Ed Wood (1994)

Posted on December 17, 2015 by badblokebob

Before he descended into self-parody, Tim Burton made movies like this: a biopic of the eponymous ’50s filmmaker, renowned for his so-bad-they’re-good productions. Burton still contributes his trademark dark quirkiness, but it conjures a subject-appropriate tone rather than aimless Burtonesqueness.

It’s the same with Johnny Depp’s lead performance: affected and childlike, as usual, but here to depict a naïve, deluded, optimistic oddball human-being, rather than a self-consciously outrageous fantasy figure.

The result is a true story whose themes and moods are enhanced by stylised moviemaking — much more interesting than either the genre’s regular staid realism or Burton’s later empty theatrics.

This drabble review is part of the 100 Films Advent Calendar 2015. Read more here.

Returning to Jedi (2007)

Posted on December 16, 2015 by badblokebob

2015 #91
Jamie Benning | 148 mins | streaming | 16:9 | UK / English

Returning to Jedi completes fan/editor Jamie Benning’s trilogy of documentaries about the original Star Wars trilogy with a look at the making of… well, obviously. In case you’ve forgotten, Benning’s “filmumentaries” are most succinctly summarised by the documentary’s own introduction:

Returning to Jedi is an unofficial commentary. It contains video, audio and information from over one hundred sources taking you deep into the making of Return of the Jedi.

I’m not entirely sure why, but it felt to me that this might be the best of all Benning’s Star Wars filmumentaries (he’s also completed ones for Jaws and Raiders of the Lost Ark). It’s not that anything’s drastically different (the format works), it’s just a certain something that made it the most engrossing. Perhaps there was more material to work with — the result is something like 20 minutes longer than Jedi itself, and a good ten minutes longer than the other Star Wars filmumentaries. Doesn’t sound so much when put like that, so maybe I’m making a spurious correlation.

There’s certainly tonnes of behind-the-scenes footage in this one, more so than the other two. Much of it concentrates on the creation of the special effects, as usual, with particular attention paid to Jabba, the Rancor, and the speederbike chase. As all are noteworthy achievements in effects work, they merit the focus. Audio snippets from various interviews down the years provide some more varied detail. There’s a fair bit of information on variations to the story that were considered and rejected, though it does make it sound like Lawrence Kasdan was desperate to kill someone off: he kept suggesting the likes of Han, Lando, and even Luke should make the ultimate sacrifice, while Lucas maintained no one should die. Kasdan wasn’t alone — Harrison Ford also thought Solo should die, and Mark Hamill expected more darkness for Luke — but I guess they weren’t to be heard by an increasingly autocratic Lucas (reports of him essentially directing Jedi for Richard Marquand, or of his clash with the Directors’ Guild that prevented Steven Spielberg from directing the film, go unmentioned here).

Highlights include: a look at the set for Jabba’s sail barge and the Sarlacc pit, an enormous raised construction in the Arizona desert that looks incredible; the fact that they consulted a child psychologist, who told them under 12s would think Vader being Luke’s father was a lie unless it was unequivocally stated, hence the scene where Yoda does just that; and a selection of interesting deleted scenes. The wisest deletion was an early scene of Luke building his new saber and hiding it in R2-D2 — how much would that undermine the reveal that Luke had a plan all along? — though also of note are a sandstorm before they leave Tatooine (deleted for pace) and a full-on shoot-out as Han and co enter the bunker on Endor.

Whether Returning to Jedi is the best of Benning’s work or not is neither here nor there, really. Although their length and the fact they sometimes focus on minutiae probably rules them out for the casual observer, who might prefer a shorter making-of overview if they’re even interested, his trilogy of Star Wars filmumentaries are consistently fascinating for fans.

Returning to Jedi can be watched on Vimeo here.

Star Wars: The Force Awakens is released in the UK at midnight tonight, and in the US on Friday. It will be reviewed at a future date. (Possibly Christmas Day. We’ll see.)

This review is part of the 100 Films Advent Calendar 2015. Read more here.

Building Empire (2006)

Posted on December 15, 2015 by badblokebob

2015 #71
Jamie Benning | 137 mins | streaming | 16:9 | UK / English

The first of Jamie Benning’s “filmumentaries” looks at the making of sometime Best Film Ever, and widely-accepted Best Star Wars Ever, The Empire Strikes Back (as it used to just be known). To quote the documentary’s own intro:

Building Empire is an unofficial commentary to The Empire Strikes Back. It contains video clips, audio from cast and crew, alternate angles, reconstructed scenes, text facts and insights into the development and creation of the film.

