filmbore wants you! Remember November 2012

filmbore wants you! November 2012

Time to pick up the pace again at these flashbacks through each month of filmbore's inaugural year, where we look at the first 52 reviews released from June 2012 to May 2013. Each pick-of-the-week is up for a chance to be in a special Top 20, listing the best of the bunch,

Let's remember November 2012

So, as there is a concerted effort to improve the content behind the scenes, with promises of more Top 10s as a result, November kept filmbore busy still, but at at least the commotion was for dedication for the site this time. Not only was this a big step up for filmbore, but lucky calendar timing meant five Fridays landed in the month, bring five reviews. And, more importantly, filmbore finally became a published critic, with ten reviews showing up in Sheffield's zine, The Eyelids Of Dawn issue 1 (find out more by clicking here).

Coming back to the reviews, it was a strong month for the site. These are some hard movies to choose from. For those of you that love homegrown indie drama, you don't get much more humble and real than the fantastic Once Were Warriors. But if you prefer to exercise your grey matter a little further, then perhaps you were more intellectually satisfied with brain-buster Pi. Keeping the dark but lowering all barriers is the shock action gore-fest of the millennium from Japan with the infamously brave Battle Royale. Maybe their eastern Asian cousins output from Hong Kong is more your bag, with the genius crime-drama Infernal Affairs. Or, if you're a sucker for a Michael Haneke film, you don't get more Haneke than his beautifully filmed drama thriller Hidden/Caché.

 
Should one, some or all of these films be considered in my ultimate Top 20 of the first year of filmbore? Comment below... 

filmbore pick of the week - A Field In England

A Field In England

Director: Ben Wheatley

Screenplay: Amy Jump

Starring: Reece Shearsmith, Michael Smiley, Ryan Pope

Year: 2013

Language: English

UK rental release: July 2013

IMDb
LoveFilm
Rotten Tomatoes

Ben Wheatley's new film has changed the way that movies are released, by simultaneously releasing A Field In England on multiple mediums (cinema, streaming, TV on demand, DVD, BluRay) all on the same day. More importantly, it's one of the oddest but most brilliant quests I've seen in recent years. A journey into cryptic and psychedelic world of mushroom circles... 

Running from a battle during the English Civil War, a collection of unusual men cross paths. Unsure which side each is on, even with some suspicion, the deserters form an alliance and flee the foray, and decide en route to look for a nearby inn to settle their differences over cards and ale. 

They take rest in a nearby field and start to make a soup, adding to the broth some locally picked mushrooms of unknown origin. Cutler (Ryan Pope, better known as Psycho Paul from Ideal - TV Series) is responsible for adding the magic fungus to the food, maybe to manipulate the others, but one of gang won't touch the dangerous grub.

This means that Whitehead (Reece Shearsmith, of The League Of Gentlemen - TV Series fame) can keep his wits about him. Educated, religious but cowardly, he has been tasked with locating an alchemist who shared the same master as him; to detain him on behalf of his lordship for stealing documents on pagan rituals.

Shortly after their makeshift feast, the "shrooms" start to kick in. As those that had partaken in Cutler's cocktail lose their grip on reality, things are about to take a turn into the even weirder. Through a peculiar tug-of-war against an unknown force, a man is summoned - a visionary alchemist, O'Neill (Michael Smiley, Kill List, Spaced - TV series fame), who takes but a few moments to capture the travellers.

Cutler is an aide to O'Neill, to the surprise of his fellow absconders. Yet, this is the same man that Whitehead seeks. But O'Neill on a mission of his own. There's hidden treasure in this field and, craving to be an expert in darker magic he'll seek high an low for it using any means of enchantment necessary. 

But as their journey continues, there may be a treasure of a different kind awaiting them.

Even with its intense opening, A Field In England starts calmer and lighter than Wheatley's other pieces. This doesn't last for long though! Sinister, creepy moments become more frequent as the story unfolds, and our director's trademark moody, eerie tones are present as always.

Disorientating, even if set in one field the plot is initially perplexing, as it's supposed to be. Centred around the enigma behind mushroom circles, where time moves slower, it feels like another world. As our unlikely heroes venture further into their captor's depraved desires, they fall victim to all manner of despair and confusion. There is clear paranoia between our wandering soldiermen too, fueling the already present tension between the characters even more.

