A GOLDEN AGE OF CINEMA?

"I wish there was a way to know you're in the good old days before you've actually left them" -Andy Bernard

Quentin Tarantino certainly made his mark on cinema when he made his debut in the 1990s with Reservoir Dogs (a remake of City on Fire). Since then, he's made movies heavily influenced by the likes of Lady Snowblood, Faster, Pussycat! Kill! Kill! The Dirty Dozen and The Thing. He has recently gone on record as saying "The current era of filmmaking, along with the 1950s and 1980s, is one of the worst in Hollywood history"

I would say that I don't agree with QT. This year has been a pretty good year for films released in the UK, going by those that I have seen. We’ve seen new offerings from some great directors operating in the mainstream. In fact, this could be a golden age of directors, on par with the 1970s

Paul Thomas Anderson, Kathryn Bigelow, Yorgos Lanthimos, Ryan Coogler, Danny Boyle, Spike Lee, Alex Garland, David Cronenberg, Steven Soderbergh (x2), Mike Leigh, Benny Safdie, Bong Joon-ho and Robert Eggers have all produced interesting, compelling and thoughtful movies 

With more to come from the mercurial Lynne Ramsay, the talented Park Chan-wook and the singular Guillermo del Toro the rest of 2025 looks like having rich pickings.

Foremost in the 2025 cinematic output are three films: One Battle After Another, A House of Dynamite and Bugonia. Each film different from the other, each film with compelling female performances and each film with the signature of their director firmly imprinting.

Many of this years movies have featured inventive stories and a resurgence of a non formulaic approach. That established directors are being given a bit more artistic freedom is also encouraging and maybe the streaming platforms (that, should be the enemy) that are broadcasting their films soon after release are inadvertanty allowing that freedom from the law of the box office.

What we are seeing, I think, is an increasing interest in experiencing movies in their natural habitat, a growth in quality directors showing individuality to counter the blockbuster superhero trend. There is also a rise in independent films getting exposure and the popularity of foreign language films (and TV). As cynical as I am about a great deal of popular culture I do believe that this year has, so far, been a positive year for cinema and,the year ahead looks promising. Who knows, one day we may look back on this time as "the good old days"

LIGHTS! CANNIBALS! ACTION!

Cannibalism, a bit of a taboo isn't it? Certainly in cinematic terms the controversial subject matter peaked in the era of the so called Video Nasty, with such titles as Cannibal Holocaust, Cannibal Ferox, the Man From Deep River, Slave Of The Cannibal Gods and Cannibal Apocalypse. These films were low on budget but actually quite high on ideas.

Then there were the films made about the Uruguayan Rugby Club plane crash in the Andes of 1972 that viewed the survivors resorting to cannibalism in a sympathetic light. 

There have also been interesting subversions of the form with Ravenous, Eating Raoul, Parents and Delicatessen as interesting entries, but generally outrage prevailed in regards to cannibal cinema but in the last few years there has been an absorption of cannibalism into other genres. Some fine examples are;

Cannibal Dystopia-The Bad Batch a bold look at a barbaric future

Cannibal Western-Bone Tomahawk a ferocious tale of the old west

Cannibal Coming Of Age- Raw a superb slow burn descent 

Cannibal Pygmalion-The Woman a study of what our true natures are

Cannibal Neo Noir-The Neon Demon a vivid view of the dark side of LA

Cannibal Transgressive-Trouble Every Day obsession viewed through a violent prism

Cannibal Musical-Sweeney Todd The Demon Barber Ye Olde flesh eating sing along

What is worth noting is that a great deal of these modern Cannibal films are directed by women with female protagonists  which is interesting as it gives a new voice to a genre previously dominated by male directors and female victims. In the right hands metaphors abound with  Cannibals, they can be seen as modern day consumers, addicts  or typifying the cult of selfishness or simply as the ultimate in the 'Me' generation. There are also nods to the old school with The Green Inferno being the best known of the updated video nasty Cannibal oeuvre that can be found in abundance on streaming services. 

I guess you could say that Cannibals, much like Zombies who are now mainstream, are here to stay.

THE APPLIANCE OF SCIENCE (FICTION)

 

A question was asked; what is the best Science Fiction film that isn't Star Wars or Star Trek related?

Where to begin with this. The question itself shows a leaning toward franchise cinema, which isn't to say that's a bad thing. I think that The original Star Trek TV series and The Next Generation were hugely enjoyable and tackled some really deep and interesting themes. As for Star Wars, Episodes IV,V and VI are great fun entertainment (as is the underrated Rogue One).

But for me the real meat of Science Fiction Cinema is it's ability to ask questions about what it is to be human, how we subvert science to our own ends and how we are prone, as a species to a God complex that can go awry. With that in mind here are my Top Twenty favourite Science Fiction films within that criteria. there are many films that I could have included, but I've tried to keep it a lean list that reflects what I think Science Fiction is, and of course that will be different for everyone. Let me know your choices in the comments

