. In an exciting gear shift the director has given us a one-take drama starring Stephen Graham and many of the cast from Villain, set in an upmarket London restaurant. Events come to a head on several fronts that put the staff under immense pressure and it makes for a stressful, gripping watch. All the cast are excellent and this really shows that low-budget films can be contenders. There are small quibbles but I won't mention them here because they seem churlish to bring up in the face of what this brilliant team has achieved - a one-take movie that makes you forget its gimmick. It's more immersive than theatre and the odd plot-blip aside, Barantini, Graham, and Boiling Point's cast have set the bar high for British independent filmmakers. There's no excuse not to be this good every time.

After The House of a 1000 Corpses and its superior sequel, The Devil's Rejects, this largely moribund sequel is a dead behind the eyes flop. The only interesting aspect to this one is recognising the cast of 'where are they now' actors in supporting roles. There are a few chuckles during the banter between Otis and his brother but they certainly don't carry a two-hour movie like this. Rob Zombie should have quit when he was miles ahead with the great sequel (Devil's Rejects) as this thirdquel committed the worst sin of all, it was boring.

2 out of 10 - Boring sequel with no new ideas :(

This BBC film drama is set in a dead end town in Aberdeenshire, Scotland and revolves around a young father's attempts to face up to his responsibilities. At an all-time low he contemplates running away from his family and hitting the road in his son's souped up hatchback car. He wants to take back the years when he was king of the road racers. Will he runaway or stay? What begins as a terminally bleak, angry story opens out into a story of hope and wisdom. Carried convincingly by a committed cast and some good car scenes, this offers more insight into the thrill of driving fast and the freedom of the road than 10 Vin Diesel films. Short, tough, but worth the ride.

8 out of 10

The other review comment refers to the Tartan release pictured - the one that I was sent is the updated Criterion Collection version with restored picture and audio. This is the first time I've seen Days of Being Wild and whilst it contains so many elements that I love about Wong Kar Wai's films, the main male character is such a turd that I couldn't relate to his fate. The reminder of the cast is less well-drawn yet more intriguing. For fans of this Hong Kong master, it's this film that you can begin to see the development of ideas that would become fully fleshed out in films like Happy Together, In The Mood For Love, and Chungking Express. This is second division Wong Kar Wai like My Blueberry Nights and 2046.

5 out of 10

This light 'fish out of water' comedy with an indie twist ends up being slight and a touch convoluted. It's still enjoyable, and it was good to see Billy Zane in a rewarding (and ambiguous) role for once in his life. Skateboarders, neo-punk groups, Las Vegas lights, pickup trucks; all modern Americana tropes are present and set the scene well for this story of a weird immaculate conception and a peculiar pair of runaways from a religious commune. It's ultimately very light and early hints at darkness never (thankfully) materialise. Much of the plot leans heavily into serendipity and quirks but I'm not mad at it, I'll struggle to remember it though.

6 out of 10 - Cool and breezy

Made in the early 90s, filmmaking styles have changed; what seemed like a subtle film at the time now feels clunky at times. However, if you make allowances for its age, this gem of a WW2 film has something unexpected to offer. It's message is received as a plea for introspection and humanity in the face of the ugly brutality of war. A Midnight Clear is a very unique and carries its novel origins on its sleeve. Elevated by good performances from a cast of actors that we rarely see on the big-screen anymore (with the exception of Ethan Hawke), at times it's a bit OTT or lacks authenticity, but then for long stretches, it shows us that it has real heart. The tragedy at the heart of the film really sets you off balance, and is upsetting as the best intentions of the characters get wrecked by nerves and bad planning. Back in 93 when this came out in the UK, it was barely released on the cinema but the press urged everyone to see it if they could find it. I've never forgotten it, and I'm glad that in the main, it still works the emotions.

6 out of 10 - Unique but slightly dated

Unlike the stoic, inscrutable Semetka, the corporal who ends up in charge of a unit of soldiers in a potentially hostile Hungarian village during ww2, this is an emotional journey. Through small humane acts, we get a front-row seat to the atrocities of war and how a sense of duty can clash with human decency. It's expertly wrought with clear and lucid cinematography, sound design, and a haunting atmosphere. Every face tells a sad story. The lead actor is amazing and considering he is a non-professional this is miraculous as you can detect so much in his performance from a look or his demeanour. Credit to the director, Denys Nagys who proves that he's one to watch. This reminded me of Come and See, and The Painted Bird; both are films about the inhumanity of conflict... The pace is measured but this doesn't rob you of your interest, there are lots of incidents and a strong emotional payoff.

9 out of 10 - Unforgettable.

Sweetheart is a Saturday night throwaway that is fairly toothless. It plays like 'my first horror movie' so innocuous are the thrills. It mostly works when the threat is a mystery and the lead character is on her own, but there's nothing new here. A spirited lead actress alone doesn't make this interesting. It's third division Blumhouse.

Charlie's Country shows Australia in a poor and honest light. It's insurrection and mistreatment of Aborigines in Australia is at the core of this moving, sad movie. The late David Gulpilil sores in a rare lead role that takes us on a journey that shows how 'locked out' of Australian society they are. It highlights the gulf between white and blacks showing that there's a long way to go before an accord of understanding can be reached. It's a crucial watch with an amazing performance at its heart.

10 out of 10 - One of the best Australian films of the last decade. Make sure you see it.