Of course, Wheatley's obscure humour is peppered amongst the tale, even popping up during the story's darker moments. One successful element to this is the underlying thread of the importance of unlikely friendship from strangers and the natural comedy this can provide. In a similar vein to my pick-of-the-week last Friday (check out the review of the brilliant Untouchable here), companionship can emerge from the most unlikeliest of places yet, even though theoretically the same in both films, the execution of this philosophy couldn't be any more different.

The other component to the comical feel is thanks to some terrific performances from this small cast, most especially from Reece Shearsmith in the lead as Whitehead. In his mainly televisual career, Shearsmith has succeeded, not only in demonstrated the colder side to comedy with The League Of Gentlemen, but by displaying incredible talent as an actor in any role he plays. I hope he finds more cinematic platforms on future outings, and I offer that opinion to the rest of the cast too. Michael Smiley has had some success in this area, but mostly thanks to Wheatley's current cannon of movies, so I hope more offers are on the table after this.

It helps that there's some great dialogue for our cast to play with, thanks to a wonderful script penned by our director's regular collaborator, Amy Jump. Her witty scribes are handed out in both the comical uttering and the educated retorts. It warms slowly and by the end of the piece that are incantations are one-liners galore. 

 The choice to pen this story in this setting is intriguing also. The English Civil War clearly brings essences of back story through its historical heft: fear of death, depravity, even starvation and the will to survive - bundled in an skewed view on humanity and honour. Yet, it also serves the film artistically, painting this story with presence and demure palettes, infusing the plot with more off-balanced vision. This tale doesn't need to be set during the English Civil War (except for a general time-frame for mushroom circles) but it's all the better for it.

Taking the insanity further there's vast juxtaposition in the musical choices as well. Droning bass moods or plagiarised nursery rhymes, it's difficult to ignore the score. In fact, overall there is a sensational use of sound. And not just through the music but in the placement of dialogue through the more dreamlike sequences, broken-down audio though the slo-mo shots, even the detail in the gruesome snapping and squelching of a blown ankle. It's a key supporting character to the whole piece, lacing the tale with an unlikely cousin to the bizarre and highlighting the deft hand that Wheatley and his crew contort through their craftsmanship in the medium of cinema.

The audible beasts on show help to influence a purposeful disjointed vibe flowing through the piece; a curious blend of high definition quality filming, period setting art-house shooting, black & white colour scheme - all ingredients brewed together in a somewhat unexpectedly comfortable, albeit deliciously uncomfortable way. Lens flared, softened shots add a hue of art to the already stunning mixture of camera work. But it's Wheatley's toying with unusual lenses that elevates the imagery here. Cheap but effective, with the combining of old plastic lenses with found telescopic parts and other maverick camera accessories, Wheatley has comprised an optical treat of both warm and warped visual splendour. I like it when a director goes all "experimental" with their filming techniques.

This is realised through another form throughout the piece too. At points, key scenes are bookmarked by unconventional shots of our cast holding poses like the main articles of a still-life painting, highlighting the pending moments we are about to witness. These aren't stills, however, but "tableaux vivants" or "living pictures" - filmed passes of our actors freezing in postures in order to express their dilemmas and intentions. As odd as this sounds, this technique is beautifully effective. Tableaux vivants have been used on film before, but not as directly and bluntly as laid before us here. It's a pure way of breaking the fourth wall and a powerful method to both structure the plot and imbue the tonal personality of the picture with an aloof, if kooky aspect.

Thanks to stellar editing by both Jump and Wheatley, the experimentation goes further is a particular scene at the turning point of the third act. Involving a plethora of heavy strobing images coupled with "doppelganger-mirror" effects (if anyone knows the real name for this, please let me know) it s astounding! It will knock you sideways and possibly give you nightmares for a month...I know it will for me!

With hallucinations, visions, conjuring...it's a concoction of visceral mystery and down-right obscurity. This field is as left field as it gets, and it's a masterpiece in its own wonky realm! Wheatley's explorations in cinema continue to amaze. As I've said before...I can't wait to see what he comes up with next!

