Ford On Film

Chronicles of a silver screen addict

Category Archives: Reviews

Baby Driver is a fun heist thriller – as long as it stays on the road

Having made a career out of amusingly deconstructing genre films, from zombie (Shaun of the Dead) to action (Hot Fuzz) to sci-fi (The World’s End), Edgar Wright has finally made his own genre film with his long-awaited passion project, heist thriller Baby Driver. Unfortunately, by approaching the familiar story of a getaway driver forced into …

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The Eyes of My Mother is too horrific for the arthouse crowd, and too arty for the horror crowd

At what point does an art film become shlock? The Eyes of My Mother, Nicolas Pesce’s hideously unpleasant debut feature, is clearly aiming for the arthouse crowd; filmed in stark black-and-white, the film is too slow and uncompromising to reach mainstream horror fans. However, the levels of gore and psychological torture on display have mostly …

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Prevenge gets by on the creepy charms of director/writer/star Alice Lowe

Having made a name for herself starring in low-budget black comedies like Garth Marenghi’s Darkplace and Sightseers, it’s only fitting that Alice Lowe’s directorial debut Prevenge follows a similar strand of broad humour and bloody mayhem. Written by and starring Lowe as Ruth, a heavily-pregnant woman whose unborn baby convinces her to go on a killing …

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The Best Films You’ve Never Seen #3: Afterschool

In this semi-regular feature, I discuss some of the best films which had low box office earnings, found little audience, or have otherwise been forgotten about over time. Despite dominating the lives of teenagers for over a decade, very few films have focused on ‘the youtube generation’. Apart from a few teen comedies that show …

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Modern Masterpieces #7: Mulholland Drive

Some films demand to be scrutinised; intricate films with difficult plots, hidden details, and perception-altering twists are often watched and re-watched constantly by fans desperate to discover the film’s real meaning. On the surface, David Lynch’s 2001 magnum opus Mulholland Drive is such a film. Its dreamlike structure is disorientating, asking audiences to notice subtle hints and …

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The Handmaiden is a twisting, turning revival of the erotic thriller

Sensual isn’t the first word that comes to mind when you think of South Korean auteur Park Chan-wook. After all, this is the director behind such brutal films as Oldboy, Lady Vengeance, and Stoker. It’s surprising, then, to see his latest film The Handmaiden, the story of an orphan sent to work for a mysterious …

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Rebecca Hall should have dominated awards season for her performance in Christine

Should a biopic about Christine Chubbuck exist? Many believe the story of the young news anchor who shot herself live on air in 1974 should never be made, out of respect for the dead. A recent documentary, Kate Plays Christine, focused on the very topic, concluding that making a film about Chubbuck could only be …

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Is T2 Trainspotting a worthy sequel to one of the greatest British films of all time?

No film has been quite as hyped up on this blog as Danny Boyle’s long-awaited sequel to his 1996 classic Trainspotting. Ever since Boyle announced he was reuniting with producer Andrew MacDonald, screenwriter John Hodges, and the original cast to work on the then-unnamed follow-up, I’ve been anticipating its premiere with excitement and minor anxiety. …

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La La Land tells a familiar story in a hugely entertaining way

In just two films, Damien Chazelle has announced himself as one of the boldest, most unashamedly old-fashioned directors of his generation. After achieving Oscar-glory with Whiplash, a blistering thriller set in the unique world of jazz drumming, Chazelle is back with another love letter to jazz that’s sweeping the awards season. A full-blown musical, La …

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Manchester by the Sea might just break your heart

Is there a harder emotion for actors to portray than depression? Even the most acclaimed performances tend to be over-the-top, wailing to heaven above and unleashing floods of tears to show the audience how upset they are (see: Sean Penn in Mystic River, Halle Berry in Monster’s Ball). In Kenneth Lonergan’s incredible Manchester by the …

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