EIFF 2016 – Round-up

Pikadero (Ben Sharrock)

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Set in a small town in the Basque area of Spain, Scottish director Ben Sharrock’s comedy-drama follows a young couple as they attempt to consummate their relationship. The title translates as a discreet place where couples can meet for sex. There’s even an app listing locations though Gorka (Joseba Usabiaga) is so skint he can’t afford a phone, or in fact a car. Girlfriend Ane (Barbara Goenaga) is also struggling financially having recently completed her studies. Both are still living at home with their parents. Mostly they just hang out having conversations about their hopes for the future. Their ambitions are modest. She’s contemplating going to Edinburgh. That’s how bleak things seem, working in a hotel in Scotland seems like an attractive proposition. Gorka has an apprenticeship in a factory, but knows getting the job will keep him there for life.  The film’s deadpan humour and the muted sadness of the characters are reminiscent of Roy Andersson, while Sharrock often frames his characters in the corner of the screen, or against plain backdrops to make them seem isolated by their surroundings. Pikadero is prescient about problems facing working-class twenty-somethings in the current economic climate and its ending is quietly devastating.

The Love Witch (Anna Biller)

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Beautiful witch Elaine (Samantha Robinson) moves to a small town to start a new life after the death of her lover. Though outwardly she seems positive and intent on pleasing men her voice-over makes it clear she’s unhappy. Despite her recent heartbreak she’s intent on finding the man of her dreams and has concocted a love potion to help her identify him. Unfortunately this potion has side-effects reducing would-be alpha-males to weeping needy wrecks and eventually leaving them dead. Square-jawed Detective Griff Meadows (Gian Keys), follows the trail to Elaine’s door but arresting her is the last thing on his mind when he sets eyes on her.

Anna Biller’s stunning retro-styled fairytale borrows the iconography from classic movies but the result is anything but derivative. There are nods to Hitchcock’s Psycho, melancholy Italian horror movies, Douglas Sirk melodramas, and Jacques Demy’s fairytale romances but The Love Witch has most in common with Angela Carter’s feminist reworking of Brothers Grimm stories with Biller is using familiar tropes to critique female roles and masculinity in popular culture.

Moon Dogs (Philip John)

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Visually impressive coming-of-age road movie with an impressive score by Anton Newcombe of the Brian Jonestown Massacre. Screenwriter Raymond Friel’s original draft was apparently a raucous teen comedy and you can still see traces of his original intent here but the finished film is more interested in the emotional journey taken by the youngsters. Michael (Jack Parry Jones) follows his girlfriend to the mainland when her family moves to Glasgow. Dragging his troubled step-brother Thor (Christy O’Donnell) along with him the two team up with Irish singer Caitlin (Tara Lee) who’s heading for a Celtic music festival in the city. I didn’t always appreciate the humour and Caitlin is a bit of a manic pixie dream girl, but director Philip John and his director of photography Alasdair Walker make spectacular use of locations making Moon Dogs feels like a distinctly Scottish take on a well-worn genre.

Sixty Six

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Director Lewis Khlar is primarily a collage artist and Sixty-Six is a collection of twelve short films formed from magazine cut-outs and Roy Liechtenstein pop-art drawings all telling stories formed from 50s’ Melodrama and Film Noir. I haven’t heard an audience give out an audible sigh of relief when a film ended since albert Serra’s Story of My Life at LFF a few years ago but it’s worth the effort.

EIFF 2016 – Whisky Galore! (Gillies Mackinnon)

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This remake of alexander Mackendrick’s Ealing classic Whisky Galore! (1949) has been in development since the early 2000’s. Every so often the producers would attempt to drum up publicity in the press and people would wonder why bother remaking one of the great Scottish films? Production was shelved a decade ago due to a problem with funding and arguments over casting. Now that the film has finally been made it turns out to be a modest success. Peter McDougall’s screenplay is wryly funny and captures the spirit of Compton Mackenzie’s novel, while Gregor Fisher gives a warm-hearted performance as the wily postmaster Macroon.

The story remains much the same save for the addition of a sub-plot about important documents relating to the royal family which would have got the original filmmakers done for treason. On the isolated Isle of Todday wartime rationing has restricted the availability of whisky. Much to the consternation of the Islanders they’ve drank their fill and the island is now dry. While Macroon is one of the most respected men on the island, he’s not known for his joviality. A widower with two daughters, both of whom are keen to marry and may well leave for the mainland. The last thing he needs is a period of sobriety.