Although blatantly Wheatley, A Field In England is a bizarrely unique and a refreshing angle for this brilliant director. It is stand alone. And with the excellence of this film, he's knocked it out of the park, or field, yet again! That's four for four so far. Can he be stopped?

If you want to read my review of Ben Wheatley's previous three films click on these respective links for Down Terrace, Kill List and Sightseers.

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

filmbore wants you! Recalling October 2012

filmbore wants you! October 2012

Let's keep flying through each month in filmbore's initial year on the net, where each of the site' s first 52 pick-of-the-weeks published from June 2012 to May 2013 are up for a chance to be in a special Top 20, listing the best of the bunch,

Let's go back to October 2012

Still very busy at this point in my life, so only four reviews were released in October. Yet, as momentum picks up, and more people start to view the site, the journalistic side to the content starts to vastly improve. Here's a re-cap of the films:

Were you moved by the exquisite drama by the Dardenne brothers, The Kid With A Bike? Or something more fantastical and imaginative perhaps, with Mamoru Oshii's Polish-languaged Avalon? Or a gritty Brit comedy-dram then, with Ben Wheatley's terrific debut Down Terrace? Then again, it's difficult to ignore the impact the Iko Uwais had in Gareth Evans' breathtaking Indonesian action-fest, The Raid!

Should one, some or all of these films be considered in my ultimate Top 20 of the first year of filmbore? Comment below... 

filmbore pick of the week - Untouchable

Untouchable (The Intouchables)

Director: Oliver Nakache, Eric Toledano
Screenplay: Olivier Nakache, Eric Toledano
Starring: François Cluzet, Omar Sy, Audrey Fleurot, Anne Le Ny
Year: 2011
Language: French
UK rental release: February 2013

IMDb
LoveFilm
Rotten Tomatoes

Last week's pick of the week was linked to historical truth. Let's take this up to the 21st century this time around for the beautiful tale, based on a true story, of an accidental kinship between two very different individuals, in Untouchable. 

Philippe (François Cluzet, Tell No One, Little White Lies) is a rich and thoroughly cultured aristocrat. He is also a quadriplegic. Through his incredible fortune he lives in absolute luxury but is hindered by his plight, burdened upon him by a paragliding accident. Couped up all day in his mansion, he misses an adventurous life.

As we open on Philippe, he's being driven by his carer, Driss (Omar Sy, Micmacs, Mood Indigo) at speed through the Paris streets in a Maserati, purely for amusement. A police chase ensues, but once the authorities catch the pair they're in for a surprise. On seeing Philippe's condition (and dressing the situation with a few white lies) they not only get let off, they even convince the police to escort them to a nearby hospital for authenticity, and for a cheeky little bet! 

Prior to this event, Driss met Philippe by chance, applying for a job as a full-time assistant but not to be successful... he just wants a signature to ensure that he can claim benefits. His first encounter through this reluctant interview is a little coarse, very matter of fact, and there's even a few banterous, strong words exchanged between the pair. This exchange seems to perturb Philippe's administrator, Magalie (Audrey Fleurot of Spiral: TV series fame), who Driss takes a shine to.

Driss is from a different world to Philippe. He lives in a small apartment in the projects with his mother and lots of brothers and sisters. His constant absences upsets his mother however, so she chucks him out of their home.

Yet, Philippe seemed to enjoy the verbal swordplay with Driss, impressed enough to offer him the job. Driss is unaware of this at first, just popping by to get his autographed form for the claimant office. When it dawns on him that he may have to take this a little more seriously, he's at odds whether to move forward with it. That is, until he sees his new quarters.

Driss is in awe of his new home with Philippe and decides to give his new career a try. He'll also have to impress Philippe's other aid, Yvonne (Anne Le Ny, Le Gout Des Autres) before he can really settle in however. But as Driss starts to take responsibility for his new tasks, and unexpected relationship starts to develop between him and Philippe...a real understanding.

Untouchable is a fictional representation of the true story of Philippe Pozzo di Borgo and his carer Abdel Sellou (here represented as Driss), which was discovered by Oliver Nakache and Eric Toledano through a TV documentary called A la vie, à la mort. Taking this source material is a brave choice when considering the delicate nature of the subject matter but in the first few moments you get to understand how, through comedy and drama, the directing pair have built a wonderful piece.