It begins with director Irvin Kershner explaining how he came to be involved, though my main observation was how much he sounds like Yoda. Maybe that’s just me…

From there, there’s a focus on the special effects and how they were achieved. There’s a lot of detail about the myriad effects on Hoth, the creation of the asteroid field, and the puppetry of Yoda, as well as boundless trivia, like detailing the set-extension matte paintings. Other major themes include changes from early drafts and in deleted material; audio differences between the many different versions (not only the various release prints and Special Editions, but audiobooks and the like); commentary from actors on the evolution of their characters; plus detail on the actual filming, including the terrible weather on location in Norway (they were able to shoot some of Hoth’s desolate ice fields within feet of their hotel) and the rigours of the Luke/Vader lightsaber duel.

My personal highlight of the documentary comes in Cloud City, at the point Lando’s betrayal is revealed. Benning inserts a “deconstruction of an action scene” (Han shooting at Vader; Vader Force-stealing Han’s gun), using uncut footage and B-roll to quickly glimpse how such things are achieved — or were, before “with CGI” was the answer for everything. Here, Benning’s work transcends merely placing rare interviews or behind-the-scenes footage at the appropriate juncture, instead using that material to create something genuinely new and insightful.

Assuming you’re interested in snippets of minutiae and amusing trivia (if not, these filmumentaries definitely aren’t for you), the downsides are few. It’s a shame that, just occasionally, there are stretches with no additional material (though never for long) when at other times the additions race by in a blink-and-you’ll-miss-it flash. There are also quite a few instances labelled “restored music”, but there’s no comment from John Williams, Kershner, or anyone else on why so much was removed and/or changed.

Niggles aside, I felt like I enjoyed Building Empire even more than its later predecessor (how very Lucas). I’m not saying it’s fundamentally better — just as with Star Wars Begins, for those who love making-of details and trivia, Building Empire is a delightful grab bag of such bits and pieces.

Building Empire can be watched on Vimeo here.

Star Wars: The Force Awakens is released in the UK this Thursday, and in the US on Friday.

This review is part of the 100 Films Advent Calendar 2015. Read more here.

Star Wars Begins (2011)

Posted on December 14, 2015 by badblokebob

A Filmumentary

2015 #63
Jamie Benning | 139 mins | streaming (HD) | 16:9 | UK / English

This year, I finally got round to watching the Star Wars Blu-rays I bought back whenever they came out, so I thought what better time to also finally watch Jamie Benning’s trilogy of “filmumentaries”. What’s a filmumentary, you ask? Well, here’s the opening text of the film itself:

Star Wars Begins is an unofficial commentary on Star Wars. It contains video clips, audio from the cast and crew, alternate angles, bloopers, text facts and insights into the development and creation of the film.

For those familiar with (Warner) Blu-rays, it’s essentially a fan-made Maximum Movie Mode, though drawing on a wealth of archive resources rather than newly-recorded material. In practice, it plays less like a cohesive “making of” and more like a trivia track on steroids. Only rarely do we learn something fundamental; mostly it’s interesting titbits. But then, this is a documentary made by a fan for fans, and fans love minutiae. Consequently, it sometimes comes from a place of deep fan-ish-ness. For example, it refers to and uses clips from the “Lost Cut”, but never bothers to define or explain what that is (or if it did, I blinked and missed it). Conversely, it occasionally transcends “Star Wars trivia” to unveil general “moviemaking trivia” — how different on-set audio sounds to the final mix; demonstrations of how editing can affect the flow and pace of a scene; and so on.

Perhaps the highlight are some early deleted scenes. Featuring Luke, Biggs and their friends on Tatooine, and placed to intercut with the droids’ progress and Vader’s search for them (i.e. before we even meet Luke in the finished film), the sequences were removed en masse due to execs’ fears they made the movie feel like “American Graffiti in space”. And for once, an exec was right! They give the movie a completely different tone; more grounded and less mythic. Thank goodness they were done away with, to be honest.

Another personal highlight was a snippet from a 1978 interview with Harrison Ford, in which the Han Solo actor says Star Wars is not science fiction, it’s science fantasy. He’s bang on the money — it’s a distinction I subscribe to wholeheartedly. I’d always thought it was a more recent argument, but there he is expressing it right after the film came out, not as some decades-later revisionism.