When the SS Cabinet Minister runs aground carrying a cargo of whisky meant for the United States the locals mobilise although not before the local Kirk minister (James Cosmo) makes them observe the longest Sabbath of their lives. Technically taking anything from the ship is theft so hapless Home Guardsman Captain Wagget (Eddie Izzard) chases them all over the island trying to find proof of their subterfuge.

Bill Forsyth’s Local Hero (1983) and the TV series Hamish Macbeth (1994) did more with this kind of material and like the original Whisky Galore! tell us a great deal about the time when they were made. Mackinnon’s film is a nostalgic period piece, but not without charm. What’s missing is any sense of there being something to lose for these people. Izzard is too buffoonish to pose any real threat while Basil Radford in the 49’ version seemed like the sort of ‘decent’ person who would ruin people’s lives over the most trivial of matters. It’ll pass a Sunday afternoon quite nicely though and older viewers might enjoy hearing Gregor Fisher reprising his Hebridean news anchor accent from his Naked Video (1986-91) days.

EIFF 2016 – Maggie’s Plan (Rebecca Miller)

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Went into Maggie’s Plan expecting an earnest drama like The Ballad of Jack and Rose (2005), but Rebecca Miller’s latest turns out to be a highly entertaining comedy. Greta Gerwig plays the titular Maggie who feels she’s ready for motherhood but not marriage. Old college friend Guy (Travis Fimmel) is keen on a more traditional form of impregnation, but agrees to donate sperm and play no further part should Maggie become pregnant. Good-looking, but with an intense manner and clearly suffering from social awkwardness, Guy studied as a mathematician but dropped out and became a “pickle entrepreneur” growing and bottling his own product.

While teaching at college she meets John (Ethan Hawke), a handsome professor and literary star moving away from theory to writing his first novel. John frequently talks about his wife Georgette (Julianne Moore) in disparaging terms and implies she’s ruining his life. Maggie begins an affair despite being warned by her friend Tony (Bill Hader) not to get involved with a married man. Cut to three years later and Maggie and John are together with a young daughter plus sharing custody of his two children with Georgette. John is still writing the same novel though and is a feckless father, leaving all the hard work to Maggie while he does his own thing. Maggie begins to resent him and comes up with a plan to return him to his first wife.

Lighter in tone than her previous work with a whimsical style Woody allen has lost the knack for Miller gently pokes fun at the pretensions of her characters while remaining sympathetic to them. The manipulative and flighty Maggie could easily be unbearable but Gerwig makes her likeable despite her machinations. Moore is hilarious as Georgette whose few early appearances seem to confirm expectations she is some kind of caricature until gradually Miller reveals her humanity. Hawke is the film’s patsy, and it’s hard to to think Miller cast him without having read one of the actor’s own dreadful novels. Doubt I’ll see a scene I enjoy more this year than Moore handing him the burnt ashes of his character’s shitty novel.

EIFF 2016 – The Rezort (Steve Barker)

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For one terrible moment at the beginning of The Rezort it seems like the film might be a found footage movie but thankfully Barker is simply establishing we are in a post zombie epidemic world in which humanity fought back and won “the war.” The remaining undead have been successfully contained on an isolated island. Unfortunately super-rich company CEO Ms. Wilton (Claire Goose) has turned the place into a Westworld style theme park open to visitors who can purchase safari trips with the added bonus of using the zombies for target practice. Now a zombie theme park seems like a spectacularly stupid idea but then I remember a shipping company has rebuilt the Titanic and is currently taking bookings for a maiden voyage. So zombie theme park? Entirely plausible scenario.

In true horror movie style we are introduced to a variety of characters who probably won’t make it to the end of the movie. Odds-on favourite for final girl status Melanie (Jessica De Gouw) is a zombie massacre survivor currently undergoing therapy and in need of some closure. Also along for the trip are her suspiciously nice Irish boyfriend, ex-soldier Lewis (Martin McCann), mysterious loner archer (Dougray Scott), hippy-ish undead rights campaigner (Elen Rhys), teenagers Jack & Jay (Jassa ahluwalia, Derek Siow), and a group of obnoxious businessmen who are clearly first on the menu.

Steve Barker has a proven track record for low-budget features having previously directed the first two entries in the zombie-Nazi Outpost trilogy for Black Camel Productions. Both were filmed on location in Scotland in less than a month but despite the short production period Barker delivered two very effective genre movies. Black Camel once again produce, this time from a screenplay by Paul Gerstenberger.