There's a plethora of filming techniques used with precision and a gentle nature here, including the confident handling of extreme close ups at interesting angles, with  minimal but effective lighting. There's a wonderful palette too, with the rich browns as ambers of both the Paris streets and the interiors of Philippe's home finding a common canvas. It's crafted with care and attention, which is noticeable from beginning to end.

It moves at an easy pace too. Its jokes are layered gently through a story that carefully blends Driss's adaptation to his new life and the friendship that evolves between him and Philippe. There's a warmth streaming through the entire movie, and it's joyous and enigmatic. Plus, there is one undoubtable fact at play here...it's refreshingly funny.

The timing of the comedy is spot on. There is some dark, but great humour sprinkled between plot points and you'll definitely chuckle out loud at least a couple of times. It plays strongly on the limits bound to Philippe's condition (and quite bravely at points, I must add), while exploiting the "duck out of water" situation experienced by Driss, thankfully without too many clichés. Laughter is the drive to the whole plot, gluing it all together neatly as the pair's predicament and wordplay go hand-in-hand perfectly.

Although, there's still time for the serious moments: Philippe's panic attacks and "phantom pains", Driss's brother getting in trouble with drugs. But where the true drama fall here is in the "bromance" that starts to envelop our leads. There's wonderful chemistry between the pair, as we get to experience a clashing of their two worlds - they become the bridge between their two realms. 

One key way of demonstrating this is through the inclusion of a great soundtrack: a selection of funk and northern soul spread throughout, paired with classical interludes. The choice of music at poignant moments of the picture represents the change experienced by both characters while highlighting their alternate backgrounds. This is highlighted more literally in one of the most enjoyable scenes of the movie, where on Philippe's birthday they spar and chat about music. It's a perfect example of their blooming friendship and the light they expose from jabbing at each others' cultural differences.

The growing magnetism between boss and employee is thanks to some great performances from out leads. Cluzet is fantastic as always; calm, deep, emotional at just the right level when required. And, his measured performance adequately leaves room for Omar Sy to breathe in his portrayal of Driss. What's clear though is that Omar Sy is sensational. He plays a character so unmarred by the disability of Philippe, seeing through the chair that imprisons him and recognising the real man deep down. His rambunctious but charismatic execution of this role is the heart of the whole story. Thankfully, he owns the whole film.

There's a relentless amount of banter between them both too. Driss's blunt addresses to Philippe are partly what he admires about him. There's no pity there. Just honesty, which makes him feel full again. You notice too how Philippe melts into this direct approach from his new carer, while Driss opens his heart to his new boss and friend, in guiding him through life from a different perspective. Within these views, and through understanding each other further, a kinship is nurtured.

There is familiarity to the obscureness of new found friendship in the unlikeliest of places. This film has soul and it has truth. Plus, the fact that it's a true story, combined with its perfectly balanced humour, makes this an incredibly approachable piece and a must for those of you less familiar with foreign film. What's most beautiful about this tale however is, at its core, it's really Driss's story and about his achievement and redemption at all odds, purely through making a new buddy.

Friendship is a peculiar beast. There are those that we have known for years of with who we have bonds that reside deep within us...in a place where we feel there's no room for any more. That is until we are thrown together with a stranger by chance and a stronger connection to this unknown buried even deeper reveals itself. Untouchable identifies the care and consideration that reaches to the surface for those that we sometimes think are a world away from us, yet are actually closer to you than can comprehend. It taps into this natural affection that we all have the capacity for.

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

filmbore wants you! Reminisce September 2012

filmbore wants you! September 2012

Continuing the summarising of each month in filmbore's first year, every one of the site' s first 52 reviews published from June 2012 to May 2013 are to be considered by me and you to enter a Top 20, listing the best of the bunch, 

Let's remember September 2012

A busy month in filmbore's schedule meant just the four straight reviews in September. Yet, the journalism improves, as we start to see the structure of filmbore's review take shape, setting out plot then moving onto the review itself, and we see the first article over 1000 words...filmbore's getting serious! Here's a re-cap of the films:

Ari Folman's breathtaking docu-film Waltz With Bashir needs your consideration. And if you haven't seen it, you'll be shocked and amazed by the incredible Nordic thriller Headhunters. If you're a fan of Guillermo Del Toro, I implore you to watch and then vote for his cross-genre masterpiece The Devil's Backbone. Or, if you're a stickler for a UK film, you don't get more British than Shane Meadow's funny and surprising A Room For Romeo Brass.

