REVIEW: DVD Release: Priceless

Film: Priceless
Release date: 13th October 2008
Certificate: 12
Running time: 102 mins
Director: Pierre Salvadori
Starring: Audrey Tautou, Gad Elmaleh, Marie-Christine Adam, Vernon Dobtcheff, Jacques Spiesser
Genre: Comedy/Romance
Studio: Icon
Format: DVD
Country: France

Pierre Salvadori’s 2006 film Priceless (Hors de prix) draws comparisons to Blake Edwards’ 1961 classic, Breakfast at Tiffany’s. This romantic comedy, set amidst the playground of French High Society on the Côte d'Azur, sees a misguided femme fatale pursue a life of wealth, whilst a humble barman pursues a life of love.

Jean (Gad Elmaleh) is a rather shy and well mannered barman at a luxury hotel on the French Riviera, who one night, having been persuaded to have a drink with a guest of the hotel, ends up falling asleep on the bar lounge sofa. To Jean’s surprise, he is later awoken by Irène (Audrey Tautou), a beautiful gold-digger seeking a drink and some fun on her birthday, after her rich, elderly fiancé had passed out in their hotel room.

Jean, a man of few words, apologises for falling asleep on the sofa, but soon realises that Irène has mistakenly assumed him to be a guest of the hotel. Too embarrassed to admit that he works behind the bar, Jean instead opts to try and impress Irène with his panache and care-free demeanour, but soon falls into a lust trap that proves far too difficult to escape from.

Unfortunately for Jean, however, Irène soon discovers that he is penniless, and that having been seen with Jean by her fiancé, she has thrown away her greatest opportunity of a life of wealth and luxury. Irène therefore leaves the hotel immediately, and heads for the Côte d’Azur in search of another wealthy man seeking a high-cost, trophy wife.

Jean, however, has become far too captivated by Irène and her majestic beauty to just let her disappear, and he therefore follows her to the coast, where he uses his life savings trying to satisfy her expensive urges. Ironically, when Jean spends his last euro romantically stirring into Irène’s eyes for a mere ten seconds, he is forced to take on a similar role to that of Irène, as the gigolo to Madeleine (Marie-Christine Adam) the wealthy widow of the hotel.

As Irène works her magic on a lonely, rich man, she spares some time to take Jean under her wing as her gold-digging protégé, providing him with tips on how to get the most out of Madeleine, including a €30,000 watch. The more time the two spend together, though, the more fun they have, and the more difficult it becomes for Irène to detach herself from Jean for the purposes of her selfish pursuit of wealth…


The very nature of the film - as with the genre to which it belongs - lends itself to cliché and predictability, and so for those expecting twists and turns, and a conclusion that offers something a little more original, it is advisable to steer clear. Priceless is just about as obvious as they come, which is in fact not at all to the film’s detriment.

The storyline is one that has been used many times before, and approached in various different fashions over the years. Truman Capote’s 1958 novella Breakfast At Tiffany’s inspired Blake Edwards to produce the on-screen adaptation of the same name, which was unforgettably stylish and charming. The successful elements of that feature – the beautiful and sassy gold-digger; the modest and amiable man, and the wealthy, upper class setting – have been drawn upon by many Hollywood writers, but their attempts to emulate the success of Edwards’ film have been met with very mixed results.

Salvadori, however, is able to take these winning ingredients and infuse them wonderfully to bring about his desired result, which is a quintessentially humorous, yet elegant affair. The base material is of course an advantage, in the sense that it is a tried and tested formula, but making an audience laugh, and selecting actors which will bring the story to life, is still a complicated task.

Casting director Alain Charbit, therefore, is to be given credit for his selection. The number of beautiful, French actresses available is almost limitless, but at the conclusion of Priceless, it would seem almost foolish to have considered anybody but Audrey Tautou for this role. Much like Hepburn, Tautou possesses that natural beauty which justifies a confidence bordering on arrogance. Taotou, though, doesn’t merely look the part, but proves her versatility by producing a fantastically witty, sympathetic and lust-worthy performance.

Tautou’s comic timing, and gift for expressing just about every emotion, makes her perfect for this role. Irène is a more complex character than first meets the eye, and whilst coming across as shallow, immoral and heartless, in fact proves herself to be intelligent, deeply emotive and caring. Portraying such a self-preserving character in this type of feature takes something more than what most comedy actors are capable of, but with the assistance of Elmaleh, Tautou certainly achieves this outcome.

Jean, in stark contrast to Irène, is a coy introvert who possesses no desire to own expensive, material goods or to lead a life of luxury. In fact, Jean’s only real superficial moment is when he immediately falls for Irène, the only explanation for which being that she is so strikingly beautiful. Admirably, Jean’s character remains genuine throughout, and even when he chooses to bleed the lonely Madeleine of her money, his aspirations for doing so are plainly just to keep Irène interested.

Salvadori’s setting for the movie, the Côte d’Azur in the South of France, is a fitting location for such a story. The beautiful views, luxurious hotels and shops established only for the super rich, all reflect what it is that Irène seeks in life. Cleverly, however, Salvadori is also able to use this setting to add another element of humour to the film, and to show that money doesn’t necessarily buy class, personality or happiness. This theme, which is played upon throughout, is essential to the film’s success. It is this truth which the audience will urge Irène to recognise, in the hope that Jean will succeed in his pursuit.


Cliché and predictability ooze from the script, but this a witty, fast-paced and stylish feature nonetheless. Taotou’s classic beauty and flair, combined with Elmaleh’s almost expressionless charm and clumsy demeanour, results in a pleasantly entertaining film. It’s not quite priceless, but it is definitely valuable viewing. TMO

NEWS: DVD Release: Paranormal Activity: Tokyo Night

After the original Paranormal Activity shocked, scared and downright terrified people the world over, grossing over $100million in the US and £10 Million in the UK along the way, Japanese Horror aficionado Toshikazu Nagae, with additional input from the original US producers, set out to make an even more shocking sequel.

