Posts Tagged ‘2013’


Harlock Space Pirate (Shinji Aramaki, 2013)

April 27, 2015


A new animated take on a classic manga property, Harlock Space Pirate sees an immortal spaceship captain roam a colonised galaxy, against the backdrop of a sinister governing body having declared mankind’s home on Earth now uninhabitable. The plot, as it unravels, bears some considerable similarities to Joss Whedon’s film Serenity at times (and wholesale lifts a couple of visual cues from one of Serenity’s set-pieces), but with a far less endearing band of heroes or compelling villain…

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Horns (Alexandre Aja, 2013)

October 30, 2014


An adaptation of Joe Hill’s novel of the same name, Horns is a fantasy fable that works well for scattered stretches of its very bloated runtime, but is too tone-deaf everywhere else to fully satisfy. It tells the story of Ig Parrish (Radcliffe, doing some fine work with rage, despair, and an American accent), a man wrongfully accused of the rape and murder of his girlfriend, Merrin (Temple), but unable to muster much of a legal defence, or even sympathy. One morning, he awakens with a set of devilish horns upon his skull, which makes anyone in his presence compelled to reveal their own personal demons and act out sins. With his new powers, Ig goes gumshoe to try and solve Merrin’s murder…

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Attila Marcel (Sylvain Chomet, 2013)

September 3, 2014


The last few years have seen some of modern animation’s most acclaimed directors make forays into live action. Notably Brad Bird and Andrew Stanton made the jump from Pixar to, respectively, the Mission: Impossible franchise and John Carter. With Attila Marcel, Sylvain Chomet (The Illusionist) follows that same path, albeit with a fairly modest feature in his native France.

Mute piano player Paul (Gouix) lives with his overprotective aunts and longs for his deceased parents, whose exact cause of death when he was an infant has eluded him for decades. He strikes up a friendship with kooky neighbour Madame Proust (Le Ny), whose drugged teas help him explore his memories, while some absurdist, mostly irritating comedy surrounds this main storyline…

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Night Moves (Kelly Reichardt, 2013)

August 29, 2014


In her follow-up to Meek’s Cutoff, Kelly Reichardt’s trademark languid, stripped-back style is maintained for her most narrative-driven film to date. The seductively shot Night Moves sees three activists (Eisenberg, Fanning and Sarsgaard) collaborate to destroy a hydro-electric dam in order to stir public consciousness, only to confront growing senses of paranoia, futility and remorse when their plan proves misconceived for multiple reasons…

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Grand Central (Rebecca Zlotowski, 2013)

July 14, 2014


Nuclear radiation provides the unusual backdrop for a love affair in Grand Central. Tahar Rahim plays Gary, a man with an unclear criminal background who begins work at a nuclear power plant, where several employees take him under their wing and advise how to stay safe and get ahead. One night after work, he meets Karole (Seydoux), the fiancée of co-worker Toni (Denis Ménochet). Following an immediate attraction, the two promptly fail to keep their passions and loyalties in check and begin romping on a regular basis…

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EIFF 2014: Au revoir l’été (Kôji Fukada, 2013)

June 27, 2014

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Japanese writer-director Kôji Fukada’s excellent previous feature, screened internationally under the name Hospitalité, had a hint of Luis Buñuel to it, and the influence of another European master is present in the similarly French-titled Au revoir l’été. Here, the breezy holiday romances of French filmmaker Eric Rohmer infuse the atmosphere of a delicate ensemble piece set over one summer…

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EIFF 2014: Fish & Cat (Shahram Mokri, 2013)

June 23, 2014


The narrative, as it were, of Fish & Cat is told through what appears to be one long, continuous roving shot lasting over two hours in length, in the mode of cinematic experiment popularised by Aleksandr Sokurov’s Russian Ark in 2002. It employs a time-warp motif for the conceit, doubling back on what it has previously shown, either immediately before or sometimes much earlier in the film, to focus in on new topics. Additionally, while single-take experiments like both Silent House horror features may follow a lone protagonist venturing through a given locale, Shahram Mokri’s film crisscrosses between multiple characters across a fairly large plain, weaving its way through both the present and flashbacks while still under the guise of a sustained real time shot, even as space-time paradoxes become something of a regular feature…

Click for the full review for Sound On Sight