Should one, some or all of these films be considered in my ultimate Top 20 of the first year of filmbore? Comment below... 

filmbore wants you! Taking you back to August 2012

filmbore wants you! August 2012

As we recap month by month of one year of filmbore, all of the 52 reviews released on the site from June 2012 to May 2013 are up for a chance to be in a Top 20, listing the best of the bunch,

Let's recap on August 2012

filmbore is starts to showcase Top 10s (the first being Top 10 Decent Remakes), we said farewell to Tony Scott, and some timing in the calendar meant we had our first bonus review of the site, with five Fridays falling in August. Here's a run down of what was chosen for August:

How about you stick up for the boys, in Peter Mullan's tense gritty Brit drama Neds? Do you have a thing for films based on true stories, with Germany's answer to the prisoners-and -wardens test in Das Experiment? Maybe you're a gambler, and always root for the underdog, then Intacto is the one for you. Or are you a stickler for the emotional, with South Korea's answer to Saving Private Ryan with The Brotherhood/Taegukgi. Then again, if you're from the UK then you've probably got an eye for the quirky humour, and they don't come much wonkier than the touching comedy Bunny And The Bull.

 

Should one, some or all of these films be considered in my ultimate Top 20 of the first year of filmbore? Comment below...  

filmbore pick of the week - 13 Assassins

13 Assassins

Director: Takashi Miike
Screenplay: Daisuke Tengan
Starring: Koji Yakusho, Takayuki Yamada, Goro Inagaki, Masachika Ichimura, Yusuke Iseya
Year: 2010
Language: Japanese
UK rental release: September 2011

IMDb
LoveFilm
Rotten Tomatoes

It's been a while since I headed East on filmbore. Therefore, I feel it's time to talk about the surprisingly excellent 13 Assassins: a remake from the acclaimed, controversial Japanese director Takasho Miike.

After years of horrific war, peace is starting to find its way through feudal Japan. As welcoming as this is, it means that the era of the samurai is coming to an end.

Yet, terror still infects the country. One channel for this horror manifests in the Shogun's half brother, Lord Naritsugu (Goro Inagaki, Saimin), who is rising through the ranks of power, looking likely to be the next leader of the Akashi clan. Corrupt and putrid, he is truly a disgusting individual who thrives off danger and controversy.

Many fear Lord Naritsugu's pending reign, some feeling that there should be a more noble heir to the shogun's throne. The shogun himself has stated that he wants the matter handled quietly.

Shinzaemon Shimada (Koji Yakusho, The Eel, Shall We Dance) is introduced to Yukie Makano, who has his own vendetta against Naritsugu. His daughter-in-law was attacked and raped by the cruel leader, who went on to slay his son directly afterwards. The girl went on to take her own life through the terror.

A plan is forged to rid Japan of this cretinous, oppressive creature. Shinzaemon start to put a task force together made up of true samurai. While this "bladed battalion" starts to take shake, Shinzaemon visits his nephew, Shinrokuru (Takayuki Yamada, Train Man, Crows Zero) to draft him in. A gambler and drinker, his life has no direction. He questions whether his existence is righteous. His involvement in this mission could bring some meaning to his heritage as samurai, justifying his place in this world.

Over time, they form a team of twelve and set off on their quest. Their final party member comes in the shape of mountain dweller Koyota Kiga (Yusuke Iseya, Casshern, Memories Of Matsuko) who guides the team through the woods they got lost in en route to Ochiai. He claims to be of samurai blood, but the rest mock him, laughing at his statement. Nevertheless, whatever his ancestry, he's a crazed and furious warrior; incredibly acrobatic and lethal with a slingshot. He's a credit to the assassins.

Hanbei (Masachika Ichimura, known game voice over artist), Naritsugu's chief samurai has seen his master's despicable acts, but is compelled to stand by him through the code and way of his heritage. The way of the samurai. His honour is deep, going back to his youth when he trained next to Shinzaemon from a young age. When he hears of his old comrade's task, he is primed to react.