As is the tradition of US filmmakers re-working Japanese horror classics to bring them to a wider audience, Toshikazu Nagae has done just the opposite; taking the bones of Oren Peli’s US horror spectacle, and molding it into his own Japanese sequel, with two bedrooms - and twice the fear!

The Yamano family lives in a remote area of Tokyo, Japan. With their father away on business, 19-year-old Koichi is left to look after his wheelchair-bound sister Haruka; who has returned to Japan early after surviving a car accident whilst travelling in America.

Soon after Haruka’s return from that states, strange and unexplainable things start to happen in the Yamano home.

As the incidents continue to grow increasingly stranger and more severe, Koichi persuades his sister to set up a video camera to try and capture them on film. What Koichi discovers is beyond anything he could have ever imagined and, as the situations intensify, a terrible fact is revealed.

Film: Paranormal Activity: Tokyo Night
Release date: 21st March 2011
Certificate: 18
Running time: 90 mins
Director: Toshikazu Nagae
Starring: Aoi Nakamura, Noriko Aoyama
Genre: Horror/Thriller
Studio: Icon
Format: DVD
Country: Japan

SPECIAL FEATURE: DVD Review: Buried

Film: Buried
Release date: 14th February 2011
Certificate: 15
Running time: 95 mins
Director: Rodrigo Cortes
Starring: Ryan Reynolds, Robert Paterson, Jose Luis Garcia Perez, Stephen Tobolowsky, Samantha Mathis
Genre: Drama/Mystery/Thriller
Studio: Icon
Format: DVD & Blu-ray
Country: Spain/USA/France

This is an English-language release.

A new take on an old concept, Buried is set entirely in the confined space of a coffin. Such a restrictive concept is a bold challenge to undertake for any film maker and similar concept movies have been tackled in the past by legends such as Hitchcock with Lifeboat and Rope, Sidney Lumet with 12 Angry Men and, of course, the relatively recent Phone Booth by Joel Schumacher. The trailers for Buried might even remind you of The Blair Witch Project, but what can a film in a dark enclosed space possibly offer us in this age of thrills and unlimited spectacle?

The story follows Paul Conroy (played by Ryan Reynolds), a truck driver working in Iraq who wakes up to find he has been buried alive. With the oxygen supply quickly running out, Paul has only a couple of hours to find a way out of his tomb. Luckily, Paul’s captors buried him with a mobile phone and a lighter.

The film follows Paul as he uses the limited resources to discover why he is there, who put him there and, most importantly, how to escape before time runs out...


The very first thing the audience see is complete darkness, which continues for a few minutes. In the absence of light, one finds oneself focusing on the other senses available, and listening intently to the heavy breathing which gradually grows in intensity. This provides immediate suspense and mystery, and creates a suffocating claustrophobic atmosphere. This is followed by Paul flicking the Zippo lighter, the sound of which resonates through the movie theatre threateningly, and the subsequent bursts of light.

A difficult role for any actor, from the moment the film starts, until its incredible finale, Reynolds delivers a powerful and emotive performance that really keeps the audience on the edge of their seats. The range of emotions as the story progresses is undeniably impressive. Reportedly, by the end of the filming Reynolds was a physical wreck, having spent so much time in the coffin. This dedication to the role really comes across and draws the viewer in. Reynolds also has an impressive instinct when finding the best position for catching the light, giving some incredibly poignant and striking images.

The overall visual style of Buried creates a really textured mise en scene that we don’t just see - we feel it, smell it and hear it, too. The old cliché that when one sense is removed the other senses become more acute is being demonstrated. We take in every texture, every slight sound, and imagine how the suffocating air tastes and smells. The low key lighting makes a visual that only allows us to see small details and literally highlights things for our attention.

Lighting is something that Buried relies upon hugely throughout. A number of different diegetic light sources give various shades of illumination, from a flickering flame to the constant luminous glow of a glow stick. Not only do these different types of lighting change the tone and atmosphere, but they also they offer a wider variation of visuals.

Far more important is the use of shadow. Buried uses shadow to build an aesthetic that evokes noir-esque moods. In fact, the impending sense of doom and overwhelming pressure for Paul to survive, not only for himself but for his family as well, adds to this aesthetic, and brings it closer thematically to a modern twist on Film Noir (including a femme fatale love triangle). There are also various expressionistic flourishes, where we see Paul’s inner mental state manifest itself within the coffin. We zoom far beyond the range of the coffin to see an unbelievably deep pit with Paul lying at the bottom, overwhelmed by the ‘situation’, and there are also times where the audio will change to reflect Paul’s thoughts and feelings.

Director, Rodrigo Cortes, willingly acknowledges Hitchcock as the main influence for much of the film. This is evident from the opening titles, which are presented in a very similar style to many of Hitchcock’s movies, such as North By Northwest and Psycho. The title music is even reminiscent of Bernard Herrmann. Buried has, in a sense, used many of the techniques Hitchcock used to create suspense and drama, as well as the classic playful narrative restrictions and challenges that he was also known for. Buried also has a Hitchcockian sense of humour, and offers some surprising comic relief, at times - although this is always a dark ‘gallows’ humour, it works to great effect, further mixing up the audience’s emotional palette.

Every strategy and technique used through the film combines to give some gripping suspension of disbelief (for instance, the flame from the lighter that Paul uses for much of the film would probably use up all his precious oxygen in reality). The suspense absorbs our thoughts as we ponder everything the film isn’t telling us, either by visuals or narrative. The realism of the editing and cinematography, with lots of lengthy shots taking up several minutes of screen time, and some discrete montages for action, also further enforce this. There are also a lot of point-of-view shots, showing us Paul’s perspective and positioning the viewer in his position. It is therefore impossible to watch Buried as a passive spectator; it is a totally active experience.


This is a film that is as unique and refreshing as The Blair Witch Project was, and is so fundamentally driven by its narrative that it really keeps you watching despite the minimalistic visuals. In a sense, the restrictions of its concept are what make Buried such gripping and compelling viewing. DOB

SPECIAL FEATURE: Trailer: DVD Release: Let Me In

English-language release.

