I first read about this movie in Cinefex, a special effects journal, and as an fx showcase, it’s quite a good film. However, as a film, it’s a nasty and exploititive piece of trash. Continue reading →

I don’t know if this film has ever been released commercially. It seems to have been marketed at Cannes in 2003. I borrowed a copy from a friend who was in it.

Anyway, it’s a feature-length film about a motley crew of variously violent Glaswegians, and the events following a stabbing. It features knife fights, car chases, fantastic editing, variable acting ability (and some of the creakiest dialogue you’ve heard), and was made for the absurdly low sum of £800. (Actually, under £800, I believe.)

It’s well worth watching if for no other reason than to see what a dedicated filmmaker can do on an absolute shoestring.
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Ah, a lovely example of Good Filmmaking. See it if you’re in the mood for a meatier film that might make you think.

It is well shot, acted, directed, scripted. Some of the cinematography (it takes place in London and Kenya) is drop-dead gorgeous. It tackles important issues (corruption by Big Pharm in third world countries). The story is compelling.

What surpised me slightly is that it’s based on a John LeCarré novel. Continue reading →

Deeply, deeply mediocre.

Quoth a user comment of the IMDb: “If you go, expect punch lines and sight gags regarding all types of sex, killing, religion, sports, business and anything else you might deem politically incorrect.” Which makes it sound like the Farrelly Brothers do Leon. Which it isn’t. In fact, I think that the commentator (who’s featured on the IMDb’s page for the film) did in fact see a different film, (probably the Farrelly Brother’s remake of Leon, which will likely be released as a sign of some coming apocalypse.)

The Matador is funny. But it’s funny because it’s superbly well observed, and because the plotting is perfectly down the line—just twisted round slightly. It is not a laugh-a-minute, but then these aren’t cheap laughs you’re getting. There are no sight gags per se, though there are funny shots; there aren’t really punch lines because there aren’t jokes—just a funny premise and cracking, crackling dialogue. Continue reading →