This is actually the third of Benning’s filmumentaries — he started with Empire and followed it with Jedi, only then going back to where it all began. Maybe there’s a reason for that. Maybe a greater behind-the-scenes scrutiny on the sequels gave him more to work with, producing more in-depth making-ofs, and when he went back to the first he just had to work with what he could find. Or maybe the disjointed trivia grab bag is his style, and here it reaches its apogee. I guess I’ll find out soon enough.

Star Wars Begins may not be the first port of call for anyone looking for an overview of the making of Star Wars, but it’s a goldmine of behind-the-scenes titbits and occasional candid revelations for anyone with a strong enough interest.

Star Wars Begins can be watched on Vimeo here.

Star Wars: The Force Awakens is released in the UK this Thursday, and in the US on Friday.

This review is part of the 100 Films Advent Calendar 2015. Read more here.

Coherence (2013) + Circle (2015)

Posted on December 13, 2015 by badblokebob

Circle
2015 #157
Aaron Hann & Mario Miscione | 86 mins | streaming (HD) | 2.35:1 | USA / English

This isn’t something I normally do, but certain factors made me want to review these two films together. They’re both low-budget single-location sci-fi thrillers, but they’re also both more about humanity than ideas — they use sci-fi high concepts as a way to expose, examine, and comment on human behaviour. That I happened to watch them back to back only highlighted the similarities.

They’re also both currently available on Netflix, and both of their titles begin with the letter “C”. I mean, it was meant to be.

Despite those similarities, they’re tonally different, but quite subtly so. Part of the point of this double review is to try to tease out and explain what I think those differences are, because it was interesting to me that I felt the pair were so similar and yet so different. We’ll see how that goes.

To introduce them in age order (as well as the order I watched), Coherence begins in a very normal situation: a dinner party for a group of thirtysomething friends, who have a smattering of interpersonal issues. Then odd things begin to happen: mobile phones lose signal and shatter for no reason; there’s a power cut, but there are lights on at a house down the street… Could it be related to the meteor passing overhead? The way the story develops was part improvised: the cast met in the same location for five days, were given story and character prompts by the filmmakers, and went from there.

Circle, on the other hand, must’ve been very tightly constructed. A group of fifty people wake up stood in two circles in a black space, with an array of arrows on the floor in front of them. Every couple of minutes, a klaxon blares out a countdown and one of them is killed. They soon realise they have some control over this, so together they try to work out what’s going on and how to escape, whilst constantly having to select who’s next. Broadly speaking, this is a high-concept thriller in the vein of Cube or Exam.

It’s in this respect that the two films most differ. Both take place in very obviously sci-fi situations, but only one is really about its high concept — that would be Circle. The way the characters interact and the decisions they make are rooted in human nature, true, and the film keeps you engrossed by exposing their prejudices and how that affects their decision making. But, in many respects, it’s operating with familiar stereotypes: the young people who think the old should die first because they’ve had their life; the rich businessman who has no time for immigrants; white-black racial tensions; and so on. As is almost always the case, stereotypes are stereotypes for a reason — if this were real, I imagine those kind of points would still be major factors — and writer-directors Aaron Hann and Mario Miscione manage to create tension and suspense nonetheless. This is more of a “what would I do?” kind of film, though; a high-concept thriller, rather than a true character exposé.

Now, Coherence undeniably has some similarities in this respect: the friends’ true characters are only revealed thanks to the sci-fi situation they find themselves in. It’s a more gentle kind of sci-fi, though; more domestic. It’s about how these particular people react to the strange situation, rather than being about the situation itself, a difference emphasised by them being slightly less archetypal than the characters in Circle. There are some scientific-y explanations for what’s going on, but writer-director James Ward Byrkit has said these were meant as a kind of inside joke — they’re a bit technobabbly and they don’t make complete sense. I have to say, I’m not sure I wholly buy this excuse, because I think you could look at Coherence as an exploration of a sci-fi-y idea, if that’s the way you were inclined.