1. Blade Runner (1982) The human condition, identity and the effects of science on man as the creator all combined in a Neo Noir thriller. the Future (now the past) had never looked so perfectly realised.
2. Planet Of The Apes (1968) Iconic. there is something about this story that captures he essence of Science fiction as society changing. The Apes world is a masterpiece of design and it has possibly the greatest twist ending in all of cinema.
3. 2001: A Space Odyssey (1968) This really is a film that tackles all the big themes. It's a masterpiece of abstraction and the design ethic is phenomenal
4. Alien (1979) A peerless dark house horror set in space. All these years later it still has the ability to amaze and repel. 
5. Stalker (1979) A film of creative excellence. Very few films of any genre can match it's depth of purpose
6. The Thing (1982) Paranoia, fear and loathing in an intense isolated setting. The tension is palpable
7. The Fly (1986) Body Horror at it's finest and most accessible. There is genuine empathy for the transmutating scientist who meddles with nature
8. Frankenstein (1934) The Mad Scientist and the Monster. Still a benchmark for pathos, invention and the big questions on screen
9. The Terminator (1984) Stripped back time travel thriller that is as inventive as it is action packed. Schwarzenegger's killing machine is an iconic presence
10. Under The Skin (2013) An other-wordly creature stalking an other-wordly Glasgow in this mesmerising tale of  the ultimate outsider. Stunning
11. The Day The Earth Stood Still (1951) Christ like Michael Rennie visits us to tell us to get our act together. A paranoid morality play featuring one of the best movie robots.
12. Alphaville (1965) Dystopian detection delivered with panache
13. Invasion Of The Body Snatchers (1956) At the time a metaphor for the perceived threat of communism but ever since, a timely reminder of societies vulnerability
14. Forbidden Planet (1956) Quintessential fifties Sci Fi in vivid colour with an early electronic score. Marvellous
15. Starship Troopers (1997) Space satire on fascism with blistering set pieces and a nod and a wink
16. Metropolis (1927) The Original Science fiction film. Full of ideas and images that would last the test of time.Truly original
17. Primer (2004) A big idea on a low budget. This is a exemplary example of cut price intelligent film making
18. Akira (1998) The future never looked so mesmerising. Cyber punk started here
19. The War Of The Worlds (1953) Taking liberties with the source material this George Pal directed film is a perfectly balanced warning about our fragility
20. They Live (1988) This prescient film gives us a glimpse at what would be the biggest of all conspiracies, which you could say is actually happening

GOING TO THE PICTURES; IN PICTURES

Far better than it was expected to be. A kitchen sink style story of fame with the acting of the members of Slade a revelation

Going to the cinema as a kid often involved 'bunking in' to the local fleapit to see an X or an AA film. The Holloway Odeon, The Holloway ABC and cinema's that no longer exist on Essex Road and The Angel. At that time in cinema history there was the beginning of a great era in film, an era of Coppola and Scorsese, Spielberg and Allen and many more. My early cinema going experiences were characterised by a mixture of British movies, pop star vehicles, Kung Fu, War Movies and the controversial. Here's a visual representation of those early movie going experiences.

One of those films that everyone was talking about and certainly had a 'must see' appeal

 Making the case for the Mosquito as being WWII's most underrated airplane

The movie that created a wave of nostalgia; not least with TV's Happy days riding that wave

An overlooked Disney animation that is stylistically a cross between The Jungle Book and 101 Dalmations

Famous, or should I say infamous movie that was worth kudos if actually seen before Kubrick pulled the plug

The creation of the perfect anti hero for the times

Hammer for the young and groovy (featuring the legendary Caroline Munro)

So important as a film about contemporary Britain was Kes that it was shown in my School. So good was Kes that us School boys enjoyed every minute

My least favourite Bond Roger Moore debuted in this blaxploitation tinged adventure (yes Caroline Munro was also in this)

Gritty was the word for this very British revenge tale with Michael Caine on top form

One of many Sit-com movies of questionable quality that I went to see

A challenging movie for a young man, or for any age group but a memorable cinematic experience

We all went to see Tommy and it was probably the first musical that many saw on the big screen.

A film that captured the essence of Bruce Lee's charisma and the genre he created. It was to have been the English language hit that would take him beyond cult status

A tragic tale of success and excess which was a counterpoint to the earlier That'll be the day.

Has the picture started yet?

SCENE FROM MANHATTAN

This sums up me going to the cinema:

Alvy singer and Annie Hall meet

outside a cinema in Manhattan.

They move into the ticket line, 

still talking.  A billboard next to 

them reads "INGMAR BERGMAN'S 'FACE 

TO FACE’ LIV ULLMAN ")

ALVY

(To the ticket clerk)

H'm, has the picture started yet?

TICKET CLERK

It started two minutes ago.

ALVY

(Hitting his hand on the counter)

That's it!  Forget it!  I-I can't go in.

ANNIE

Two minutes, Alvy.

ALVY

(Overlapping Annie)

No, I'm sorry, I can't do it.  We-we've

blown it already. I-you know, uh, I-I

can't go in in the middle.

ANNIE

In the middle?

(Alvy nods his head yes and let's

out an exasperated sigh)

We'll only miss the titles.  They're in

Swedish.

ALVY

You wanna get coffee for two hours or

something?  We'll go next-

ANNIE

Two hours?  No, u-uh, I'm going in. 

I'm going in.

She moves past the ticket clerk.

ALVY

(Waving to Annie)

Go ahead.  Good-bye.

Annie moves back to Alvy and takes his arm.

ANNIE

Look, while we're talking we could be

inside, you know that?

ALVY

(Watching people with tickets move

past them)

Hey, can we not stand here and argue in

front of everybody, 'cause I get embarrassed.

ANNIE

Alright.  All right, all right, so whatta

you wanna do?

ALVY

I don't know now.  You-you wanna go to

another movie?

(Annie nods her head and shrugs

her shoulders disgustedly as Alvy,

gesturing with his band, looks at

her)

So let's go see The Sorrow and the Pity.

ANNIE

Oh, come on, we've seen it.  I'm not in

the mood to see a four-hour documentary

on Nazis.

ALVY

Well, I'm sorry, I-I can't ... I-I-I've

gotta see a picture exactly from the start

to the finish, 'cause-'cause I'm anal.

ANNIE

(Laughing now)

H'h, that's a polite word for what you are.

©Woody Allen & Marshall Brickman 1977