Talking Movies

October 2, 2015

9 Days of 90s Horror

Hallowe’en comes to the Lighthouse with 9 days of 90s horror films from 23rd to 31st October culminating in a Scream-themed party before a screening of the late Wes Craven’s third reinvention of horror cinema.

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While the IFI’s Horrorthon unleashes a slew of new genre entries, the Lighthouse will hark back to the 1990s; the origin of the ‘ironic slasher’ sub-genre which was murdered by torture porn, and found-footage, which, like many a horror bogeyman, just won’t die. In association with the Bram Stoker Festival the 90s Vampire strand brings Francis Ford Coppola’s 1992 adaptation of Stoker’s text back to the big screen, placing it beside other 90s vampire movies Blade, From Dusk Till Dawn, and the original iteration of Buffy the Vampire Slayer. The most important film being screened, however, is Scream. Wes Craven redirected the current of horror cinema three times: Last House on the Left, A Nightmare on Elm Street, and Scream. Teamed with razor-sharp screenwriter Kevin Williamson he delivered a totemic movie well worthy of a Scream-themed Hallowe’en night costume party.

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FROM DUSK ‘TILL DAWN

Friday 23rd October 10:30pm

Quentin Tarantino and Robert Rodriguez’s first blood-soaked collaboration is presented in a digital restoration; that won’t make QT happy… A grimy, violent B-movie about a seedy Mexican bar that happens to be crawling with vampires this had its origins in VFX guys wanting a showcase script for their handiwork. So, after some quintessentially Tarantinoesque build-up, with fugitives George Clooney and Tarantino trading taunts and riffs with their hostages Harvey Keitel and Juliette Lewis, Rodriguez’s aesthetic takes over: Salma Hayek and energetic mayhem.

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BLADE I & II – (Double Bill)

Saturday 24th October 9:00pm

Never let a high concept get in the way of a good double bill! Guillermo Del Toro’s 2002 sequel sees humans and vampires form an uneasy alliance to defeat the mutated vampires known as ‘Reapers’, who threaten to infect and/or eat everyone. But first we have to see Wesley Snipes’ vampire superhero take down Stephen Dorff, with some help from Kris Kristofferson, in the 1998 debut of the ‘Daywalker’. All together now: “Some motherf****** are always trying to ice-skate uphill.”

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BUFFY THE VAMPIRE SLAYER

Sunday 25th October 10:30pm

Nothing bad is ever Joss Whedon’s fault. That trope began here. His script for this 1992 teen comedy was apparently neutered in production, leading Whedon to dream it all up again for TV; where, even as show-runner, season 4 was also somehow not his fault. Buffy’s cinematic origin story isn’t a patch on the TV development, and, while Donald Sutherland’s Watcher and Rutger Hauer’s Master Vampire add class to proceedings, this is more interesting as a time capsule (Look! It’s Luke Perry!).

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BRAM STOKER’S DRACULA

Monday 26th October 3:30pm

Director Francis Ford Coppola’s screenplay differs wildly from Stoker’s book. Coppola fixated on a ‘true love never dies’ doppelganger love story between Gary Oldman’s Count and Winona Ryder’s Mina Murray, that shaped Jonathan Rhys-Meyers’ recent steam-punk TV adaptation. Cast adrift amidst outré sets that bellow their obvious artifice, Anthony Hopkins as Van Helsing and Keanu Reeves as Jonathan Harker try to ground things, but the best verdict remains Winona Ryder’s acidic “I deserved an Oscar for the job I did promoting that movie…”

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SILENCE OF THE LAMBS – (Cinema Book Club)

Tuesday 27th October 8.00pm

The Halloween edition of the Lighthouse’s Cinema Book Club is Jonathan Demme’s film of Thomas Harris’ best-selling chiller. Harris’ universe has been thoroughly mined, most recently in Bryan Fuller’s hallucinatory series Hannibal, but this 1991 Oscar-winner was the breakthrough adaptation. Jodie Foster’s FBI rookie Clarice Starling and Anthony Hopkins’ imprisoned cannibal Hannibal Lecter are indelible performances. It’s become fashionable to disparage this in favour of Manhunter, but there’s a reason few people ever saw Brian Cox as Hannibal Lecter…

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THE BLAIR WITCH PROJECT

Wednesday 28th October 8.30pm

The greatest horror producer of the 21st century Jason Blum passed on this at Sundance, and has been kicking himself ever since. Some people at early screenings in 1999 thought that this was real; giving its unnerving ending enough power to create a buzz that made it a sensation. It wasn’t real. It was, however, the moment where found-footage horror stomped into the multiplex and declared it would never leave, all because of an unsettling walk in the woods in Burkettsville, Maryland.

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WES CRAVEN’S NEW NIGHTMARE

Thursday 29th October 8.30pm

Wes Craven wrote and directed this late meta-instalment in the franchise he had kicked off with his original vision of Freddy Kreuger. Heather Langenkamp, Nancy in 1984’s Nightmare on Elm Street, plays herself; plagued by dreams of a Freddy Kreuger far darker than the one portrayed by her good friend Robert Englund. Featuring cameos from several of the original cast and crew Craven produces a postmodern musing on what happens when artists create fictions that take on a life of their own.

