The last ten films I’ve watched offers a variety of pet favourites – Japanese industrial espionage, French BD adaptations, Pam Grier, Jean Dujardin, the American Experience series – and most made for worthwhile screenings. Corridors of Blood was surprisingly entertaining, while Macbeth had moments of fascinating invention trapped in an otherwise slow and dreary presentation.
- Industrial Spy (Eiichi Kudo, 1968)
- Corridors of Blood (Robert Day, 1958)
- Quick Change (Howard Franklin and Bill Murray, 1990)
- Asterix: The Land of the Gods (Alexandre Astier and Louis Clichy, 2014)
- Black Mama, White Mama (Eddie Romero, 1972)
- The Connection (Cédric Jimenez, 2014)
- The Human Vapor (Ichiro Honda, 1960)
- The Mine Wars (Randall MacLowry, 2016)
- Macbeth (Justin Kurzel, 2015)
- High-Rise (Ben Wheatley, 2015)
I’ve come to think of Ben Wheatley’s films much as I do about the cinema of Stanley Kubrick – often hard to watch and aggressively distanced, but unavoidably compelling nonetheless. Perhaps this comparison is appropriate given Wheatley’s own admiration for Kubrick. Wheatley’s latest, High-Rise, is yet another captivating exercise in pure nightmare fuel, featuring a snappily dressed (and sometimes undressed) Tom Hiddleston, a lovely Elisabeth Moss, and Portishead’s unexpected cover of ABBA’s “SOS.” Those looking for a heavy dose of ’70s materialism and class warfare will likely do well with Wheatley’s dystopian latest.