Film: Let Me In

SPECIAL FEATURE: Cinema Release: Let Me In

This is an English-language release.

British/American remake of the Swedish film Let The Right One In.

Let Me In tells a terrifying tale about an alienated 12-year old boy named Owen (Kodi Smit-McPhee) who is viciously bullied by his classmates and neglected by his divorcing parents.

Achingly lonely, Owen spends his days plotting revenge on his middle school tormentors and his evenings spying on the other inhabitants of his apartment complex. His only friend is his new neighbour Abby (Chloe Moretz), an eerily self-possessed young girl who lives next door with her silent father (Oscar nominee Richard Jenkins).

A frail, troubled child about Owen's age, Abby emerges from her heavily curtained apartment only at night and always barefoot, seemingly immune to the bitter winter elements. Recognizing a fellow outcast, Owen opens up to her and, before long, the two form a unique bond.

Film: Let Me In
Release date: 5th November 2010
Certificate: 15
Running time: 116 mins
Director: Matt Reeves
Starring: Kodi Smit-McPhee, Chloe Moretz, Richard Jenkins, Elias Koteas, Cara Buono
Genre: Drama/Fantasy/Horror/Mystery
Studio: Icon
Format: DVD
Country: UK/USA

REVIEW: DVD Release: Y Tu Mama Tambien

Film: Y Tu Mama Tambien
Release date: 22nd October 2007
Certificate: 18
Running time: 101 mins
Director: Alfonso Cuarón
Starring: Gael Garcia Bernal, Diego Luna, Maribel Verdú, Marta Aura, Diana Bracho
Genre: Comedy/Drama
Studio: Icon
Format: DVD
Country: Mexico

Director Alfonso Cuarón made a welcome return to the cinema of his native tongue with his first Mexican film in a decade. Having tried his hand at big budget American productions, Cuarón went back to his roots with Y Tu Mama Tambien, a lucrative decision with the film grossing seven times its original budget worldwide.

Opening with a very personal goodbye, the audience is offered a voyeuristic view of Julio (Gael García Bernal) and Tenoch (Diego Luna) going at it with their girlfriends more aggressively than a Duracell bunny on speed before taking the girls to the airport, promising to be faithful whilst they are in Italy.

Realising how much they depend on their girlfriends to keep them entertained, their boredom is temporarily remedied by games of who can make themselves come the fastest. Little do they know that a boring family wedding will provide them with a chance meeting which will keep them amused for the rest of the summer.

Cheekily flirting with a beautiful older lady, Luisa (Maribel Verdú), the boys think they are on to a good think until they discover that the mystery Spanish lady is in fact the wife of Tenoch’s cousin Jano. At this point, the double act seem even more determined to impress Luisa, and begin creating an imaginary beach, la Boca del Cielo (Heaven’s Mouth), in an attempt to seduce her into taking a road trip with them. An apprehensive Luisa politely declines until she receives a drunken phone call from Jano while he is away on business, tearfully admitting to having cheated on her.

The three of them set off through rural Mexico, Luisa blissfully unaware that these boys have no idea where they are going. As if Tenoch and Julio need anything more than the presence of Luisa to keep their spirits high as they aimlessly drive around, the boys boast about their sexual experiences and conquests, pausing to high five each other. Bemused by their comparatively modest exploits, Luisa begins her subtle seduction telling them about her relationship with Jano and her first love. The reality of bedding Luisa is more sexual humiliation than fantasy, shattering the grand delusions they hold about their sexual abilities, and ultimately turning them against each other.

They continue their road trip in absolute silence only talking to throw an underhanded remark at the other until they stumble upon a beach - both surprised, they can’t believe their luck. When they meet a group of locals, they discover that Heaven’s Mouth really does exist, and Luisa remains none the wiser about the lies they told to get her there. When it’s time to leave the beach behind, Luisa announces that she wants to stay, leaving the boys to travel back alone with a now awkward and frosty friendship…


Interestingly, the film is set two years in the past, in 1999, showcasing the realities of living in Mexico both economically and politically. Most notably this era is recognised as being the time when Mexico’s longest political reign was brought to an end when the Institutional Revolutionary Party lost the election to the National Action Party after 71 years. Throughout the film, issues of economy and politics are subtly raised, but always presented as background information rather than having a direct impact on the plot. Tenoch’s father is a political official, important enough to have the president of Mexico as a guest at his daughter’s wedding, and although Julio gets on well with Tenoch’s family, they are political polar opposites. It is revealed at the end of the film that some of the things which the audience have seen during the film have been affected as a result of the change in political power, coincidently it is also noted that Tenoch and Julio are no longer friends. Cuarón has created a powerful backdrop for his film and the imagery of poor, rural Mexico serves to enforce the reality of the boys’ lives.

At the heart of it, Y Tu Mama Tambien is essentially a coming of age story, detailing the, literally, emotional journey of best friends Julio and Tenoch. The film opens with a shot which illustrates both the grounding and the destruction of the boys’ friendship - sex. Cuarón is fearless in his choice of opening shot, which places the audience voyeuristically sneaking into Tenoch’s bedroom as he is having sex with his girlfriend, with a sweaty recklessness which sets the tone for the entire movie. Cuarón certainly took a risk when he made the decision to show such unabashed scenes of sex, although his choice was no doubt influenced by the fact that he had such an attractive cast to work with. All immaturities to one side, Cuarón has pin pointed the attitude most young people have towards sex, the disposability of it, and the way that emotions are ignored until it is you who becomes hurt. Tenoch and Julio are the ultimate horny teenage boys, bragging about their sexual exploits and trying to outdo one another, but their friendship is put to the test as a result. Neither one shows any signs of growing up or taking responsibility, and they are doubly put to shame when Luisa tells them that their manifesto is as meaningless as the sex they have.


