Tag Archives: Reviews

Something For the Weekend #7

19 Jan


It is the function of creative men to perceive the relations between thoughts, or things, or forms of expression that may seem utterly different and to be able to combine them into some new form’. William Plomer

Some inspirational snippets and recommendations for your weekend


Something to Watch:  

DVD:  Let the Right One In


Let the Right One InA  film  directed by Tomas Alfredson  with a screenplay by John Ajvide Lindqvist (adapted from his book of the same name ) from 2008 starring  Kåre Hedebrant and Lina Leandersson. A  sensitive and lyrical  horror film (yes, they can be) about a  young boy Oskar  and his blossoming friendship with Eli which becomes a tale of life and death.

Why you could watch it:

For its subtlty,  sensitivity and lyricism.  It has a few vampiric moments but it’s actually an egrossing tale about friendship, love  and not fitting in.  Elements of our lives that we have all shared. And the young leads are great too.

Here’s the author, Lindquist, talking about his book:


Something To Listen To: 

Gavin Bryars: Jesus’ Blood Never Left Me Yet


A piece composed from a drunken song he heard being sung by a person living rough on the streets in London. Looping the words round and round he created this:

  Official Website


Something To Look At:

George Braque (1882-1963)  


20th century French painter and sculptor, who along with Pablo Picasso developed the art style known as Cubism

Once an object has been incorporated in a picture it accepts a new destiny. 
To define a thing is to substitute the definition for the thing itself.

An Interesting Mini-Audio on Georges Braque’s, Mandoline à la sonate

Conor Jordan, Deputy Chairman of Christie’s autioneers discusses Mandoline a la Sonate


Something To Read:

Gertrude Stein


Gertrude Stein
Modernist experimental writer of prose and poetry;
and art collector
Here’s an Audio Biography of Stein:


And Excerpts from Tender Buttons (1914)

From ‘Objects’

A Long Dress

What is the current that makes machinery, that makes it crackle, what is the current that presents a long line and a necessary waist. What is this current.  What is the wind, what is it.  Where is the serene length, it is there and a dark place is not a dark place, only a white and red are black, only a yellow and green are blue, a pink is scarlet, a bow is every color. A line distinguishes it. A line just distinguishes it. 

 A Red Hat

   A dark grey, a very dark grey, a quite dark grey is monstrous ordinarily, it is so monstrous because there is no red in it. If red is in everything it is not necessary. Is that not an argument for any use of it and even so is there any place that is better, is there any place that has so much stretched out. 

For more see:

Here’s an online version of her famous Cubist influenced novel Three Lives (1906):


Something To Think About:


Heraclitus (c535 BCE-c475BCE)

A Greek Philosopher
Heraclitis and Democrotius by Salvatore Rosa

Heraclitis and Democrotius by Salvatore Rosa

famous for his insistence on ever-present change in the universe

Good character is not formed in a week or a month. It is created little by little, day by day. Protracted and patient effort is needed to develop good character. 

Much learning does not teach understanding.

Knowing not how to listen, they do not [know] how to speak

Read more at: http://www.brainyquote.com/quotes/authors/h/heraclitus.html#5LqJL3LAH517voLr.99 


A Reading on Heraclitus from Bertand Russell’s The History of Western Philosophy:


Something For You:

Inspired  Feelings, whether of compassion or irritation, should be welcomed, recognized, and treated on an absolutely equal basis; because both are ourselves. The tangerine I am eating is me. The mustard greens I am planting are me. I plant with all my heart and mind. I clean this teapot with the kind of attention I would have were I giving the baby Buddha or Jesus a bath. Nothing should be treated more carefully than anything else. In mindfulness, compassion, irritation, mustard green plant, and teapot are all sacred. Thich Nhat Hanh    

Something For the Weekend #6

12 Jan


It is the function of creative men to perceive the relations between thoughts, or things, or forms of expression that may seem utterly different and to be able to combine them into some new form’. William Plomer

Some inspirational snippets and recommendations for your weekend


Something to Watch:  

DVD:  The Page Turner

The Page TurnerA  film  written and directed by Denis Dercourt  from 2006  starring Catherine Frot and Deborah Francois. A film about a 10 year old butcher’s daughter who holds revenge at the core of her heart until it is released as an adult as a page turner against the pianist who rejected her as a child.

Why you could watch it:

For the slowly ratcheted tension that is built up throughout the film, and the two female leads particularly Deborah Francois whose cultivated stare is pitched perfectly to get under your skin.