Leading lady De Gouw, impressive on cult TV shows Dracula and Arrow, holds the film together. For some reason Dougray Scott is lumbered with an American accent just as fellow Brit Richard Coyle was in Outpost: Black Sun (2012). Gerstenberger’s screenplay makes clear allusions to the the refugee crisis and the situation in the Middle East. While the market is over-crowded with zombie films The Rezort is more thoughtful than most and entertaining enough to warrant its own Outpost style franchise.

EIFF 2016 – The Correspondence (Giuseppe Tornatore)

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In this odd otherworldly love story post-grad astrophysics student and part time movie stunt performer Amy Ryan (Olga Kurylenko) is having an affair with her much older tutor Professor Ed Phoerum (Jeremy Irons).  First seen in an anonymous hotel room with a grunting Irons looking like he’s about to launch into some of the erotic manoeuvres from Louis Malle’s Damages (1992), they then go their separate ways making sure nobody sees them. Ed is married with a grown-up daughter (Shauna MacDonald) and a young son, but the two still communicate every day though by text or Skype. Ed seems paternalistic, not surprising given the considerable age difference, but Irons & Kurylenko remain convincing as lovers because her character is clearly looking for a father figure and he’s still a handsome chap.

Suddenly Ed disappears from her life, keeping in touch with Amy only through cryptic messages by text, email, or DVD recordings sent by courier. She travels to his hometown of Edinburgh (posh Scot, no need for an accent) to find out more about his absence. There are little moments that appear to be supernatural portents, a Labrador dog who approaches her in a park and seems to be trying to communicate something, a leaf banging repeatedly against her window, endless talk of parallel worlds and other selves, but the truth behind’s Ed’s absence may be something altogether simpler.

This could just as easily have been a thriller about a controlling male tormenting his lover and to be fair the film does address these concerns towards the end, but the overall mood is romantic and it just about hangs together. As with Tornatore’s last film 2014’s  The Best Offer (which felt like an upmarket version of a giallo), The Correspondence is flawed but fascinating. Scenes of Amy performing elaborate action movie scenes seem incongruous until the stunts begin to mirror her emotional state of mind. Ennio Morricone’s score helps matters, the use of electric guitar in one long recurring suite recalls Local Hero (1983, Bill Forsyth), another Scottish set film which used the landscape to magical effect.

EIFF 2016 -Hunt for the Wilderpeople (Taika Waititi)

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Funny and moving adaptation of Barry Crumb’s novel ‘Wild Pork and Watercress’ from the director of What We Do in the Shadows. Taika Waititi’s film follows the misadventures of mismatched pair Ricky Baker (Julian Dennison), a 13-year old delinquent from the city, and 65-year old Hec (Sam Neill), as they inadvertently become fugitives and the subject of a massive manhunt through the New Zealand bush.

Repeat offender Ricky Baker has been given one last chance. Adapt to life in the country with new foster parents Bella (Rima Te Wiata) and Hec or face life in juvenile detention. Militaristic social welfare officer Paula (Rachel House) wants to put Ricky away, rattling off a list to Bella of relatively minor crimes (“spitting!”) she considers to be serious but which are clearly the actions of a bored kid. Though at first Bella seems like a comic caricature with her over-the-top enthusiasm and her cat faced jumper, she’s smart and likable and wins Ricky’s trust. Hec remains aloof though preferring his own company, but Ricky finally feels like he has a place to call home.

When things go awry Ricky takes off but his attempts to go Bush prove hopeless, and Hec finds the starving youngster but unforeseen circumstances force them to camp out in the bush for a month. On the way home they stop at a bothy (no idea what Kiwi’s call a hut for travellers in the country). Pinned to the wall is a news article suggesting Hec may have abducted Ricky and warning people to look out for them. With Hec having done time in the past and Ricky facing being returned to the child welfare system the pair decide to go on the run, pursued by the clearly unhinged Paula, social services, the police, a trio of dim-witted hunters, and eventually the military.

While Waikiki’s earlier films Eagle Versus Shark (2007) and What We Do in the Shadows (2014) were similarly colourful affairs Hunt For the Wilderpeople is much larger in scale. With its use of the landscape and subplot about a rare animal hiding in the forest it put me in mind of another Sam Neill movie The Hunter (2011, Daniel Nettheim), essentially delivering a comic version of the themes present in that film as this taciturn loner learns become an unlikely surrogate father to a young boy.