Genuinely moving and humorous, but, at times, cringe worthy, Y Tu Mama Tambien reaches beyond its expected audience of young hipsters with a relevance which spans a multitude of ages. Cuarón has managed to present pressing issues in a way which retains a light hearted and enjoyable viewing experience whilst making you think. JHA

REVIEW: DVD Release: Apocalypto

Film: Apocalypto
Release date: 11th June 2007
Certificate: 18
Running time: 132 mins
Director: Mel Gibson
Starring: Raoul Trujillo, Rudy Youngblood, Dalia Hernandez, Jonathan Brewer, Morris Birdyellowhead
Genre: Action/Adventure/Drama
Studio: Icon
Format: DVD
Country: USA

The late 16th century brought an end to the enigmatic Mayan civilisation, which dominated Colombia and its neighbouring countries as far back as 2000BC. Their decline remains one of the great archaeological mysteries: the Mayans were fabled for their forward thinking, particularly in their use of mathematics, which enabled them to formulate unrivalled astronomical knowledge. However, they were unable to prepare for the combination of factors which contributed to their demise, which are still debated today. One of the most commonly attributed reasons for their decline is the Spanish colonisation, which spanned many centuries. Apocalypto investigates this theory further, providing a snapshot of Mayan civilisation in its twilight.

The spotlight focuses on the plight of Jaguar Paw and his immediate family. Whilst on their daily hunt they encounter a local tribe drawn in a similar vein, bringing with them tales of impending invasion and capture. Choosing to ignore the warnings, Jaguar Paw and family return home, and in next to no time, find themselves to be the next victims of a violent uprising.

Jaguar Paw hides his pregnant wife and son in the nick of time (his quest to get back to them provides an overriding story arc), but finds himself isolated from them in the scenes which follow, as he is taken to the Mayan city; an agglomeration of evil, the stench of death and disease emanating off the screen. Human sacrifice becomes the order of the day, and a nauseating sadness inevitably accompanies subjecting one’s self to the epic torture scenes, as we briefly bond with one or two secondary characters, but only as a means of accentuating our sorrow at their visceral treatment at the hands of the Shaman-like leader.

The situation appears hopeless, but in a single moment of good fortune in amongst the tumultuous evil (a twisted scene in which Jaguar Paw and his remaining fellow captives are treated as human game), an opportunity of escape presents itself.

What follows for Jaguar Paw is a test of both endurance and guile, as Gibson turns up the heat in a series of pulsating chase scenes, which will have audiences casting their minds back to the archetypal hunter vs. hunted films of old. The dynamic between predator and prey is reversed in several set pieces, in which the chasing pack is subjected to Jaguar Paw’s expansive knowledge of the forest, via a plethora of jungle-inspired booby traps.

Meanwhile, his abandoned wife and son encounter their own complications, who find themselves at the mercy of nature and the elements, which may prove detrimental to the film’s intentions of an emotional reunion at its climax…


One of the things that will strike audiences is the distinct lack of dialogue from minute one. Perhaps the intention here is that the action scenes are allowed to dominate as a result, but there is also another direct result - we are never given an opportunity to understand the enemy. Motive is never made clear, and this helps us to develop disdain for the evil, and empathy with the protagonists.

We are kept guessing throughout, as characters the audience might expect to make the final reel are cast aside, and often in very gruesome ways. No cost is spared when it comes to gore factor, and the harrowing death scenes develop empathy with those left alive. It is also worth noting the lack of a limelight-stealing actor, as this gives the characters a vulnerable human edge.

The absence of A-list personnel within the cast may be as simple as cost-cutting, but one suspects this decision runs deeper. Think Tom Cruise in The Last Samurai, where the larger-than-life actor, though unquestionably popular, inadvertently steals the thunder from the teachings of a mysterious culture. Perhaps in the ilk of 300, in which Gerard Butler does justice to the lead role without detracting from the heroic nature of the narrative, Gibson adopts a subtler approach by electing the little-known Rudy Youngblood to play the central character, Jaguar Paw.

Gibson’s second foreign cinema effort takes a less controversial stance than his first, the both positively and negatively acclaimed The Passion Of The Christ, but packs a similarly raw punch. Apocalypto maintains a break-neck speed throughout, and as a result its running time (140 mins) feels much shorter. The gripping chase scenes, and the imaginative ways in which Jaguar Paw disposes of his assailants will linger most in the memory.


Mel Gibson may have proved to be his own worst enemy when it comes to earning the appreciation of the critical media, however, with Apocalypto he meticulously conjures a lost world the audience can identify with, namely in the timeless staples of human nature: pride, passion and, foremost, familial loyalty. MC

REVIEW: DVD Release: Tears For Sale

Film: Tears For Sale
Release date: 20th September 2010
Certificate: 18
Running time: 86 mins
Director: Uros Stajanovic
Starring: Katarina Radivojevic, Sonja Kolacaric, Stefan Kapicic, Nenad Jezdic, Olivera Katarina
Genre: Comedy/Fantasy/Romance
Studio: Icon
Format: DVD
Country: Serbia

Uros Stojanovic’s film is set just after the First World War. Almost a quarter of Serbia’s population died in WW1, a largely unsung tragedy of epic proportions. Strange then that such a warm and funny film should be borne out of such horror.

In the 1920s, the fallout from the First World War has decimated rural Serbia, and the tiny village of Pokrp is particularly in trouble. All the men have long since left to fight for their country only to die on the battlefield. All but one - a broken down, bed-ridden senior citizen.

When two inexperienced sisters (beautifully portrayed by Katarina Radivojevic and Sonja Kolacaric), desperate to find out what it's like to experience a man's love, accidentally kill off the only man in the village, the other women condemn them to death.

Desperate for any chance of a reprieve, the sisters offer to travel into the outside world and find a replacement for the deceased geriatric, and end up with two possibilities, both travelling conmen - a strongman (Nenad Jezdic) and a smooth-talking Casanova type (Stefan Kapicic). They can only bring one man back, though, so one of the sisters will have to sacrifice her new beloved, but which one?