The HobbitHere’s another great film review of The Hobbit by the tale of bengwy




Something To Listen To: 

1. The Cocteau Twins– Song To the Sirens

2.Song To the Moon by Anton Dvorak from Rusalka

3. Sharon Van Etten, Live ‘Give Out’

Just discovered Sharon this morning. Beautiful



Something To Look At:

Robert Delauney


Robert Delauney


 French artist

 Cofounded the Orphism art movement, noted for its use of strong colours and geometric shapes…His key influence related to bold use of colour, and a clear love of experimentation of both depth and tone.

Click link (left) under name for more…

I am very much afraid of definitions, and yet one is almost forced to make them. One must take care, too, not to be inhibited by them.
Robert Delaunay 

Read more at 



Something To Read:

Hugh MacDiarmid


Hugh MacDiarmid

Scottish poet, attempted to revive the Scottish language in poetry as a means of asserting Scotland’s artistic independence from England and re-invigorating a literature suffering from sentimentality. 


It is time we in Scotland put England in its proper place and instead of our leaning on England and taking inspiration from her, we should lean and turn to Europe, for it is there our future prosperity lies.
Hugh MacDiarmid 

Read more at:


Completely beautiful articulation of national identity:


by Hugh MacDiarmid

It requires great love of it deeply to read

The configuration of a land,

Gradually grow conscious of fine shadings,

Of great meanings in slight symbols,

Hear at last the great voice that speaks softly

See the swell and fall upon the flank

Of a statue carved out in a whole country’s marble,

Be like Spring, like a hand in a window

Moving new and old things carefully to and fro,

Moving a fraction of a flower here,

Placing an inch of air there,

And without breaking anything.

So I have gathered unto myself

All the loose ends of Scotland,

And by naming them and accepting them,

Loving them and identifying with them,

Attempt to express the whole.


From Complete Poems, edited by Michael Grieve and W.R. Aitken (Carcanet Press, 2 vols., 1993-4)

Reproduced by permission of the publisher




Hugh MacDiarmid Reading the Watergaw:




Hugh MacDiarmid: A Portrait by Margaret Tait (1964)


 Something To Think About:

Arthur Schopenhauer


German Philosopher

Arthur Schopenhauer


Without books the development of civilization would have been impossible. They are the engines of change, windows on the world, “Lighthouses” as the poet said “erected in the sea of time.” They are companions, teachers, magicians, bankers of the treasures of the mind, Books are humanity in print.” 



“Hope is the confusion of the desire for a thing with its probability. ” 

For quotes see:



Schopenhauer, BBC, Sea of Faith with Don Cupitt



Something For You:



‘If you limit your choices only to what seems possible or reasonable, you disconnect yourself from what you truly want, and all that is left is compromise. Robert Fritz


Something For the Weekend #5

5 Jan


It is the function of creative men to perceive the relations between thoughts, or things, or forms of expression that may seem utterly different and to be able to combine them into some new form’. William Plomer

Some inspirational snippets and recommendations for your weekend


Something to Watch:  


PersonaA  film  written and directed by Ingmar Bergman from 1966  starring Liv Ullman and Bibi Andersson. One of Bergman’s most influential films charting the startling merging of two women’s personalities and identities

Why you could watch it:

For the sheer innovation of the cinematography and camera angles, and for the intensity of the female leads and the morphing face frame which is incredibly powerful


 Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.
Ingmar Bergman 

Read more at:



Here’s  the first part of an interview with Bergman . 

Here are the other 5 links to the other parts of the interview: 

Part 2: http://youtu.be/51WUgKcIXBw

Part 3: http://youtu.be/YRS6Uu9-OPk

Part 4: http://youtu.be/ROQZLJZ6aSs

Part 5: http://youtu.be/xt6UwqHPp54

Part 6: http://youtu.be/90CCPSAF4Zw



Life of Pi

Here’s another great film review of Life Of Pi by the tale of bengwy: 



Something To Listen To: 



Joyce Grenfell  an English actress, comedienne, monologist and singer-songwriter

Happiness is the sublime moment when you get out of your corsets at night. 
Joyce Grenfell 


Read more at:



One of Grenfell’s comic monologues animated….


Something To Look At:

M.C Escher

(1898 – 1972)

M.C. Escher

‘known for his often mathematically inspired woodcuts, lithographs, and mezzotints. These feature impossible constructions,explorations of infinity, architecture, and tessellations’. See link, left.