However, it’s clear Byrkit’s focus lay elsewhere. Thematically, it’s about our fear of others, but, as Byrkit explains in this interview (which is very much worth a read for anyone interested in the film), “we’re projecting our fears onto other people, but the reason we’re afraid in life is because we’re projecting our own fears. Whether it’s fear of another country or another race, we’re projecting our worst fears about ourselves.” One character has this realisation quite succinctly in a “what if we’re the bad ones?” scene. But again, there are thematic similarities to Circle: projecting our pre-existing opinions and prejudices on to other people, and using that as a basis for decision-making, rather than assessing the actual evidence in front of us.

The kind of interest the two films offer to the audience are quite different. Although the situation in Circle is mysterious, the mystery isn’t the point — it’s an excuse to kick off the situation, as it were, and the point of the film is the ‘game’ and how it unfurls. In that respect it’s more of a “watch once” kind of film; a thriller that will have you engrossed and on the edge of your seat (provided you’re the kind of viewer who goes along with the concept, rather than thinking “well that would never actually happen”), but perhaps has little to offer beyond that.

Coherence, on the other hand, feels more like a deeply considered film. The mystery of the situation is ever-present, asking to be kept track of and deciphered along with the characters — however much Byrkit may insist that’s not the point! Then those characters, the way they behave and evolve through the situation, are also more richly drawn. With fewer to illuminate they’re less quickly-sketched than Circle’s mass of ‘contestants’, and so feel more like rounded humans. By the end, they’re doing things that might initially seem out of character, but actually aren’t at all. (If you can take it, dear reader, there’s a crazy-detailed explanation of the ending (one reading of it, anyway) to be found here.)

Although the similarities between those two works are clear to see, I’m not sure I’ve illuminated their differences as much as I’d’ve liked. Nonetheless, I thought they were both engrossing sci-fi thrillers, driven more by people than by concepts (albeit people dealing with those concepts!) In terms of rating them, Circle is a solid-four single-location thriller, while Coherence is a sci-fi-mystery character-drama that butts right up against the five-star bracket.

This review is part of the 100 Films Advent Calendar 2015. Read more here.

A Clockwork Orange (1971)

Posted on December 12, 2015 by badblokebob

Yet more dystopian sci-fi! Who doesn’t love some dystopian sci-fi? Here we’re in the ’70s, though (makes a change from the ’80s), with writer-director Stanley Kubrick adapting Anthony Burgess’ novel into a film so controversially violent the director himself eventually banned it from release in the UK for decades. Almost 45 years on, it’s testament to the film’s power that it is still in parts shocking.

Set in a glum future Britain, the film follows eloquent juvenile delinquent Alex (Malcolm McDowell), whose violent acts eventually catch up with him when he’s imprisoned. Being the cocky little so-and-so that he is, he manages to get himself on a programme for rehabilitation and release… though that may not be all it’s cracked up to be.

The first half-hour or so of A Clockwork Orange is brilliant. I think there’s a reason this is the part that the majority of clips used when discussing the movie are lifted from, and it’s not just to do with spoilers: here is where the best imagery, and the most potent examinations of violence and the male group psyche, are to be found. It’s shocking and uncomfortable at times, funny and almost attractive at others (hence the perceived need for the ‘ban’), but the cumulative effect is precise and striking.

However, everything from Alex’s admission to prison onwards could do with tightening, in my view. It may be sacrilege to say this, but I think the film would benefit from having a good 15 to 20 minutes chopped out. All the prison bureaucracy stuff is funny, but is it relevant? “Relevance” isn’t the only deciding factor about what goes into a film, of course, but I feel like we’ve seen plenty of red-tape spoofing elsewhere. Maybe that’s just an unfortunate byproduct of the film’s age. Other parts just go on a bit too long for my taste — there’s barely a sequence after Alex’s arrest that I didn’t feel would benefit from getting a wriggle on. I don’t think this is me bringing a youth-of-today “everything must be fast cut” perspective to the film, I just found it needlessly languorous at times. Maybe I was missing a point.

McDowell’s performance is fantastic throughout. I’ve seen Alex referred to as a villain (not often, but by at least one person), which strikes me (and, I’m sure, many others) as remarkably reductionist and point-missing. He’s not a hero, certainly — a mistake I think some critics of the film made, in part because the use of voiceover invites us to identify with him, and I guess anyone other than the hero having a voiceover narration was fairly new 45 years ago (feel free to correct me on that point). But he’s not a villain, especially when he comes up against the terrifying forces of the establishment. McDowell’s performance, and Kubrick/Burgess’ storytelling, is thankfully more complex than that.