A huge hit in its domestic market, this film could easily be read as one long meandering allegory for the state of the country's national psyche, zeitgeist and influences. Thankfully, though, where other directors might have gone for a downbeat art house feel in an attempt to lend the potentially disturbing subject matter a measure of gravitas, Stojanovic goes in the opposite direction. He evokes an inappropriate feeling of magical delight in the world he creates

Right from the opening, Tears for Sale displays a rich, vibrant (albeit computer-enhanced) palette that recalls Terry Gilliam, Gilliamesque, Jeunet and Caro, and a sense of theatrical grandeur that is tied together with a marvellous ‘rough around the edges’ visual energy - the special effects are less than perfect, and while many are absolutely stunning, quite a few hit their mark a lot closer to low-budget made for television fare.

The village isn’t just dying and fading away due to the lack of men, but because the last soldier left their vineyard filled with mines, and forgot to leave a map or instructions for anyone. The neighbourhood witch is a prototypical cackling sorceress - complete with skull headdress - who forces the spirit of the sisters' grandmother into ensuring a dreadful punishment should they fail to fulfil their bargain. The aforementioned strongman, shot from a cannon, literally soars through the clouds. The dead rise to haunt the living. However, it’s not just these scenes that lift us into the realm of fairytales. Even the set dressing is a riot of jumbled curiosities - as if Jim Henson decorated a TGI Fridays. It's a delightful mash-up of genres and influences in which the starting points are obvious enough, but where the background to the story affords the film an identity that is very much its own.

It may be worth mentioning that this cut of Tears For Sale is very short, maybe 80 minutes with the credits (although even the credits are gorgeous enough to merit watching). Also, at times, the plot skims through key scenes in a way that can sometimes seem a little alienating, even for those prepared to invest in the films artistic approach. Mind you, while the story may not gel into an obviously coherent whole, the meanings and subtexts are still conveyed clearly and inventively enough. This film is clearly much more than a Mardi Gras parade of striking imagery, and the acting is top notch, with the main performers produce some brilliantly nuanced performances.

The film is deliberately earthy, extrovert and entertaining. As a result, some of the symbolism is arguably a little too obvious, but even in the most over the top set pieces, there's always the feeling that there is a mine of painful subtext trapped beneath the surface of whatever's going on. Watching the women of the village fight over men, or dance with the ghosts of those who left, can be hilariously melodramatic, but also surprisingly heartbreaking.

All in all, though, the film remains a success; a witty, intelligent, and thankfully adult fantasy in a world that's beautifully realised, and where sex and death are thrown in for much more than gratuitous effect. While evoking occasional memories of great movies like Amelie or Pans Labyrinth, it's miles from perfect. But it's compelling, fulfilling stuff and a welcome contribution from a film industry that's very often overlooked. This is a nation's historical pain reincarnated as a raw, heartfelt, and irreverent piece of entertainment.


Tears For Sale is a beautiful and funny fairytale. This is a film where questions about why or how are forbidden. A film where logic is the enemy of enjoyment. Don’t question the plot twists - just sit back and let the magic carry you away. It's a love story - a bold, brash, shamelessly theatrical, heart tugging, tragic romance, and, as such, it's a hugely entertaining watch. PD

REVIEW: DVD Release: 14 Blades

Film: 14 Blades
Release date: 16th August 2010
Certificate: 15
Running time: 114 mins
Director: Daniel Lee
Starring: Donnie Yen, Wei Zhao, Damian Lau, Ma Wu, Sammo Hung, Kate Tsui
Genre: Action/Martial Arts
Studio: Icon
Format: DVD & Blu-ray
Country: Hong Kong/China

14 Blades is an epic martial arts drama set against a back drop of love, honour and betrayal. The fate of the Chinese empire rests in the hands of one man, who may have to sacrifice everything in order to defeat a rebellion.

During the Ming Dynasty, the Emperor of China’s rule is enforced by his Imperial Guards, the Jenyiwei. Taken as orphans and trained from childhood, the Jenyiwei were masters of the 14 Blades, eight blades for torture, five for killing, and the last blade for suicide when a mission failed. The Jenyiwei answered only to the Emperor himself and operated above the law.

When the Emperor is usurped by the evil eunuch Jia, fellow Jenyiwei Green Dragon and Xuanwu are assigned to steal a list identifying those still loyal to the Emperor. However, the Imperial Guards have fallen under the control of Jia, and, during the mission, Green Dragon is betrayed by Xuanwu and barely escapes with his life.

Green Dragon must now fight the assembled forces of the remaining Jenyiwei, as well as a deadly veiled assassin, and gather support from those still loyal to the Emperor in order to save the Empire…


Right from the word go it is hard not to be impressed with how 14 Blades has been put together. Writer/director Daniel Lee has crafted a gloriously, off-beat take on the historical martial arts drama, and the mythical ’14 Blades’ manifest themselves in the form of a rather splendid weapon, which is dispatched in a variety of ways as situations arise. This clever Maguffin helps give the story a rather exotic flavour, and is utilised to great effect during some outlandish set pieces; the final battle between Green Dragon and the magnificent Tuo Tuo is especially brutal fun. Tuo Tuo’s strange whip/blade weapon is also a fantastic creation, and taken along with the 14 Blades and Judge Of The Desert’s weird ‘boomerang’ sword, we are treated to some fairly memorable, and well above average set pieces. The opening titles are also gorgeous and hint at what is to come by showcasing the delicious mix of grand, large scale set ups and computer rendered action. Although the CGI isn’t completely successful all of the time, it is certainly ambitious, and, for the most part, tastefully done.

The cinematography matches the ambition of the special effects, and whether in the searing desert, or in a dust filled temple, 14 Blades is shot with a wonderful depth of colour and warmth. Carrying on with the exotic theme, the music from Henry Lai is a creative blend of styles. Classical, sweeping strings dovetail majestically with a variety of percussion instruments to cross genres and successfully bridge musical borders, as Arabic and Western elements are fused with traditional Chinese melodies.

The script takes fewer risks than the action, and there is some fairly standard plotting for this type of genre movie. There are no great twists or surprises, but this doesn’t prevent the story from moving along at a decent pace. There is a lyrical, almost poetic beauty to some of the dialogue, particularly when Qiao Hua (Wei Zhao) describes her loveless relationship as Green Dragon relates the honour of the Jenyiwei. These are two lost souls who have found each other but seem destined to remain apart. However, the dialogue is inconsistent and veers into more mundane, plodding territory at times.