Official Website: http://www.mcescher.com/

‘He who wonders discovers that this in itself is wonder.’

Read more at:



We adore chaos because we love to produce order. 

Read more at:


My work is a game, a very serious game. 

Read more at: 



Escher Inspired Animation:


Something To Read:

Margaret Attwood


Margaret Atwood

‘Love blurs your vision; but after it recedes, you can see more clearly than ever. It’s like the tide going out, revealing whatever’s been thrown away and sunk: broken bottles, old gloves, rusting pop cans, nibbled fishbodies, bones. This is the kind of thing you see if you sit in the darkness with open eyes, not knowing the future.”  ― Margaret AtwoodCat’s Eye

Cat’s Eyes is one of my favourite books of Atwoods; it  made a real impression on me when I was younger, it helped….. 



In the Secular Night

by Margaret Atwood

In the secular night you wander around
alone in your house. It’s two-thirty.
Everyone has deserted you,
or this is your story;
you remember it from being sixteen,
when the others were out somewhere, having a good time,
or so you suspected,
and you had to baby-sit.
You took a large scoop of vanilla ice-cream
and filled up the glass with grapejuice
and ginger ale, and put on Glenn Miller
with his big-band sound,
and lit a cigarette and blew the smoke up the chimney,
and cried for a while because you were not dancing,
and then danced, by yourself, your mouth circled with purple.

Now, forty years later, things have changed,
and it’s baby lima beans.
It’s necessary to reserve a secret vice.
This is what comes from forgetting to eat
at the stated mealtimes. You simmer them carefully,
drain, add cream and pepper,
and amble up and down the stairs,
scooping them up with your fingers right out of the bowl,
talking to yourself out loud.
You’d be surprised if you got an answer,
but that part will come later.

There is so much silence between the words,
you say. You say, The sensed absence
of God and the sensed presence
amount to much the same thing,
only in reverse.
You say, I have too much white clothing.
You start to hum.
Several hundred years ago
this could have been mysticism
or heresy. It isn’t now.
Outside there are sirens.
Someone’s been run over.
The century grinds on.



 Something To Think About:

Tillie Olsen


American writer and feminist 

Tillie Olsen


From Silences (1962) ….Literary history and the present are dark with silences: some the silences for years by our acknowledged great; some silences hidden; some the ceasing to publish after one work appears; some the never coming to book form at all. What is it that happens with the creator, to the creative process, in that time? What are creation’s needs for full functioning? Without intention of or pretension to literary scholarship, I have had special need to learn all I could of this over the years, myself so nearly remaining mute and having to let writing die over and over again in me. These are not natural silences….

For more go to:


Time granted does not necessarily coincide with time that can be most fully used. 

Tillie Olsen

Read more at:


I know that I haven’t powers enough to divide myself into one who earns and one who creates.
Tillie Olsen 

Read more at:



Something For You:


…Everything can be taken from a man but one thing; the last of the human freedoms—to choose one’s attitude in any given set of circumstances, to choose one’s own way. Viktor Frankl, from Man’s Search For Meaning


Something For the Weekend #2

8 Dec


‘It is the function of creative men to perceive the relations between thoughts, or things, or forms of expression that may seem utterly different and to be able to combine them into some new form’. William Plomer

Some inspirational snippets and recommendations for your weekend


Something to Watch: 

DVD: Heaven


A Cate Blanchett and Giovanni Ribisi film directed by Thomas Tykwer (Run Lola Run) about a woman who takes the law into her own hands, and much much more…

Why you could watch it:

Brilliant performances, beautiful cinematography, challenging direction and beautiful, beautiful soundtrack:


The HuntGreat film review of ‘The Hunt’ the latest film from Thomas Vinterberg director of Festen by ‘the tale of bengwy’( a site with stimulating music, film and book reviews).



