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The Weekly Regime starts here! Despair all ye who enter.
We've decided to do the Top Ten roundup every other week, alternating with a more free form discussion of perhaps less commercially successful flicks or stuff we just plain missed.
This week we talk about Planet Terror, Control, The Counterfeiters, Death At A Funeral, Into The Wild and 30 Days of Night. Apologies for some iffy sound quality from Scott's end for the first few minutes, but it clears up later on.
Planet Terror - much as we appreciate the effort of emulating an eighties Troma film, but we weren't all that fond of them in the first place. Marginally more fun than Death Proof.
Control - The life and times of Ian Curtis, Joy Division frontman. A beautiful film, although Curtis' problems and eventual suicide aren't all that compelling. Worth seeing for the cinematography alone.
The Counterfeiters - Concentration camp prisoners are coerced into faking Pounds and Dollars to play silly beggars with the Allies economies and fund their war efforts. While those on this project are treated better than those around them, many still wish to sabotage the project. Excellent performances and a riveting story makes for a solid recommendation from us.
Death At A Funeral - Supremely dismal, utterly non-funny 'comedy', based around a funeral that descends into screwball farce. Laughter fails to ensue. Seriously, it's the single worst supposed comedy we've clapped our eyes on, and we've seen Sweet Home Alabama.
Into The Wild - Sean Penn's effort telling of a young man who casts off the not massively oppressive wishes of his parents, give away all of his cash and go walkabouts with the eventual aim of getting to Alaska. A pretty film, but the more we learn about the lead character the more irritating he becomes. Massive overlong, and massively overrated.
30 Days of Night - Perhaps the best horror film we've seen this decade, as Josh Harnett and other natives of an isolated Alaskan town find themselves under siege from vampires. Oh Noes! A tense, atmospheric nightmare that's often genuinely unsettling and doesn't rely on gore to make its points, although it does deliver on that point as well.
More next week! Crumbs, chief.