BERBERIAN SOUND STUDIO (M.I.F.F.)

The resolutely excellent Toby Jones stars as Gilderoy, a British film sound man in the 1970's, hired out of his comfort zone of wildlife documentaries to work on an Italian Giallo. Despite some early promise and a nice tip of the hat to Argento on more than one occasion - black gloved POV shots of sound dials being turned, a Goblin character, and the horror movie's plot centering on witches in a horse academy - it tailed off into massive self indulgence and incomprehension. In fact I really don't know what the bloody hell was going on for the entire second half of the film, and ultimately it degenerated into an irritating mess, which was disappointing as I had earmarked it as one of the more interesting sounding movies (no pun intended) from the get go! A highly appealing idea reduced to an inexplicably confusing muddle. Not good at all.

M.I.F.F. Rating 1 out of 5.

IMDB: Berberian Sound Studio

RAMPART (M.I.F.F.)

Woody Harrelson stars as Dave Brown, an LA cop spiralling further and further out of control, as corruption and alcohol abuse erode his life away. Faced with departmental suspension after being caught on camera beating a suspect, Dave tries to juggle his work problems alongside his bizarre home life (living with two ex-girlfriends with whom he has children).On top of all this he takes a decidedly vague approach to what constitutes policework and finds himself getting mired in a situation he is unable to extricate himself from. It has a fantastic cast with even the smallest part filled out by an actor of high quality.  Amongst others it features Sigourney Weaver, Ned Beatty, Steve Buscemi, Ice Cube and Tim Russ (Tuvok from Star Trek Voyager!). But the main draw for me was that it was co-written by the utterly peerless James Ellroy, of whom I am a massive fan. His Underworld U.S.A. trilogy is jaw droppingly stunning, and as a crime author he holds his head high amongst the giants of the genre. Therefore I was very excited to see how his work on this film would turn out, and I was largely impressed. Dave Brown is a typically conflicted Ellroy character; there are no ‘good guys’ and ‘bad guys’ in his books -  just people lurking in varying degrees of shadow, and Harrelson is incredible in the role. There are definitely sections in here that feel like they could have come from one of Ellroy’s novels, but unlike his briskly plotted prose, the movie takes a more laidback approach to getting to where it needs to be. Nevertheless, it is a gripping study of one man’s life pouring into the toilet.

M.I.F.F. Rating 4 out of 5.

IMDB: Rampart

THE ANGEL'S SHARE (M.I.F.F.)

Excellent comedy/drama from Ken Loach as we follow the fortunes of young Dad-to-be Robbie (Paul Brannigan), who having narrowly escaped jail finds himself serving a community service order as a result of not only a murkily violent past, but an inescapable cycle of intergenerational violence with a local family. Robbie is befriended by the community service organiser, Harry (John Henshaw) and together they bond over an unlikely common interest: whisky.

As Robbie struggles to make a new life for himself with his girlfriend and new baby, he does find camaraderie with the new friends he made on his community service. When news filters through that an extremely rare barrel of whisky worth 1 million pounds, is going on sale in the North of Scotland, Robbie and his friends plan an elaborate heist; seeing it as an opportunity to finally make something of themselves and escape to something better.

The Angel's Share is absolutely fantastic. Massively funny and hugely enjoyable. Despite some dark corners, and aspects of Robbie's character that are extremely unlikeable, you're rooting for something good to happen to these misfits. It manages to make Robbie sympathetic and the film as a whole is totally rather heartwarming. Highly recommended.

M.I.F.F. Rating 5 out of 5.

IMDB: The Angel's Share

SIGHTSEERS (M.I.F.F.)

Highly enjoyable third film from Ben Wheatley, the director of Down Terrace and Kill List. A pitch black, hugely violent comedy about a couple on a caravanning holiday, whose journey around the North of England quickly descends into a kill crazy rampage (if you can have a kill crazy rampage when you're visiting cathedrals and pencil museums). Much like Kill List it was more of the same contrast between mundane everyday Middle England-isms and sudden bouts of ultraviolence, that give the most surprises. But it was also bleakly very funny and tonally a bit of a headscratcher. Again, like Kill List if you stop and think about it all, it comes apart very easily (particularly in terms of character logic etc) but you really don't stop to overanalyse it because the ride is so much ruddy fun. As blackly comic as it's possible to get. Well worth a watch.

M.I.F.F. Rating 4 out of 5.

IMDB: Sightseers

BAD BRAINS: A BAND IN D.C. (M.I.F.F.)

A decent enough documentary on legendary D.C. punk band Bad Brains. Charting their story from school friends to influential hardcore band. We see a history punctuated by incendiary live experiences but scarred by the side effects of religion and (probable) mental illness.  The filmmakers leave us many times laughing at H.R. rather than attempting to understand what is wrong with him - and there is very evidently something wrong. Although it is exciting indeed to see the live footage and hear the stories of their early live prowess, the film is ultimately unrewarding in its inability to offer any insight into the dark side of the Bad Brains that has blighted their existence. The infamous incident of their homophobia toward the Big Boys is brushed under the carpet as nothing more than youthful indiscretions; and the fact there is no discernible attempt to understand what is going on with H.R. left it feeling like there was an interesting story here that went untold. Over all it was a little too long and a little lightweight.

M.I.F.F. Rating 3 out of 5 (mostly for the live footage)

IMDB: Bad Brains: A Band In D.C.

HARA-KIRI: DEATH OF A SAMURAI (M.I.F.F.)

Takashi Miike's follow up to the amazing 13 Assassins remakes a 1962 film of the same name, wherein a lone samurai (Ebizô Ichikawa), living in poverty, requests from a lord the chance to allow him to commit a seppuku (hara-kiri) and honourably take his own life. From there, we hear in flashback, the tale of what brought the samurai to this point; and of a younger ronin who had come to the lord a few weeks previously with a similar request. Similar in style to 13 Assassins, and once again featuring the excellent Kôji Yakusho, it sits as an interesting companion piece courtesy of its excellently recreated feudal Japan settings. Despite some largly unnecessary 3D (when is it EVER necessary?) the story drags you in, however it is a far more sombre affair than 13 Assassins. Whilst Assassins was a fun exciting adventure, Hara-Kiri is bleak and introspective. A worthy view, and no mistake, but certainly a more complex and downbeat experience than Miike's last outing.

M.I.F.F. Rating 4 out of 5

IMDB: Hara-Kiri: Death of a Samurai

ROBOT AND FRANK (M.I.F.F.)

Set in a near future, Frank (Frank Langella) is a bored retired cat burglar, rattling around his old house, trying to cope with the onset of senility, with his grown up children living far away. Frank’s son Hunter (James Marsden) gets him a robot helper to assist him around the house and try to keep him active and alert. Initially standoffish and unimpressed,  Frank gradually forms a bond with Robot, as he learns the Robot’s moral compass is not quite as centred as he first believed. Under the auspices of keeping Frank’s mind active, the two chums plot a heist together and the tale that ensues is both uplifting and bittersweet . Fantastic performances from a great cast (also including Susan Sarandon and Liv Tyler), Robot and Frank is a cracking movie.

M.I.F.F. Rating 5 out of 5

IMDB: Robot And Frank