Something To Look At: 

Gerti Schiele in a Plaid Garment by Egon Schiele

Angular, Edgy, Delicate and Spiky

Gerti Shiele

Egon Schiele
charcoal and tempure on brown wove paper, c. 1908

To restrict the artist is a crime. It is to murder germinating life. 
Egon Schiele 
Read more at http://www.brainyquote.com/quotes/authors/e/egon_schiele.html#QkKEPm0OCUsTwg8s.99




Something To Read:

William Wordsworth


A Night-Piece by William Wordsworth

——The sky is overcast
With a continuous cloud of texture close,
Heavy and wan, all whitened by the Moon,
Which through that veil is indistinctly seen,
A dull, contracted circle, yielding light
So feebly spread, that not a shadow falls,
Chequering the ground–from rock, plant, tree, or tower.
At length a pleasant instantaneous gleam
Startles the pensive traveller while he treads
His lonesome path, with unobserving eye
Bent earthwards; he looks up–the clouds are split
Asunder,–and above his head he sees
The clear Moon, and the glory of the heavens.
There, in a black-blue vault she sails along,
Followed by multitudes of stars, that, small
And sharp, and bright, along the dark abyss
Drive as she drives: how fast they wheel away,
Yet vanish not!–the wind is in the tree,
But they are silent;–still they roll along
Immeasurably distant; and the vault,
Built round by those white clouds, enormous clouds,
Still deepens its unfathomable depth.
At length the Vision closes; and the mind,
Not undisturbed by the delight it feels,
Which slowly settles into peaceful calm,
Is left to muse upon the solemn scene. 

William Wordsworth



Something To Think About:

Humility is attentive patience. 
Simone Weil 

Simone Weil


In Our Time , Radio feature on Simone Weil.

Really interesting!


It’s the Feeling That Counts

19 Nov

An Exploration of Emotion in the Film MAGNOLIA

‘Films Have the Power To Create Dreams’

From the Film ‘Hugo’

One of my all time favourite films is Magnolia, directed by PT Anderson (PT). In my opinion one of the most powerful, immersive films ever.  You cannot fail to be moved by it, even if you find it difficult, strange or melodramatic. In contrast to Hugo, it’s a film about emotions and not about dreams. It’s about connections and what matters most in life- feeling. Yes, films, I would argue, are on one level about dreams and escapism but the best ones are the ones that make you feel and connect and where you can find a tear gently tracing down your cheek. Magnolia carefully takes you on a journey through dilemma and emotion to a place where you can rest in the positivity of a tentative smile. The smile we see above, of Claudia, Melora Walters.

‘The moment we cry in a film is not when things are sad but when they turn out to be more beautiful than we expected them to be’  Alain De Botton (from Goodreads, Quotes)

To me Magnolia is that film. At the beginning of the piece you are thrown into a fist of  in-your-face feeling; feeling that appears barbed, but by the end, through a subtle process of aclimatisation you come to realise,  is not barbed at all but tender, universal and beautiful. It’s actually a film about the beauty of feeling (with all its pointed edges exposed);  As the film scrolls outwards you are given  a private space to emote and to connect with emotion- in the dark facing a flickering screen.  Magnolia moves you into a state of pure emotion. Each scene is pure emotion. Directed emotion, emotionally directed.

In this blog, I would like to consider how emotion is created in a film, using Magnolia as a particular and special example of that. Rather than immersing you in a dream world where you can suspend your disbelief, Magnolia  keeps rooting you back into what matters,  (through the  emotional sensibility of its characters) and reveals to you the powerful consequences of that individual choice . This, I think, is quite an unusual technique. In cinema today much emphasis is placed on the power of plot and story to drive emotions and character. However, Magnolia  it is strikingly different – emotions drive the plot and the characters; the plot feels secondary (in a good way) to what is going on in vibrant colour within us and the characters. It’s the feeling that counts.

John August who wrote  BIG FISH suggests there are 4  ways in which emotion is formed in a film, and I want to use this quartet  to explore Magnolia:. Emotional engagement can only occur:

IF: 1. Emotional Catharsis is created – a journey through dark territory, through which you can see the characters develop and from which you eventually get release

IF: 2. The  Writer creates emotions through obstacles and  dilemmas from all sides

IF: 3. The Actors give striking performances rooted in honesty and struggle from the beginning and established from the onset.

IF: 4. If the Director successfully co-ordinates all of the other elements: the pace, camera angles, music, and totally  commits to the emotional build of the piece.