Neill is an effortlessly charismatic straight-man while Dennison is a real find making a character who could easily have been irritating lovable. There’s also a welcome cameo from Rhys Darby as a conspiracy nut hiding out in the jungle, and Waikiki makes a brief appearance as a Church Minister with an unusual line in eulogies. A huge hit in New Zealand, Hunt for the Wilderpeople should do well internationally. Marvel fans might want to seek it out as Waikiki will be directing the next Thor movie.

 

EIFF 2016 – Preview

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Artistic director Mark Adams unveiled the lineup for the 70th Edinburgh International Film Festival taking place between the 15th and 26th of June. It’s an interesting lineup continuing the Festival’s current admirable direction towards discovering smaller independent movies. I’ve been looking through the programme and here are my highlights though as ever with festivals there will hopefully be a few new discoveries along the way.

EIFF is notorious for opening on a downer and we’ll soon find out if Tommy’s Honour, a Scottish film starring the ubiquitous Peter Mullan can buck the trend. It does have the novelty value of being directed by former Robin of Sherwood star Jason Connery though.

The knives are ready and sharpened for the closing night gala, a remake of the Ealing classic Whisky Galore! It comes with a long and troubled production history and a previous attempt to film it back in 2006 fell apart. The official website for the film is a bit odd, even chastising original director Alexander Mackendrick for the “folly” of choosing to film the original in black and white.

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Yet there’s some serious talent involved. Gillies Mackinnon (Small Faces) directs, while the screenplay is written by Peter McDougall whose name probably means little outside Scotland but back in the 70s’ and 80s’ he wrote a series of uncompromising television plays including Just a Boy’s Game and A Sense of Freedom then stopped writing for the screen altogether in the early 90s.’ I’m not expecting it to match the original but at least it should be interesting.

Agnieszka Smoczynska’s fascinating looking The Lure is described in the programme as a musical fairytale about two mermaids working in a burlesque club with “kitsch, communist-era styling and off-the-wall collection of upbeat 80s’ songs.”

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Giuseppe Tornatore’s last film, the haunting La Migliore Offerta was given a shabby straight-to-DVD release in the UK under the non-descript title Deception and edited for length so hopefully The Correspondence will fare better. It’s partly set in Edinburgh with Jeremy Irons as an academic carrying on an affair with former student Olga Kurylenko.

My enthusiasm for Maggie’s Plan is tempered by an deep loathing of Ethan Hawke but apparently the movie spends a great deal of time making fun of his pretensions. Hitman movie Mr Right (Paco Cabezas) features Anna Kendrick falling for Sam Rockwell’s dance-loving hitman, and Mark Cousins Bigger than the Shining focuses on premonition in the movies and male rage.

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There’s also Sam Neill in New Zealand comedy Hunt for the Wilderpeople (Taika Waitit). Thomas Vinterberg’s hippy movie The Commune, 24 stalwart John Cassar directing Kiefer and Donald Sutherland in western The Forsaken, and Dougray Scott as a zombie hunter in Steve (Outpost) Barker’s The Rezort.

Adams mentioned at the press launch that Scottish road-movie Moon Dogs (Philip John) is well worth seeing. Other recommendations from folks who’ve attended festivals elsewhere include Mammal (Rebecca Daly), Sand Storm (Elite Zexer), and Parched (Tannishtha Chatterjee). There’s also a couple of Gerard Depardieu movies, The End (Guillaume Nicloux) and Saint Amour (Benoit Delepine and Gustave Kerven), but I doubt EIFF will have invited him back after he got waylaid in a pub on the Isle of Skye and never made it to the Festival for a screening of Welcome to New York (Abel Ferrara) a couple of years ago.

Pow!!! Live Action Comic Strip Adaptations: The First Generation

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Looking at the early days of comic book adaptations this retrospective has a fine mixture of pop art classics including to quote Ralph Fiennes in The Lego Batman trailer, “that weird one in 1966,” the Batman (Leslie H. Martinson) movie. Monica Vitti changing her hairstyle in every scene for Joseph Losey’s Modesty Blaise, Vadim’s sexually charged Barbarella, Corrado Farina’s beautiful Baba Yaga, and I envy anybody seeing Mario Bava’s sublime Danger Diabolik on the big screen for the first time.

Altman’s Popeye was the first movie I ever saw in a cinema and it will be interesting to see if my adult self dislikes it as much as I did when I was five. Mike Hodges camp classic Flash Gordon is always welcome, with Sam Jones likeable hero travelling into space and encountering magnificently ripe performances from Brian Blessed, Timothy Dalton, and Max von Sydow.