For those familiar with Donnie Yen’s work in Ip Man, it’s great to see him back in full flight with a script and a role which stretches him. Despite the fact his long hair and facial growth makes Yen resemble Wes Studi in Last Of The Mohicans, Green Dragon is a great character, full of repressed emotion and untapped anger. Yen pitches his performance perfectly, and is even afforded the opportunity to cut loose with the best use of chicken bones you are ever likely to see in a movie. No matter how good Yen is, he is completely overshadowed by Wei Zhao, who follows up her fantastic performance in Mulan with another incredible turn as the sorrowful Qiao Hua. Despite being burdened by the worst of the dialogue, Zhao gives a beautifully understated performance. She is clearly a skilful actress and gives her character multiple layers; complicated and believable, it is impossible not to empathise with her aspirations for something more in her life, and this is entirely down to Zhao’s performance.

The remainder of the cast offer excellent support, and it’s especially good to see elder statesman Sammo Hung being cast against type as the bitter, vengeful Prince Quin. My only grumble is that he seems woefully underused, but the run time of 114 minutes is just about perfect.


14 Blades is a very good film. Imaginatively made and skilfully performed. Be prepared for an entertaining Eastern thrill ride with an emotional heart and fabulous performances to drive the story through. If a little more care had been made with the script, this could have been incredible, but it still comes highly recommended. SM

REVIEW: DVD Release: The Good The Bad The Weird

Film: The Good The Bad The Weird
Release date: 15th June 2009
Certificate: 15
Running time: 126 mins
Director: Kim Ji-woon
Starring: Lee Byung-hun, Song Kang-ho, Jung Woo-sung, Jo Kyeong-hun, Kim Kwang-il
Genre: Action/Adventure/Comedy/Western
Studio: Icon
Format: DVD
Country: South Korea

After achieving critical acclaim with his 2005 film A Bittersweet Life, South Korean director Kim Ji-woon went completely off-kilter with his follow-up.

Set in the 1930s of the lawless Far East, a mysterious map is being transported on a train across the desert to be taken to the Imperialist Japanese commanders. As it makes its way across the terrain, three bounty hunters make their way to stake their claim on the prize. Amidst the confusion, The Weird escapes with the map, forcing The Good and The Bad to put aside their conflict and leave the scene in search of the means to find the untold riches that map has knowledge of.

As the chase continues, with an ever-increasing array of antagonists adding themselves to the conflict, the disgruntlement becomes a skirmish, and the skirmish becomes an all out war. Building towards a gigantic battle royale in the heat of the desolate landscape, The Good, The Bad and The Weird each manipulate and make use of the various additions to the chase, as they dodge bullets, cannons, horses, machines and corpses en route to the final stand off around the prize they fought so hard to get to...


To critique The Good The Bad The Weird without making mention of the Sergio Leone masterpiece would be ignoring the obvious. It is evident that Kim Ji-woon has been highly influenced by the Man With No Name trilogy, in particular the revered climax to the story. The director has not attempted to copy, parody or pastiche the original creation, as there is an undeniable warmth and charm that is present throughout the chaotic discord. Kim Ji-woon has merely transferred elements of The Good, The Bad And The Ugly to an Eastern setting, but given it a slightly zany twist and ramped up the action to differentiate from the source. However, it is Kim Ji-woon’s instincts as an action director that let the project down when it needed guidance the most.

It’s no surprise when looking at the glossy shine and luscious cinematic panoramas that The Good The Bad The Weird is South Korea’s most expensively made film, but there is little plot. After the satisfactory and warming opening skirmish, there is little else to keep the viewer interested as the action gleefully, and unashamedly, hops from one set piece to the next. The mania comes thick and fast, but mainly in the thick, as segments are dragged out to ridiculous proportions, taking five, ten and sometimes even fifteen minutes longer than necessary just to fit in a ludicrous gunfight with absolutely no progression of the story. The climactic free-for-all that is the film’s penultimate sequence is turgid and overly long, but what is immensely infuriating is the complete lack of perspective or objective. The setting is a vast plain for miles on end, which spawns an orgy of mayhem from which anyone escaping could be easily seen, yet one of heroes manages, somehow, to ride out of the madness only for there to be a cut and all three of the bounty-hunters to be present at the locale.

What is unforgivable is the lack of attention and detail that goes into the three most important pieces of this cinematic puzzle, and that being the three main characters, which the film is named after. In East Asian cinema, there is always a greater deal of ambiguity present than in their European counterparts, but the way in which the traits of The Good, The Bad, and The Weird interchange at varying junctures is somewhat defeatist. Jung Woo-sung, who plays The Good, has evidently spent a great deal of time watching the spaghetti western trilogy - he mimics Eastwood’s stance, tone and style in an almost frighteningly accurate portrayal. However, while Woon’s creation doesn’t set out to be an imitation, at this point in The Man With No Name trilogy, Eastwood’s character had already adopted a softer stance, becoming much less of an anti-hero and more a traditional protagonist with attitude. Jung Woo-sung, unfortunately, finds himself lacking the necessary aura to provide legitimacy to his version of The Good, and suffers from the ever interchanging roles of the three gunmen.

Apart from some delightful camera work, and a score that echoes Morriconne’s iconic creation, The Good The Bad The Weird is an ultimately hollow experience that lurches back into the comfort of an action genre all too readily. It leaves the viewer wishing that Kim Ji-woon had perhaps shown some of the characteristics in A Bittersweet Life - cutting out some of the action and focusing more on character progression, allowing the individuals to flourish and come to life, so as not to be viewed as cardboard cut-outs.


