Ashley Thorpe’s Borley Rectory (2017) is an eccentric, hand-crafted “animated documentary” about the notorious “most haunted house in England”, using a small cast shot against green screen who are embedded in richly layered images reconstructed from old photographs. Calling up memories of silent film and spirit photography, Borley Rectory is a uniquely immersive spectral experience.
Jörg Buttgereit’s transgressive films are notorious for their gore and disturbing subject matter – murder, suicide, necrophilia – yet for all their graphic exploitation imagery, they display genuine artistry and a serious perspective on life, death and the emotional and psychological ties which bind being and non-being.
In the past few years Kino Lorber has become one of the most prolific disk producers with a remarkably varied catalogue representing every imaginable genre. Here, I look at a half dozen KL releases by a range of interesting directors – Robert Fuest, Ken Russell, Alain Robak, Harold Becker, Don Siegel and Sam Peckinpah.
With Hammer Vol. 4: Faces of Fear, Indicator continue to prove themselves one of the finest companies producing exceptional Blu-ray editions of a wide variety of genres. This new set includes three of the studio’s finest features, each very different from the others, plus an interesting misfire. As always, there’s an almost overwhelming quantity of supplementary material to provide background and critical assessments for each film.
Revisiting movies from the early 1970s, I recently watched Howard W. Koch’s rather ugly cop feature Badge 373 (1973), with Robert Duvall as a rule-breaking, racist misogynist NYC detective; Willard (1971), Daniel Mann’s adaptation of Stephen Gilbert’s dark horror novel Ratman’s Notebooks; and two features by George Roy Hill, his faithful adaptation of Kurt Vonnegut Jr’s Slaughterhouse-Five (1972) and his most personal, and best, film The Great Waldo Pepper (1975).
A lot of my recent viewing has been catching up on a range of movies from the ’60s through the ’80s, some of which I saw when they were first released, while others weren’t accessible to me at the time. These include some foreign classics … and quite a bit of trash.
“Folk horror” is one of those categories which is hard to define – but you know it when you see it, like film noir.Two very different features and two dubious documentaries seem to fit the category – Robin Hardy’s The Wicker Man (1973), Erik Blomberg’s The White Reindeer (1953), Malcolm Leigh’s Legend of the Witches (1970) and Derek Ford’s Secret Rites (1971) – all available in excellent Blu-ray editions.
This year’s New Year’s Eve movie binge with my friend Steve spanned from ’50s 3D Red Menace sci-fi to ’70s blaxploitation horror to a political thriller about right-wing apocalyptic political paranoia which, while dating from 1972, suggested the atmosphere of the coming 2020 presidential election year.
The usual year-end round-up – not necessarily the best movies or disks, but some of the ones I most enjoyed, from high art to entertaining trash. The sheer range of what’s available should lay to rest any lingering rumours about the demise of physical media.
Wim Wenders’ most ambitious film, Until the End of the World (1991) was a huge commercial failure when released in 1991 in a severely truncated version; the almost five-hour director’s cut gets a stunning restoration on Criterion’s two-disk Blu-ray release – visually gorgeous, fascinating and frustrating, this sci-fi epic now looks prescient in its depiction of our solipsistic attachment to out personal electronic devices.
Kenneth George Godwin, Film Editor
I have been editing a wide range of film and video projects, both documentary and drama, for two-and-a-half decades. I started at the Winnipeg Film Group, cutting on Steenbeck 16mm flatbeds, adopted Avid in 1995, and have used FinalCut Pro quite extensively over the past ten years. Projects I have worked on have screened – and won awards – at festivals around the world.read more >>
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