Hanbei's actions will find it hard to penetrate this pack that sweat devotion to the cause, serving Shinzaemon with their skills and lives. At the end of the time of the samurai warrior could this journey, this mission into death, bring them all the honour they crave to achieve?

 

We open on a shot of a samurai committing harakiri. Surprisingly, for a Miike film, we do not see the gore, instead receiving a close up on the samurai's face as he slowly endures his bloody fate to his own blade and hands.

This first scene typifies Takashi Miike's approach to this picture. Instead of doing the obvious, he takes a measured hand, keeping dignity in the film's execution. This was necessary for two reasons. One, being a period piece, there is some historical fact in this tale. Although clearly sensationalised, Lord Naritsugu, for example, was a real lord of the Edo era. In keeping a tasteful eye, it allows the piece to go deeper; allows it to question loyalty to your master over loyalty to the good of the state. It rips open the Bushido code and exposes and scatters it throughout the whole tale.

Secondly, this careful attention will thrive from the history of the source material itself, what with it being a remake of the film-of-the-same-name by Eiichi Kudo in 1963. I'm not a huge fan of re-do's, but this is one of those rare gems...a decent remake! (see my article, Top 10 Decent Remakes from back in August last year). Even though a remake, and also influenced by a little known Kurosawa film involving 6 six less warriors than this one, it still feels like it's own film. 13 Assassins takes on this challenge with a cultured brush, even with some of the shots from the classic version being referenced with a modern twist; as if infused with the honour of one the story's warriors.

But Miike fans, don't despair! There are still shocking moments and gore galore, all captured in a pocket of period film making and used at poignant moments to raise tension, while keeping the tone at a respectful level. The action is fierce and relentless too, delivering some sensational choreography. Miike holds no punches with these fight scenes, especially in the final onslaught, where the powerful furore of the finale is held to a high standard thanks to its partnership with some wonderful set pieces.
 
It in this final act, that we see the culmination of an epic showdown of the 13 against Naritsugu forces in the town of Ochiai. This town is a citadel of terror when construction is complete, each pore of it's taught skin peppered with arrows and katanas ready for extracting, to lay pain and blood upon the enemy. There truly are some smart battle concepts paired with some interesting traps, adding further excitement to an already brewing tale.

The builders of this "fortress of killitude" are some intriguing characters. In this makeshift clan of assassins, all performers bringing a little of their own style to this ensemble. There's no doubting however that the show stealer is the 13th assassin, Yusuke Iseya's Koyota. He feels like a nod to the brilliant Toshiro Mifune in Seven Samurai - the maverick rogue; a bandit up for a challenge. With his energy, and a sprinkling of a little humour in parts, Miike ensures that he checks a little of his cheekiness at the door. This comedy is usually reserved for his more "out there" films, but it's refreshing to see it here, even in its subtle form.

What you clearly can see though is a film that is no less than beautifully shot. Striking overheads, awkward angles, foreground objects framing art-house looking shots, it's a collection of filming techniques gently placed together so hardly noticeable. Cinematographer Nobuyasa Kita effortlessly "jigsaws" the shots together with a seamless precision. Not only that, but there is a definitive template to the overall piece. Some parts are sharp but shadowed, portraying a silhouetted yet luminescent look. At other points, there is an almost rustic but cool filter, that coats the scenes with an historical presence. Yet, these styles complement instead of jar against each other.

Most impressively however, you cannot ignore the stunning use of the natural Japanese landscape, effortlessly taking you back to more ancient times. Shooting mainly on location in north Japan, there is an epic, if discreet air thanks to the beauty of the surroundings incorporated into this tale. Some shots are so well crafted, you'll want to take a still for yourself, framing it for your wall.

Miike, while out of his comfort (even though he was made over 80 films since the early 90s), has poured his vision into Kita's lens and built a visual delight with this picture. I have to say it...it's Miike's masterpiece!

   

Classy and completely unlike Miike's forays into the bizarre and insane, this is a formidable tale that blends classic Chambara, honourably through homage, with the modern, through it's frenetic action and stylistic film making. A blend of absolute brilliance.