While an enjoyable and unintelligible watch, bigger does not always mean better, and it leaves the viewer wondering whether another of South Korea’s plethora of talented directors could have created a more meaningful cinematic experience for a few dollars less. BL

REVIEW: DVD Release: La Vie En Rose

Film: La Vie En Rose
Release date: 13th October 2008
Certificate: 12
Running time: 135 mins
Director: Olivier Dahan
Starring: Marion Cotillard, Sylvie Testud, Pascal Greggory, Emmanuelle Seigner, Jean-Paul Rouve
Genre: Biography/Drama
Studio: Icon
Format: DVD
Country: France/UK/Czech Republic

A film that earned foreign cinema its first (eagerly awaited) Oscar win for a performance since Sophia Loren in La Ciociara (1961), La Vie En Rose has always been something of a talking point amongst fans of French cinema. A difficult subject to tackle, and one that is close to France’s hearts.

A rags-to-riches biopic about the turbulent life of Edith Piaf (Marion Cotillard), the film possesses a non-linear narrative in which we, the audience, experience Piaf’s life through her memories. The majority of these are primarily focused upon her lonely childhood (young Edith played by Pauline Burlet), in which she is abandoned by her busking mother and her soldier-turned-acrobat father who leaves the young girl in the care of his mother - she just so happens to own a brothel.

Whilst this isn’t the perfect place to raise a child, Edith is adopted by the courtesans, particularly Titine (Emmanuelle Seigner), who dotes upon her as if they really were mother and child. However, at possibly the most stable time of her life, Edith and her new extended family are torn apart in one of the most heart wrenching scenes of the film.

Now helping her father within the exciting atmosphere of the circus, Edith’s life is altered further as the pair are left homeless. A blessing in disguise, this is the vital catalyst of the film in which a young Edith soon realises the power of her voice.

Years later, at the age of 18, and accompanied by new friend, Simone, Piaf is still singing in the streets for money, leading to a chance encounter with club owner Louis Leplee that alters the course of her life forever…


Dahan’s film is layered with subtle parallels throughout, as Edith grows into someone eerily similar to the people who have abandoned her on more than one occasion. The fact that her parents are both themselves performers (or “artistes,” as her mother prefers to be called) only increases the comparisons further. When Edith finally gains the professional success she craves, we’re left to wonder whether her personality will evolve positively or descend within the egotism so often portrayed in celebrity biopics. In a way, her success is her own brand of revenge against those who have wronged her as well; a sort of karma.

Edith, at heart, is a good person but Dahan is just as revealing about Piaf’s flaws as he is her triumphs. Marion Cotillard’s acting is simply flawless throughout, with her Academy Award win being well-earned and deserved, whilst the supporting cast of Sylvie Testud as Simone and Emmanuelle Seigner playing Titine form the strong pillars alongside the lead role.

With the soundtrack consisting of Piaf’s own original recordings (with only a couple of minor exceptions to portray the singer’s frailty), the film is sure to please die-hard fans as well as gaining fresh ears in the process. With so many biographical films predominantly targeting clued-in listeners, it is refreshing to see that Dahan hasn’t neglected to remember that mainstream audiences outside of France may not have directly heard of Piaf herself, but will no doubt know her most famous hit, ‘Non, Je Ne Regrette Rien’ (‘No Regrets’).

Whilst La Vie En Rose is largely a positive viewing experience, the moving back and fourth between time periods can make the film, at times, hard to follow, with the scenes concerning Piaf’s daughter seemingly cut and pasted in by the director towards the end.

It becomes impossible to fathom that one person has lived through and experienced such hardship and troubles – had this been pure fiction, it would have seemed hyperbolic and unbelievable. The very fact that Piaf’s life, and the woman herself was so mercurial makes the film even more inspiring, considering the obstacles she overcame and her ever present love of life until the end. Edith Piaf was truly a woman who had no regrets.


Abandonment, poverty, stardom and romance are explored alongside loss and loneliness throughout as the film is littered with moments of poignancy, sadness and joy that will have you laughing one moment and reaching for the tissues the next. With its stunning soundtrack and strong cast, La Vie En Rose is a film that should and will never go by unnoticed. SRI

REVIEW: DVD Release: Romanzo Criminale

Film: Romanzo Criminale

Release date: 7th May 2007

Certificate: 15

Running time: 147 mins

Director: Michele Placido

Starring: Kim Rossi-Stuart, Pierfrancesco Favino, Claudio Santamaria, Stefano Accorsi, Riccardo Scamarcio

Genre: Crime/Drama

Studio: Icon

Format: DVD

Country: Italy

Set in Rome in the 1970s and ‘80s, Romanzo Criminale examines one of the most infamous Italian gangs of all time, the “banda della Magliana” (Magliana gang), whose activity is strictly linked to twenty-five years of the history of the country. The script is based on Giancarlo de Cataldo’s novel (Romanzo Criminale, 2002), which is inspired by the gang’s true story.

On a foggy Roman night, a group of young kids steals a car and wander the streets at high speed, until they run over a policeman. This crime is going to be the first of many more to come. Four boys self-nicknamed Lebanese, Dandi, Freddo and Grana, friends since a young age, are petty criminals with poor, working-class backgrounds. When they grow up, their dreams have become bigger, as have their desires and wills. A kidnapping and a murder establish a bond between the thugs that is going to last until the very end. There is a single rule to be followed: that of the gun.

The film is divided in sub-sections, each one focused on a gang member. Lebanese (Pierfrancesco Favino) is the focus of the first section. His determination, intelligence and brutal mindset gain him the role of leader of the gang, which at that point is moving its first steps. The group gets his hands onto everything they can: drugs, gambling, thefts, and murders. Quickly they wage feuds to other city gangs, establishing themselves with unrepentant bloodbaths among the underground criminal world in the Italian capital. Police superintendent Scialoja (Stefano Accorsi) is the only one who believes there is a common cause that links the underground wars, the murders and the changes in the drug business. Following Patrizia (Anna Mouglalis), a high-class prostitute, and a trail of signed banknotes, Scialoja collects enough evidence to put the head of the gang, Lebanese, behind the bars. Not for long, though: a ‘hand from above’ comes to his aide - the evidence disappears and Lebanese is a free man in no time.

