While postwar British cinema and the British new wave have received much scholarly attention, the misunderstood period of the 1970s has been comparatively ignored. Don’t Look Now uncovers forgotten but richly rewarding films, including Nicolas Roeg’s Don’t Look Now and the films of Lindsay Anderson and Barney Platts-Mills. This volume offers insight into the careers of important filmmakers and sheds light on the genres of experimental film, horror, rock and punk films, as well as representations of the black community, shifts in gender politics, and adaptations of television comedies. The contributors ask searching questions about the nature of British film culture and its relationship to popular culture, television, and the cultural underground.
After a nuclear war, a group of children at an isolated farmhouse debate what the outside world might be like. Soon one of them leaves the house to investigate, and finds out that things aren’t the way they thought.
Set in the not to distant apocalyptic future. Earth is under invasion from computer/arcade aliens, tensions run high and teenagers still want to ‘go out’.
Begins a week of LATE SHOW’s looking at the future. This programme argues that the 21st century is going to be just like the 14th. For example Alan Minc has argued that there will be no political order at all and areas of countries will be outside state control, run by crime syndicates the modern equivalents of medieval robber barons.
Pure dystopic/apocalyptic 90s mentality. Chaos, drugs, AIDS, Ebola, unifying theories in physics, internet, computer graphics, PC games, early GUIs etc etc and parallels drawn between the world to come and middle ages. Continue reading
Likely to cause a stir because of its explicit scenes of orgies and coke snorting, what really separates The Principles Of Lust from the crowd is its edgy, dark atmosphere that combines conventional Hollywood thrillers about sociopaths – eg. Fight Club, Bad Influence – with a distinctly British, rough and ready feel.
Firing on all cylinders, debut feature director Penny Woolcock – who once made waves with the Channel 4 drama Tina Goes Shopping – delivers a film that’s too insistent on being distinctive and dream-like to really hold together as a coherent drama. Instead, it joins a select group of recent low-budget British cinema – from The Last Great Wilderness to This Is Not A Love Song – that dares to say no to the conventions of Hollywood filmmaking while damning the consequences. Continue reading
David Bowie’s first acting role was in an eerie and surrealistic silent horror short called The Image (1967) directed by British filmmaker and writer Michael Armstrong. Armstrong’s directing credits include the Tigon horror anthology The Haunted House of Horror (1969) as well as the effective and memorable Mark of the Devil (1970), which tells the story of two 17th century witch hunters (Udo Kier and Herbert Lom) and was obviously inspired by the 1968 Tigon film The Witchfinder General. Armstrong is also responsible for writing the script for Pete Walker’s horror comedy House Of The Long Shadows and co-writing Tobe Hooper’s Lifeforce with Dan O’Bannon. This list of Michael Armstrong’s credits may not seem all that impressive to your average film viewer, but it should spark the interest of some horror fans. Continue reading
Antonia, the pampered wife of Martin Lynch-Gibbon, an upper class wine merchant, tells her husband that she is in love with their best friend, the psychiatrist Palmer Anderson. Palmer and Antonia want to deal with the situation in a civilized way, by remaining friends with Martin. Meanwhile Martin tries to keep his mistress, Georgie Hands, a secret, but Palmer’s sister, Honor Klein, who taught Georgie at Oxford, tells Palmer and Antonia about her. Furthermore, Honor introduces Georgie to Martin’s womanizing brother, Alexander. This is just the beginning of the various liaisons. Continue reading