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

filmbore wants you! Flashback to July 2012

filmbore wants you! July 2012

Carry on the celebration of one year of filmbore, all of the 52 reviews published here from June 2012 to May 2013 are up for a chance to be in a Top 20 showing the best of the bunch.

Let's take a peek back at July 2012

filmbore is still young, but the writing's getting better (and a bit longer!). Here are the four films from that month:

 

Will you vouch for the sweet comedy sci-fi romance of Park Chan-Wook's most beautiful film, I'm A Cyborg, But That's Okay? Or are you after something even more bonkers, with the fantastical animated humour-fest from Belgium, A Town Called Panic? Or your more a cerebral type, and a fan of time-travel and were perplexed and stunned but wondrous indie Primer. But you can't ignore Troll Hunter, the modern nod to Nordic mythology via an ingenious use of the found-footage genre.

Should one, some or all of these films be considered in my ultimate Top 20 of the first year of filmbore? Comment below...

 

filmbore wants you! Rewind to June 2012

filmbore wants you! June 2012

To celebrate the first year of filmbore, all of the 52 reviews on the site from June 2012 to May 2013 are in the running for a special Top 20, namely which are the best of the bunch.

Here's a reminder of May 2012's outing...

filmbore is  born. I am a fledgling critic. But here are four films well worth your consideration:

Will it be Cell 211, a raw& powerful Spanish prison drama? What about Paddy Considine's Tyrannosaur, the best British film of 2011? Or maybe the uber-dark Kill List, the other best British film of 2011? Or maybe you were moved by intense and comical French thriller Tell No One?

Should one, some or all of these films be considered in my ultimate Top 20 of the first year of filmbore? Comment below... 

filmbore wants you! Choose the best from year 1 of the site.

filmbore wants you!

To celebrate the first year of filmbore, all of the 52 reviews on the site from May 2012 to June 2013 are in the running for a special Top 20, namely which are the best of the bunch.

Below are the films that I reviewed from day dot to the last month, every single one. I will be choosing what I believe are the best films that I reviewed over the year, some recent, some older, but I WANT YOU to choose the ones that you feel should be included in the running. If they aren't in my Top 20 so far, and your case is strong enough, I will strongly consider including them. If they are already up there, I will also consider moving them higher up the chart, but you'll have to convince me.

So, without further ado, here are the candidates:

May 2013

• Run Lola Run (Germany)
• The Imposter (UK)
• Let The Right One In (Sweden)
• V/H/S (United States)
• A Tale Of Two Sisters (South Korea)

April 2013

• Switchblade Romance (France)
• Grabbers (Ireland)
• Berberian Sound Studio (UK)
• Amour (France)

March 2013

• Sightseers (UK)
• Tales Of The Night (France)
• Beasts Of The Southern Wild (United States)
• Rust And Bone (France/Belgium)
• Twin Town (UK)

February 2013

• Holy Motors (France/Germany)
• Dead Man's Shoes (UK)
• Searching For Sugar Man (UK/Sweden)
• JCVD (Belgium)

January 2012

• Bronson (UK)
• Goodbye Lenin! (Germany)
• The City Of Lost Children (France)
• The Secret In Their Eyes (Argentina)

December 2012

• Timecrimes (Spain)
• Brick (United States)
• Wild Bill (UK)
• Breathing (Germany)

November 2012

• Hidden (Austria/France)
• Battle Royale (Japan)
• Infernal Affairs (Hong Kong)
• Pi (United States)
• Once Were Warriors (New Zealand)

October 2012

• The Raid (Indonesia)
• Down Terrace (UK)
• Avalon (Poland/Japan)
• The Kid With A Bike (Belgium)

September 2012

• A Room For Romeo Brass (UK)
• The Devil's Backbone (Mexico/Spain)
• Headhunters (Norway)
• Waltz With Bashir (Israel)

August 2012

• Bunny And The Bull (UK)
• Brotherhood (South Korea)
• Das Experiment (Germany)
• Intacto (Spain)
• Neds (UK)

July 2012

• Troll Hunter (Norway)
• Primer (United States)
• A Town Called Panic (Belgium)
• I'm A Cyborg, But That Okay (South Korea)

June 2012

• Tell No One (France)
• Kill List (UK)
• Tyrannosaur (UK)
• Cell 211 (Spain)

Get voting!

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