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Berberian Sound Studio ( Read our full review)Īfforded only a line in Catching Fire, Toby Jones might be the very definition of an underappreciated actor, a criminal fact given the man’s magnificent range, somehow at once chameleonic and instantly recognisable. It’s not an entire success, often goofy to a fault, but A Shot in the Dark is a fine slice of silly, superbly British fun. It’s all immaterial, of course plot’s of little concern to Sellers and director Blake Edwards, who delight in slapstick sequences and a script-courtesy of Exorcist scribe-to-be William Peter Blatty-stuffed with sharp lines that hit the mark more often than not. A Shot in the Dark is the series’ second, following the once-supporting character that is Peter Sellers’ Inspector Clouseau in a story whose irrelevance to its predecessor is evidenced in the unrelated title.
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Those who think the Rambo series suffers from a case of silly titling would do well to pay attention to the Pink Panther films, named for the diamond whose theft was the concern of the first movie but often understandably confused for the title sequence’s animated animal who went on to helm his own kids’ show. Albeit more a conduit to ideas than a particularly probing look at them, (A)sexual is affable, endearing stuff. Where it’s most interesting, though, is in the questions it raises of the intersection between love and sex and their regular conflation in our perception of human interaction. Primarily concerned with David Jay, founder of the online community whose membership has grown exponentially to represent this prevalent reality, it’s a genial piece of work that adopts the same patience as do its interviewees in dealing with the widespread misperceptions of who they are. Even among those intent on equality for all sexual identities, Tucker tells us, this minority goes misunderstood. There’s an amusing ignorance afoot in the central scene of (A)sexual, Angela Tucker’s documentary investigating the phenomenon of those who feel no sexual attraction at all, when a number of her subjects marching in an LGBT pride parade are mistakenly taken for abstinence advocates. Mankiewicz’s sizzling script seals the deal on what’s deservingly held as one of the great Hollywood classics. Anne Baxter’s work as the eponymous Eve is every bit as commanding both performers undergo subtle slides across the course of the drama, playing the audience as cunningly as their characters do each other. Bette Davis is extraordinary as ever as the former, a presence whose utter unpleasantness doesn’t preclude her intoxicating radiance. And what a movie for actresses it is, both as material for these four and in terms of its content too, exploring the relationship between an aging stage star and the young up-and-comer who adores her. That George Sanders was the sole member of the cast of All About Eve to earn an Oscar for his work is an absurdity, not least of all in light of the film’s standing as the only in Academy history to earn four female acting nominations. Think about what it wants to do and whether it succeeds: is this really anything other than a failed comedy? UNWATCHABLE. But it’s a slippery slope, aiming for awfulness: the idea of enjoying a film ironically rests on the absurdity of its makers actually thinking it a success 13/13/13, simply spouting stultifying dialogue and building a nonsensical narrative, manages only to be exactly as awful as it desires. That’s a reality 13/13/13-no relation to their earlier 11/11/11-eagerly embraces, employing obnoxiously awful performances and a plot that goes out of its way to defy its own interior logic to construct a film, they hope, you can’t but laugh at. As their unprecedented success this year with Sharknado showed, low-budget exploitation production house The Asylum thrives on the ironic enjoyment of the so-bad-it’s-good crowd. “On that day… we are demon” declares the tagline for 13/13/13, sure to set out even on its poster just how utterly nonsensical a movie it is.
Also covered, in feature-length review form here, is Post Tenebras Lux, which deserved at-length elucidation for all the wrong reasons. Be they good or bad, those films below are the most noteworthy of the bunch, carefully culled from an ever-sprawling list for your consideration. The efforts of concocting a comprehensive (by our standards, at least) guide to the year in streaming, and an unfortunate inconvenience of timing sees to it that this edition has to shoulder some three weeks worth of Netflix Instant additions. It’s been a wild few weeks at the TWoD offices, by which I mean that it hasn’t been that at all.