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CANDYMAN

Friday 30th October 8.30pm

Bernard Rose’s cult classic, an adaptation of genre legend Clive Barker’s The Forbidden, follows a thesis student who is researching urban legends. Unfortunately for him he discovers the terrifying world of ‘Candyman’, the ghost of a murdered artist who is summoned by anyone foolish to say his name out loud into a mirror five times. Masterfully made, still absolutely terrifying, and the reason we all cheer whenever Tony Todd makes a cameo ever since, this also features the unlikely bonus of a Philip Glass score.

HOCUS POCUS, Kathy Najimy, Bette Midler, Sarah Jessica Parker, 1993

HOCUS POCUS, Kathy Najimy, Bette Midler, Sarah Jessica Parker, 1993

HOCUS POCUS

Saturday 31st October 3.00pm

A token film for the kids is 1992’s Hocus Pocus. Why the misfiring hi-jinks of Bette Midler, Sarah Jessica Parker, and Kathy Najimy’s trio of Salem witches is perennially on TV is a mystery, but to present it as the essential kids’ Hallowe’en film is an enigma wrapped inside a riddle. Especially when Nicolas Roeg’s film of Roald Dahl’s The Witches, starring a scary Anjelica Huston as the Grand High Witch, dates from 1990…

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SCREAM I & II – (Double Bill & Party)

Saturday 31st October 9.30pm.

Neve Campbell confidently carries this 1996 classic, a blackly hilarious self-aware dissection of slasher clichés which is also a brilliant slasher filled with tense sequences. Williamson’s delicious dialogue (“Movies don’t create psychos, they just make psychos more creative…”) is brought to memorable life by an ensemble on truly top form, with star-making turns from Jamie Kennedy, David Arquette, Rose McGowan, and Skeet Ulrich. 1997’s sequel isn’t quite as good, but Kevin Williamson’s dialogue remains a joy, there are some nail-biting moments, it’s as subversively self-aware as 22 Jump Street of its sequel status, and uses Timothy Olyphant, Sarah Michelle Gellar, Jerry O’Connell, and David Warner to great effect.

‘9 Days of 90s horror’ ends with a Scream-themed Hallowe’en party preceding the Scream double bill, beginning at 8pm. Dress as your favourite 90s horror icon and enjoy the ironically-named cocktails, soundtrack of 90s hits, and general japery all related to Wes Craven’s classic slasher.

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TICKETS FOR 90S VAMPIRE FILMS:

http://www.lighthousecinema.ie/newsarticle.php?sec=NEWS&_aid=8323

 

TICKETS FOR 90S HORROR FILMS:

http://www.lighthousecinema.ie/newsarticle.php?sec=NEWS&_aid=8455

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March 17, 2015

Any Other Business: Part X

What is one to do with thoughts that are far too long for Twitter but not nearly long enough for a proper blog post? Why round them up and turn them into a tenth portmanteau post on television of course!

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Hurlers on the Ditch Jersey Turnpike

GAA USA, a new four part series, begins on TG4 at 9.30pm tomorrow night. Dara Ó Cinnéide, former All-Ireland winning Kerry captain and award-winning broadcaster, investigates the extraordinary and largely unknown history of Gaelic games in the United States. Produced by Éamonn Ó Cualáin, and directed by Sean Ó Cualáin, the series sees Ó Cinnéide visit NYC’s Gaelic Park & Yankee Stadium, and Milwaukee’s Hurling Club, as well as attend the 2014 North American Championships in Boston. In conversation with Irish people who have made a home for themselves in America, he encounters an enduring love of Gaelic games, and resourcefulness and passion, that since the 1870s, kept the GAA the most important Irish cultural organisation in America, intimately linked to continuing Irish emigration.

 

Episode 1: Go Meiriceá Siar – West to America, (1840-1918)

Dara investigates the earliest reporting of Gaelic games in America and the devastating effect baseball had among the immigrant Irish of the eastern seaboard; discovering compelling evidence of ‘pay for play’ long before the amateur ethos was enforced. In 1888, the newly formed GAA organised an American tour of visitingIrish athletes. A huge surge in interest followed this ‘Irish Invasion Tour’ as record numbers of new clubs were founded in dozens of cities. As the self-help movement became militarised, huge support for Irish independence in America funded and armed the IRB and IRA. And yet, despite huge interest in Irish affairs and the evolution of strong competitions across the country, when America entered WWI thousands of Irish-Americans left to fight Germany, and the playing of Gaelic games virtually ceased.

