Green Room (2015)

I haven’t been writing as many reviews recently, though I’ve been going to every bit as many films. Just one of those fallow periods I guess. There are still interesting movies coming out, though, and one that may have got missed in the glut of fine films is Jeremy Saulnier’s follow-up to Blue Ruin. Aside from the colour-themed titles (which inflect each film’s respective cinematographic palette), the two films are linked by Saulnier’s reliance on mining genre conventions — in this case, he’s set up a tense thriller format in which our heroes, an anarchist punk band, gets trapped in a cabin in the woods by a bunch of neo-Nazi skinheads. I’ve seen it called a horror film and perhaps those more familiar with that genre will find things in common, but to me there’s a lack of horror to the way the story is set out (though there’s plenty of tension). Sure, when things get going, the gore does properly fly, but the curious thing to me is the almost matter-of-fact way it’s presented. All the actors, even the ones playing the skinheads (led by Patrick Stewart), have a human quality, almost as if they all want the best for the situation even if their personal ideologies are inflected by hate (being set in the Oregon backwoods, so beloved of libertarians and survivalists, there’s a notable lack of any people of colour, so racism never really comes into play). It somewhat complicates the genre trappings not to have anyone to actively hate, and when our punk band get into the action, their violence is every bit as nasty as that inflicted on them. I suppose that makes it a film in which nobody wins, which perhaps accounts for the tone of the ending, but in any case it’s another strong cinematic outing for Saulnier.


NEW RELEASE FILM REVIEW
Director/Writer Jeremy Saulnier | Cinematographer Sean Porter | Starring Anton Yelchin, Imogen Poots, Alia Shawkat, Macon Blair, Patrick Stewart | Length 95 minutes || Seen at Curzon Soho, London, Thursday 19 May 2016

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Only Lovers Left Alive (2013)


ADVANCE SCREENING FILM REVIEW || Director/Writer Jim Jarmusch | Cinematographer Yorick Le Saux | Starring Tilda Swinton, Tom Hiddleston, Mia Wasikowska, Anton Yelchin, John Hurt | Length 122 minutes | Seen at Odeon Leicester Square, London, Thursday 6 February 2014 || My Rating 3.5 stars very good


© Sony Pictures Classics

The new Jim Jarmusch film starts on a turntable as a vinyl record spins, before cutting to matched shots circling first Tilda Swinton and then Tom Hiddleston from above, with them sprawled in poses of narcotic ecstasy in their respective homes. These are the doomed lovers of the title, Eve and Adam, and it’s a fitting start, putting us straight into the dizzying, woozy whirl of their lives. They move around a lot — he is based in Detroit, she in Tangier — but little really changes for them, for they are trapped in the eternal purgatory of being vampires, subsisting on packs of blood sourced from reliable local hospitals. It’s a film of beautiful textures — visual and sonic — and it feels almost autobiographical after a fashion, for the vampires are nothing if not artists, preying on millennia of culture as much as on blood.

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