That continues right through to the ending, which is quite different in the novel and film — though I say this as someone who’s not read the book, so apologies if this is off base. Reportedly Burgess ends with Alex moving away from violence of his own free will, primarily because he’s grown up and grown out of it; the point basically being that all young men go through a violent phase (even if Alex’s is extreme) and then grow out of it. Kubrick ends on a much more ambiguous note… so ambiguous, I’m not really sure what it’s saying… or even what all the ambiguities actually are…

A Clockwork Orange remains a striking film, and not just because of the ultra-violence. It’s at its best early on, with the remainder not always working for me, but it’s a fascinating experience nonetheless.

A Clockwork Orange was viewed as part of my What Do You Mean You Haven’t Seen…? 2015 project, which you can read more about here.

This review is part of the 100 Films Advent Calendar 2015. Read more here.

Blue Ruin (2013)

Posted on December 12, 2015 by badblokebob

This neo-noir revenge drama with a twist has received such acclaim from critics and bloggers alike that it’s practically set up to fail.

Its guiding principle is neat: a semi-comedic version of what would actually happen if an Ordinary Joe tried to enact violent vengeance on murderous criminals. So the action is less Taken and more that fight from Bridget Jones, but with guns and a real-world aesthetic.

Frankly, I admired rather than enjoyed it. It’s a one-hit premise that doesn’t scratch the same itch as a ‘proper’ revenge actioner, nor fulfil the more rewarding aspects of a ‘proper’ drama.

This drabble review is part of the 100 Films Advent Calendar 2015. Read more here.

Shaun the Sheep Movie (2015)

Posted on December 11, 2015 by badblokebob

Shaun the Sheep started life in the 1995 Wallace & Gromit short A Close Shave. Eventually granted his own TV spin-off aimed at little kids, it’s become a global hit thanks to the decision to make it a silent comedy — no need to pay for pesky dubbing into other languages, while its sheer quality (it is Aardman, after all) helps it to transcend national boundaries. This year, Shaun and friends made the leap to the big screen, in what may be the year’s best animated movie.

The film begins with Shaun and the other ovine occupants of Mossy Bottom Farm getting fed up with the daily grind of being sheep, so they concoct a plan to distract sheepdog Bitzer so they can lure the Farmer into a slumber and take over the farmhouse for a well-earned break. Naturally things go awry, and the Farmer ends up whisked off to the Big City. With no one to feed or care for them, Shaun, Bitzer, and the rest hop on a bus and set off to retrieve their friend.

Expanding a series of five-minute-ish shorts to feature length is always a risky proposal, but fortunately we’re in the more than capable hands of Aardman Animation here, and they’ve come up with a plot big enough to fill a feature running time. In a style one might describe as ‘classical’, you can break the film down into individual segments and sequences, each one a crafted vignette of silent slapstick. That doesn’t make the story episodic, but rather serves to keep the humour focused — no gags are overused or outstay their welcome. Indeed, some fly so fast that they’re literally blink-and-you’ll-miss it. I suspect this means Shaun would reward repeat viewings, particularly to spot all the little background details.

It’s also in the details that Shaun proves itself to be a true family film. Like the TV show, it’s sweetly innocent and simple enough for little’uns (that US PG is thanks to a couple of oh-so-rude fart jokes), but there’s a sophistication to the way that simplicity is handled that adults can enjoy. There are also references and in-jokes for the grown-ups; not hidden dirty jokes that’ll put you in the awkward position of having to explain to the kids why you were laughing, but neat puns (note the towns that the Big City is twinned with) and references to other films (like Taxi Driver. Yes, really.)

Naturally, technical aspects are top-notch. Aardman are the kings of claymation, consistently delivering work in which the animation is polished, clever, and surprising, but which also retains the sense that it was achieved by hand (unlike some other films — Corpse Bride, say — which are so slick you begin to wonder if they’re actually CGI). I always marvel at stop-motion anyway — the persistence to animate something a frame at a time, taking days to create one shot and months to create one scene, is a dedication and skill I can barely fathom — but Aardman’s productions routinely push beyond your expectations of the form.

Aardman’s stop-motion silent comedy will certainly lose to Inside Out across the board come awards season (apart from at the BAFTAs, perhaps), but it’s the more inventive, amusing, innovative, accomplished, and impressive achievement. Delightful.

Shaun the Sheep’s Christmas special, The Farmer’s Llamas, is on BBC One on Boxing Day at 6:10pm.