In my opinion Magnolia does this, and in so doing becomes a profound articulation of the shared plight of us all (the common condition of man); the fact that life is hard, difficult but there is forgiveness, love and release on the other side. (If you are brave enough to ‘SAY’ and wise -up)

PT  wrote this epic film just after the death of his father when he was only 29. It is the fact that the action and emotions are grounded in  personal experience that makes this  film so special and singular. It also explains the intensity of the piece. Emotion  is perpetually ratcheted up, relentlessly until the final release. The plot and the characters are pushed to the very edge by dialogue and circumstance. There is no release. And this is just like life; and it is this realisation  that PT is trying to create- the complexity of life communicated through diverse characters;  trying to communicate and create the delicate spider’s web of existence:

‘Experience is never limited, and it is never complete; it is an immense sensibility, a kind of huge spider-web of the finest silken threads’,

Henry James (from The Modern Psychological Mind, Leon Edel)

And what PT does is intricately create an immense sensibility from the differing emotions of his  major characters. The themes dealt with in the film are huge, universal and engage with core issues that are common to us all: ‘the silken threads’ that so complicate our lives : about lies and reality, parent and child relations, love and sickness, how we try and let go of the past, but how the past doesn’t let go of us; the importance of choice; the power of forgiveness; saying, just saying; resting in regret and being okay with this; how hard it is to do what we really, really want. These matters are the nub of life; guilt and redemption; losing and finding. All these themes are directly engaged with in this film. It’s amazing!

PT , not only wrote and directed the film; but he also  wrote the script with specific actors in mind (Julianne Moore, Tom Cruise, Jason Robards, William H. Macy, John C.Reilly, Philip Seymour Hoffman, Melora Walters, Jeremy Blackman) The dialogue was completely tailored for the actors; he knew their strengths and their abilities and new they could take the sparseness of his words to a different level, and because they were all friends as well, the distance between actor and director was foreshortened and strong performances could be easily accessed. This personal, real-life bond further  underpinned the piece. If you have  that as a bedrock as well than it further enhances the commitment and ease of the performances.

Lots of truly seemingly inconceivable incidents and coincidences happen in this film. However,  PT makes this acceptable by a questioning of the very nature ‘ happenstance‘. He makes it a theme running through the film itself  by book ending the piece with a prologue and a postscript that throws up the question of ‘happenings’ not just being about chance, ‘that extraordinary things do happen’. This thought now laid, seeded in our mind,  gives us a template in which to place the threads of the story. In so doing he also subtly makes a comment about artifice and realism. Is a  film  a piece of artifice purporting to imitate life or vice versa?

In terms of direction, quickly and in a very fast paced, edgy way,  characters are individually introduced. PT moves initially quickly between the different storylines. It’s hard to keep up; it’s a bit confusing (just like life), the dialogue is extremely naturalistic and visceral. You don’t know where you are quite -but  extremely strong  individual characters are established before you: the god-fearing policeman; the adulterous wife, the lost girl, the dying father filled with regret; the dying father filled with a need to redeem himself; the son fronting out as a man, but truly still just an unhealed boy wanting love, the young and old child geniuses – one wanting to be able to choose and the other wanting to give, just wanting to be loved. All of these  characters are  snappily and separately laid out before us and established. And then thread by thread PT starts to merge them, and the lines of dialogue start to intermingle and the emotions stretch out like a taught rubber band.

The film could not work if the actors did not commit to the themes and characters wholeheartedly. Without their sincere performances Magnolia would be pure melodrama; and, indeed, if you look at it in snippets it can feel like that. However, the  performances put it onto a different level, and as one committed performance coalesces with another something very serious and beautiful occurs. Gradually you start to become completely encaptured by the emotion, and its reality.This makes the other surreal and biblical happenings, circling around the feeling  and plotlines feel like  mere add ons.  The plot in Magnolia although important structurally:  moving  the story  and characters to their climaxes, is always secondary to the real action of the piece: the shifts of emotion and feeling. In other films, it’s different, in Magnolia, the emphasis, the placement, is elsewhere because the film is about internal shifts and movements and not about external occurrences. It’s about how things linger and rest in us.

Pace is maintained by the way PT chooses to  use  the camera.  He creates pace and movement via particular shots and camera angles. All of which serve the story. He places cameras in odd space, looking up from a safe:

tracking a frog falling from the sky

Tracking the young child-prodigy Stanley running through the television studio, slinking through it as if it were a dark tunnel.  As Mike Figgis states on digital film making:

The function of camera movement is to assist in the storytelling. That’s all it is. It cannot be there just to demonstrate itself’,

(from Goodreads, film quotes)

Equally, there are moments when the pace slows right down and we are left (almost alone with the emotion of the character. we are left to see the intimate nuance of a person’s face in anguish). PT manages these shifts brilliantly and he gives you time to really experience the dilemmas of the characters, and the careful interweaving.