Only ever seen Shogun Assassin, the edited together travesty cut from two Lone Wolf Cub movies so look forward to seeing one of the originals Sword of Vengeance (Kenji Misumi).  Also new to me are hitman movie Golgo 13 (Jun’ya Sato), Pam Grier Blaxploitation movie Friday Foster (Arthur Marks), and Tin Tin and the Golden Fleece (Jean-Jacques-Vierne) a remarkable looking live action adaptation of Herge’s classic comic book series.

Adapting Miss Highsmith

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Patricia Highsmith’s biographer Joan Schenker delivers her talk, ‘The Talented Miss Highsmith: What She Did For Love about Carol/The Price of Salt and how it ties into the rest of her work plus screenings of Carol (Todd Haynes) and Michel Deville’s Deep Water starring Isabelle Huppert.

A Celebration and Critical Appraisal of the Cinema du Look 

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Cinema du Look was initially derived as a dismissive term for the work of a trio of young French directors (Leos Carax, Jean-Jacques Beiniex, and Luc Besson) in the 80s by critic Raphael Bassan who who felt their films had more style than substance. Many still feel that way. Only Carax carries any kind of critical respect, while Beineix has fallen away, and the ridiculously prolific Besson now churns out genre movies through his highly profitable Europacorp studio. These films were often simplistic in terms of worldview, but incredibly complex in terms of their use of imagery and music and they redefined the look of French cinema.

EIFF are showing seven movies. Carax’s sci-fi love story Mauvais Sang, famous for the clip of Denis Lavant dancing through the street to David Bowie’s Modern Love, and his grand folly Les Amants du Pont-Neuf. From Beineix, his wonderful thriller Diva, and the more problematic Betty Blue. Mercifully we’re spared his Roselyne and the Lions. Besson gets the MVP treatment with three films screening. Christopher Lambert’s lovelorn thief hiding out in the Paris Metro in Subway, Anne Pariallaud as the punk turned assassin La Femme Nikita, and the astonishingly beautiful Jean Marc-Barr in his free-diving epic The Big Blue.

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There’s another retrospective showing a peak period Christopher Lambert movie. This time a restored version of Highlander is getting a 30th anniversary screening with the Kurgan himself Clancy Brown attending. Devotees of the film will know Brown rarely talks about his time working on the movie due to a fallout with the film’s producers so this could be an interesting evening.

So far there are In Person events with Diva bad guy Dominique Pinon, legendary British producer and longtime David Cronenberg collaborator Jeremy Thomas, and if you still have enough affection for his 90s’ work Kevin Smith will be there. Adams suggested there will be more stars announced in the next few weeks.

EIFF 2012 Roundup

Being from out of town I only managed a few days at this year’s festival. I wish I had been able to see Nicolas Provost’s The Invader which I heard great things about but here’s the pick of the movies I managed to catch while I was down there.
Killer Joe (William Friedkin)
Prior to his new film the opening the Edinburgh International Film Festival William Friedkin was at the Filmhouse for a special showing of his great crime thriller The French Connection (1971). Forty years later and Killer Joe feels like the work of a hotshot young director but that’s a backhanded compliment. It’s a dark and twisted tale channelling the same skewed Americanayou find in the novels of Barry Gifford, part thriller part fairytale. Based on a play by Tracy Letts, who also provided the material for Friedkin’s earlier Bug (2006), Friedkin opens out the action so even with the dialogue heavy scenes it never seems stagey. Yet Killer Joe is all surface with not much underneath. Witty in its deconstruction of the effects of the economic crisis and an overlying moral decay at the heart of a society where monetary gain is placed above all else, the film’s main flaw is it simply does not give a damn about these people. It works effectively as post-feminist revisionist fairytale in which the female victim tames the big bad wolf but that was done better by Matthew Bright in his Freeway movies.
McConaughey’s much vaunted lead performance falls flat. I kept looking at McConaughey in his cowboy hat and couldn’t help wishing for the easy but menacing charm of Timothy Olyphant. Juno Templehowever is remarkable as the otherwordly Dottie, a little girl lost with sharp teeth, at once innocent and yet far more dangerous than any of her dysfunctional family or the various killers and ne’er-do-wells who appear throughout the film. It says a lot about the MPAA that such a tame film has been denied a USrelease because of Friedkin’s refusal to bow to their demands for cuts. I’m guessing a close-up of Gina Gershon’s bush would be on the MPAA’S hit list but it is telling while both female leads go full frontal Matthew McConaughey’s genitals are discreetly hidden away. It’s that kind of film, plenty of front but no balls
Grabbers (Jon Wright)