 

Episode 2: Idir Dhá Shaol- Striving for an Identity, (1918-1945)

The GAA reflected a profound dilemma faced by Irish-Americans driven by the idea of Irish Independence while striving to carve out a new identity in America. The health of the GAA mirrored America’s mood during the Roaring 20s: hopeful, bold, brash, expansionist. In an illustration of the resurgent interest in Gaelic games, the Kerry team played in front of a crowd of 60,000 spectators at Yankee Stadium in 1931. But, even as American newsreels began to notice Gaelic games, reportage was very much coloured by stereotypes of the Catholic Irish prevalent at the time; which had been fostered aggressively by the Scots-Irish since the 1840s. Rare 1930s footage demonstrates such racist propaganda: hurling was a brutal ‘thug sport.’ In the early 1930s St Mary’s College in California introduced hurling to its students, only to disband the team under pressure from the local baseball league. The Great Depression and WWII crippled the American GAA. To stand any chance of revival an unprecedented sporting spectacle was required.

 

Episode 3: An Ré Órga – The Golden Age (1945 -1980s)

In 1947, the All-Ireland final was staged at the Polo Grounds in New York. This unlikely event gave the GAA in America a much needed shot in the arm. The Polo Grounds are long gone, but Dara locates the only remaining part of the historic arena, a small stairway that once overlooked the stadium. The 1947 All-Ireland final coincided with a reopening of the floodgates at Ellis Island, and the consequent dawn of a golden age of Gaelic games in America. Never-before-seen colour footage of matches from the Polo Grounds show crowds in excess of 25,000 cheering their teams, as well as visiting teams (including legendary Cork hurler Christy Ring).This success was matched by increasing political influence. But this couldn’t prevent strict new immigration laws in the mid-1960s.

 

Episode 4: An Chéad Ghlúin Eile – The Next Generation

After the 1960s, in response to tighter immigration laws and a reluctance among the children of Irish immigrants to get involved, American clubs looked to Ireland; importing players, paying them to play for entire summers. The wealthiest clubs got the best players and the most championship wins. In recent years it’s estimated American clubs raised in excess of $100,000 to win local championships. By the late 1990s, it was clear that change was needed. All across America, ordinary members of the GAA made a concerted effort to focus on youth development, spending money on the development and training of American-born children. This, he discovers, is where the real future of the GAA in America lies. And on the evidence he finds, that future looks bright.

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They call it award-winning Celtic Noir now

The feature film version of An Bronntanas is enjoying a strong run at international festivals, and recently received the Jury’s Special Award at the Boston Irish Film Festival. An Bronntanas started life as a TG4 series, noted hereabouts in a piece about Celtic Noir a few months back. A contemporary thriller set on the coast of Connemara, it found a lifeboat crew responding to a distress call on a stormy night only to discover a fishing boat with a dead passenger and a cargo of over a million Euros worth of drugs, tempting them to leave the body and sell the drugs… Directed by Tom Collins (Kings), with Cian de Buitléar as DoP, and produced by Ciarán Ó Cofaigh of ROSG (Cré na Cille) and Tom Collins, it starred Dara Devaney (Na Cloigne), Owen McDonnell (Single Handed), Michelle Beamish (Crisis Eile), Charlotte Bradley, Janusz Sheagall, and, in a previously hailed stroke of casting genius, the unexpected Gaeilgeoir John Finn (Cold Case). The TV show was re-edited into a feature film, which has recently screened in Barbados and Washington, and will soon be screening in Boston, Chicago, and Rome. Producer Ciarán Ó Cofaigh says:

“We were very proud of the success of the series when it was broadcast recently on TG4, but it’s apparent that the film version has its own legs.  The production of An Bronntanas was an enormous challenge and we believe we have achieved this production to a high international standard.  Winning this award in Boston and the film’s selection for many other festivals will further promote the film and the Irish language.” With Hinterland and An Bronntanas winning acclaim Celtic Noir is definitely an award-winning thing. We just need a dark thriller series from Brittany now to make things complete.

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“I do not believe that’s how psychos behave” (with apologies to Dr Seuss)

Complaining about The Blacklist’s many shortcomings, or even attempting to catalogue its pilfering from other shows and movies, is apparently a futile gesture. But I have to say something about its pilfering from Ridley Scott’s Hannibal. Peter Stormare’s introduction as super-villain Berlin at the end of season 1 was somewhat compromised by the fact that someone like Peter Stormare is not going to guest star and be anyone other than Berlin, try the script ever so hard to convince you otherwise with various feints. But the revelation of his identity; disguised by his appearance at a hospital with an amputated hand as a victim of Berlin, and the “lexical ambiguity” of the witnesses as to what happened between the prisoner and the guard as the plane crashed – “He cut off his hand”; screamed Hannibal Lecter cutting off his own hand at the end of Hannibal in order to escape from Clarice Starling’s handcuffs. But… while Hannibal’s actions were just about plausible (if not very likely) given his observance of etiquette towards Clarice (she could after all have an amputated hand reattached when the emergency services arrive), it just becomes farcical when Berlin cuts off his own hand instead of cutting off the guard’s hand and making a break into a crowded city from the downed plane. As always The Blacklist favours blindly following previous exemplars rather than think anything out for itself, but by following Hannibal’s lead here it seems to suggest that psychopaths are defined by masochism and an ability to endure self-mutilation for the sake of their freedom. Whereas you’d imagine psychopaths, on the whole, would skew more towards sadism and an ability to casually sacrifice other people’s body parts to ensure their freedom…

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