This review is part of the 100 Films Advent Calendar 2015. Read more here.

The Dark Crystal (1982)

Posted on December 11, 2015 by badblokebob

High-fantasy adventure about some elves trying to stop a crystal from destroying their planet.

It’s by Jim Henson, so there’s fantastic puppetry and strong design… but the story and the manner of its telling — the dialogue, structure, and characters — alternate between boring, annoying, and laughable. The hero is irritating, the dull villains are given too much focus, the plot borders on nonsensical, it takes forever for barely anything to happen, and the sequence where our heroes accidentally share their memories has to be the cheesiest thing since fondue.

Some people properly love this, but I thought it was just awful.

This drabble review is part of the 100 Films Advent Calendar 2015. Read more here.

The Babadook (2014)

Posted on December 10, 2015 by badblokebob

Essie Davis is best known for playing the sassy title role in popular Australian Christie-esque TV series Miss Fisher’s Murder Mysteries (for now — she’s in Game of Thrones next year), but here goes completely against type as single mother Amelia, who has to battle not only the stress of her awkward child, but also a strange storybook that may contain some kind of monster… but that would be silly… wouldn’t it?

Perhaps it’s best to not say too much about what’s going on with all that, because the film does a fantastic job blurring the lines between reality and dreams, facts and imaginings, whether it’s all happening or is all in Amelia’s head. For the majority of the film you’ll wonder: is this real? Is she being pranked? By who? A stalker? Her kid? Is she going insane and imagining it all? Sure, it’s a horror movie, so you’re thinking it’s real, but that’s what twists are for — the scares may be real, doesn’t mean the monster is.

And the scares are very real indeed. Not simplistic jump scares, but a festering tension that occasionally bursts forth in moments of specific terror. That doesn’t work for… a certain kind of viewer (to put it politely), but, for me, it makes the film far more genuinely scary, and memorably so, than being made to jump out of my seat a couple of times. Some have also criticised The Babadook for not being 100% original. Well, what is after a century of moviemaking and millennia of storytelling? What it does do is rearrange the familiar in new and terrifying ways, and tap into seams of fear that are harder to access and consequently too rarely touched by horror films. In that regard, the film it most reminded me of was The Shining — a horror film for people who think about what they’re watching, rather than just waiting for something to be thrown at the screen to make them jump. The slow burn tension will bore those content with the latter, who I suspect don’t tend to think a great deal (for one thing, they’d spot most of the jumps coming if they did).

Underpinning this is an incredible performance by Essie Davis. If this were merely a drama about a single mother coping with grief, rather than a genre movie, I’m sure she’d’ve been being rewarded all over the place. Again, I guess this turns off the ‘gorehound’ cadre of horror fans, but it’s the combined strength of the writing (by director Jennifer Kent) and Davis’ performance that mean the entire film is interpretable as a drama about grief and mental illness, rather than about an attacking monster or demonic possession or whatever else it might seem is going on (trying to avoid spoiling it again there!) For more on that, see this interpretation, for instance (bearing in mind it’s obviously spoilersome).

Although it’s Davis’ film, Noah Wiseman gives an accomplished performance as her kid. Well, maybe he’s too young to call it “accomplished”, I don’t know, but it must’ve been a difficult role to play — it calls for him to be a sweet little boy one minute, and a nightmare demon-child (in the real-world rather than horror-movie sense!) the next. He starts off immensely irritating — you can see why no one in the film likes him! — but he does grow on you. The next best performance is, of course, by their very cute little dog. (Do not watch this movie just because of the dog. Seriously.)

There is little in The Babadook that will make you jump, and even less that will make your stomach turn in disgust, but that’s absolutely fine. What it will do is chill your blood, make your hair stand on end, make you worry about every little creak or thump you hear elsewhere in the house after dark, and make you want to sleep with the lights on. Not just the bedroom lights, all the lights. Because once you’ve seen it, you can’t get rid of the Babadook.

This review is part of the 100 Films Advent Calendar 2015. Read more here.

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Category Archives: 2015

Ed Wood (1994)

Returning to Jedi (2007)

Star Wars Begins (2011)

Coherence (2013) + Circle (2015)

A Clockwork Orange (1971)

Blue Ruin (2013)

Shaun the Sheep Movie (2015)

The Dark Crystal (1982)

The Babadook (2014)