Music is a strong connecting factor and directs not only the viewer’s gaze but the emotional threads of the characters, even to the extent where they share a song, which is extremely affecting as well as serving to give a space for the viewer to collect themselves before the pivotal regret scene between Earl (Jason Robards) , the nurse (Philip Seymour Hoffman) and Frank (Tom Cruise) ….. All the songs are by Aimee Mann, and in fact the songs  are used to emotionally direct the film. The song ‘Deathly’ actually  inspired PT to create  the character of Claudia  (who you see heading this post). The music thread pushes the viewer through to another emotional level that we really have no control over  (music always has that power) and that helps to open us up to accept the highly charged drama we’re seeing in front of us. PT uses the music as a foundation for our emotions.

The film builds and builds up until a pivotal seen with ‘Earl’s ‘/Jason Robards regret speech which is phenominal and which culminates in an extraordinary performance by Tom Cruise.  There are lots of issues around  Tom Cruise but in this moment he’s fantastic: capturing that moment where anger, frustration and love merge into something excrutiating.

The Regret Scene…Combination of brilliant writing and perfectly pitched performance:

which leads to where the film becomes pure emotion through another extraordinary performance:

I would argue that it is at this moment that the film reveals itself for what it is. It is emotion. This film I think is an expression of emotion masquerading as a film, and the catharsis comes not from the plotlines unravelling (although this is the vehicle) but through the releasing of emotion in that scene. This ‘spewing’ is underpinned by fantastic dialogue which engages with a profound life issue that touches us all (oh, what I could have been, oh, the regret) and when this is combined by strong performances we cannot fail to become part of the ‘ ‘immense sensibility’  which is the character’s sensibilities, connecting to the film’s sensibilities, connecting to ours –a beautiful spooling spider web,

Magnolia is not an easy ride. It shows the consequences of making a choice, choosing truth, and choosing hurt because that is the right thing to do. ‘If it’s worth being hurt, it’s worth bringing pain in’. A phrase that is put into nearly every characters mouth- a line connector- and a matter of choice far removed from dreams and escapism.

Magnolia completely embodies the 4 principles of capturing emotion that John August outlines. PT controls the pace of the film through fast-cuts and slow lingering intense close ups. The intensity of the piece is controlled by great actors and solid performances;  the writing takes us from snippets of dialogue, mumbled , to complex and challenging encounters of words. Everything is perfectly thought through so that we can become emotion; get caught  and suspend our disbelief  (because in life extraordinary things do happen). It gives us a rare moment and space to find ourselves up-lifted by something so unsettling beautiful, like the curve of Claudia’s mouth as she finally smiles…..like the realisation that we’re not part of a dream but part of an extended emotional reality.



If you haven’t seen this film I highly recommend it, and do  let me know what you think.


As always thank you for your interest and your feedback is always welcome!



  • Your second helping of  Flash Fortnightly with Laura Besley  is coming up this  Wednesday (21st).  Great New flash Fiction
  • This Friday (23rd) we have a second blog coming from ArtiPeeps’ resident English Art Correspondent JAMES MACKENZIE on his connection with KOBO online Art Gallery. So watch out for that one!
  • And starting from next Friday (30th) we have CLASSIC FRIDAY with NISHA MOODLEY introducing and reviewing classic fiction….

There’s lots afoot!

Film Review: ‘HeadHunters’

1 Jun

Headhunters is a Norwegian film from the same producers as The Girl with the Dragon Tattoo Trilogy- it has all of the grittyness and the pace of the trilogy to boot. The film focuses on a headhunter who is also an art thief as a sideline (in order to support is wife’s expensive life style). He undertakes an important heist of a painting from a business man and it all goes badly wrong and involves, amongst other things having to immerse himself in waste matter (breathing only through a toilet roll) skewering a dog with a fork lift truck and shaving his curly locks and going bald in order to avade the police.

The film is underpinned by black humour. You end up laughing at scenes and then querying whether you should be or not.

I enjoyed it-it was a good exciting thriller and I did appreciate the  black humour enormously. However, overall I felt there was no real depth to the piece, and I really wanted depth too (but maybe that isn’t the role of a thriller?); or perhaps, it’s just a prejudice of mine. I needed another layer of meaning to make it stick in my memory. That being said, the time whizzed by, I was caught up in the action and will they get/him wont they get him hoo-ha. But it wont stick in my mind like that fantastic film we saw: The Woman in the 5th! (NOT!)

Also see:


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