In Italy, those were the years of the widespread terror caused by the Red Brigades, the far-left insurgent group. The terrorists gave a major blow to the State when they kidnapped Aldo Moro, Christian-Democratic political leader and former Prime Minister of the Republic. Moro was kidnapped on 16th March 1978, and was found dead 54 days later in the trunk of a red Renault 4 parked in Via Botteghe Oscure, Rome. Here is when the drama of the film merges with history. The gang is initially asked to find where the man is kept, but an order, again, coming ‘from above’, says to abandon the task, and leaves Moro to his doomed destiny.

The second section of the film, after Lebanese leaves the scene, is focused on Freddo (Kim Rossi Stuart), who takes his place. The story takes a more human side at this stage: there is a vendetta to carry out, and all the resources and intelligence of the gang are gathered for that purpose. At the same time, things gradually grow out of hand. The organisation is betrayed from the inside, so the rationality which had characterised all their moves leaves space to instinct and the battle of the alpha males. The arm of the law is tightening around them, and the trust between the gangsters is worn away by backstabs and betrayals. There is no space for agreements nor compromise, for the ‘irons’ have always the last word…


The film is a tale really well written. What makes it even more incredible is that once you take out the romance and the characters built by the author of the novel, this is a tale that really happened. Up to today, many questions on the Magliana gang have not been completely answered. The links between the gangsters and the Moro kidnapping, the intrigues of the State, the mainstream politics, the mafia, and the Vatican are still pages covered by a thick veil of mystery. The jigsaw is still missing pieces.

The drama merged with history and true events makes the narration engaging, fluent and easy to follow. An outstanding cast renders the whole thing alive and kicking: Kim Rossi Stuart, with his usual glacial look; Pierfrancesco Favino and his ‘limping’ smartness; and the violent relativism of Riccardo Scamarcio’s Nero.


Romanzo Criminale is a superb story of crime ‘made in Italy’, which for once is not mafia-focused. Having given to the non-Italian audience an over-romanticised caricature of the organised crime in the Mediterranean country, the reality is much colder and calculated, deadly and terrible. A must watch. DG

REVIEW: DVD Release: Phobia

Film: Phobia
Release date: 10th May 2010

Certificate: 18

Running time: 111 mins

Director: Paween Purikitpanya, Yongyoot Thongkongtoon, Banjong Pisanthanakun & Parkpoom Wongpoom

Starring: Laila Boonyasak, Pongsatorn Jongwilak, Maneerat Kham-uan

Genre: Horror/Thriller/Mystery

Studio: Icon

Format: DVD

Country: Thailand

Horror anthologies tend to be a mixed bag, containing stories which are sometimes memorable (in the case of “Dumplings” in 3 Extremes, unforgettable - no matter how hard you try!), and others which could charitably be called filler material.

Phobia (or 4-bia!) contains four stories which, while not directly connected, exist in the same plane of existence. In “Happiness”, a housebound young woman strikes up a relationship-by-text message with a young man who may not be what he seems. In “Tit-For-Tat”, a bullied schoolboy takes deadly revenge on the gang who’ve tormented him. “In the Middle” sees four guys undertake a whitewater rafting trip they’ll never forget, and in “Last Fright”, an air-stewardess must survive a flight on a plane empty of passengers, save for a corpse...


Happily, all four stories here, although very different in tone, work very well.

“Happiness” kicks things off with a story about a young woman with a broken leg, stuck in her apartment with her leg in a cast, being harried by her landlady for her late rent and awaiting the return of her room-mate. One evening she receives a text message from someone she doesn’t know, and ends up conversing with him through the night. Things are quite cute and buoyant until the boy asks for a photo, and she asks for one in return. When she receives it, she’s puzzled – it’s the same picture that she sent to him. However, to the left of her head is a ghostly image. Her chat-mate soon turns malevolent and some creepy goings on convince her she’s been flirting with a ghost – who’s now on his way to see her. This story manages to get a lot of chills from its single location – the girl’s small flat. With judicial editing and a few sound FX (the buzz of the girl’s phone seems to get more and more angry), “Happiness” successfully delivers some scares.

“Tit For Tat” is the most bloody of the tales, and doesn’t hold back on the impaling, eye-gougings and taunting demonic apparitions. It’s also the most convoluted of the quartet, and relies on our protagonists (who are actually a bunch of violent delinquents, and don’t deserve our sympathy) having knowledge of different types of deadly curses in order to info-dump exposition for the audience. Having said that, it’s quite a fast-paced tale, and the gore FX are handled rather well. The CGI demons, unfortunately, look very dated.

“In The Middle” plays for comedy, with four horror-movie obsessed teens camping in the woods, scaring each other with ghost stories at night and white-water rafting during the day. When their raft capsizes, three manage to scramble to the shore, but one remains missing until late that night – and there seems to be something a little off about his behaviour. It’s a pretty funny segment, as they tease each other about the films they haven’t seen. There’s a couple of digs at the Thai Film industry (complaining that they just rip off Hollywood ideas) and Asian ghost stories in general (why must they all have pale women with long black hair in front of their face?). However the punch line of the tale is rather silly, and very abrupt.

“Last Fright” sees a flight attendant being called in for a special duty. She is to be the stewardess on a flight taking a princess back to her home country. The stewardess has been specifically requested by the princess, as she was previously on-board her honeymoon flight. However, we soon learn that there is a more malevolent reason. The princess is being divorced by her husband – because he’s having an affair with our Stewardess! What’s more, the princess knows that it’s her – she has photographs of the two of them together and plans to torment her for the entire flight. However, a ‘mishap’ with the Princess’ food (she demands to be given the stewardess’ food, even though it’s noodles and shrimp and she’s allergic to shellfish) makes her violently ill, and she soon dies in hospital. The stewardess is told to escort the body back to Thailand, and then prepare for an enquiry into the death. The second half of the story is excellent in mood and execution, and brings to mind the “Terror At 20,000ft” story from the Twilight Zone.


The stories are very loosely connected – if you search carefully there is a reference in each to one of the other stories, and the tone overall resembles a Thai version of the EC Comics (Tales From The Darkside, etc). A fun anthology – the stories are well-produced and a couple are genuinely scary. I look forward to seeing Phobia 2. MOW