Possibly the best film I’ve seen in which a drunken Irishman kicks an alien to death, Grabbers was a pleasant surprise. Imagine an Irish Local Hero crossed with 80’s horror films like Tremors and Ghoulies and you have an idea of what to expect as a small island is invaded by squid like creatures with a taste for human blood. Richard Coyle (Pusher) is charming as the feckless Garda officer who is perked up by the arrival of an uptight colleague (Ruth Bradley) from the mainland. With a witty screenplay, impressive CGI, and a great supporting cast including Bronagh Gallagher (Pulp Fiction) Grabbers deserves to reach as wide an audience as possible.
Dragon (Peter Chan)


Highly entertaining martial arts film choreographed by star Donnie Yen with a great performance from Takeshi Kaneshiro as a troubled detective piecing together how a country bumpkin Liu Jin-xi (Yen) not only survives a confrontation with two ruthless killers but somehow leaves them both dead. Peter Chan’s film is an intriguing and thoughtful addition to the Wu Xia genre. A Chinese variation on David Cronenberg’s A History of Violence its plot grips as the audience is left wondering whether Jin-xi is who he claims to be or Xu Bia-jiu (Kaneshiro) is imagining things that aren’t there.
Shadow Dancer (James Marsh)

 This understated thriller is a throwback to the kind of films that British and Irish cinema regularly produced about the Troubles in the 80’s and early 90’s. Set in 1993 just before the peace process begins to take hold Shadow Dancer is based on a novel by former journalist Tom Bradby. Director James Marsh, better known for his documentary work, has an eye for detail and the film is certainly gripping. Single mother and IRA volunteer Collette (Andrea Riseborough) finds herself forced to tout for the British security forces by MI5 operative Mac (Clive Owen) but unforeseen events put her life in serious danger as IRA hardman Mulville (David Wilmot) starts asking questions. Shadow Dancer is well acted and interesting but there is nothing here we haven’t seen before in those earlier films which were contemporaneous and had an urgency about them that is missing here.

EIFF 2012 – Pusher (Luis Prieto)

“Frankie my friend, you owe me money.”


Sadly not a Bad Lieutenant: Port of Call New Orleans (2009, Werner Herzog) style reworking with the premise of an earlier film turned into something strange and new, this flashy remake moves the action from Copenhagen to London and mimics the style and plot of Nicolas Winding Refn‘s debut Pusher (1996, ) but fails to capture its emotional intensity. Frank (Richard Coyle) botches a drug deal after getting lifted by the police while carrying gear borrowed from amiable gangster Milo (once again played by Zlatko Burić who appeared in all three of Refn’s Pusher movies). While comparisons are inevitable Luis Prieto’s film remains watchable enough thanks to a charismatic turn from former Coupling star Coyle cast against type and the strength of Refn’s narrative which still grips from the moment Frank finds himself in trouble. 

There is plenty of gangster movie posturing in Refn’s movie but there was a sense these people had inner lives; that they existed outside the clichés of the genre. In one memorable sequence the towering Serbian enforcer Radovan (Slavko Labovic) spoke of his dream of retiring from a life of ripping out kneecaps and opening a restaurant. Most of the characters seemed trapped by their circumstances be it poverty or their involvement in crime. Moments of reflection are skimmed over in the remake. There is a hamfisted attempt at conveying the human cost of Frank’s trade with a harmless old shopkeeper being leaned on a little too heavily but when Prieto cuts to a close-up of a dog sadly observing the aftermath the effect is anything but subtle.


You could understand why Kim Bodnia’s Frank worked with Tonny (Mads Mikkelsen).  These two seemed like friends and Frank was a thug, smarter than Tonny but not by much. Coyle’s Frank is more intelligent and would surely figure Tony (Bronson Webb) for a liability long before he lands him in it.  While Coyle and Burić are effective the rest of the cast act like they are in an episode of The BillAgyness Deyn looks far too healthy for a woman who is supposed to be hooked on drugs and desperate to escape from her destructive lifestyle. Pusher 2012 is an interesting film to watch for long-time admirers of Refn, though a new entry in the series would have been preferable. The film is worth seeing however for Coyle, the impressive neon-tinged visuals by cinematographer Simon Dennis, and the score by Orbital.