A bomb is planted in a car. We follow it through the streets of London. When the countdown reaches zero, instead of an explosion, gas is released and knocks out the driver and his passenger. Enter our heroes/gangsters in their fake ambulance. And that, our friends, is how you kidnap someone in broad daylight!
But even a well-planned and perfectly executed heist is not foolproof. The police are onto them, leading to an adrenaline-filled and insane car chase. After they get away (spoiler! Sorry!) and have cooled down a bit, it is time to plot, plan and rehearse the actual heist – one very much inspired by the Great Train Robbery of 1963.
Robbery is very much in the tradition of Topkapi, Rififi, and even Gambit. There’s an elaborate scheme which has been planned to the last detail, there’s a motley yet lovable crew of misfits – each hand picked for their job, and there’s a lot that could go wrong. There’s also a kinda, sorta love story here, but honestly it seemed a bit forced. It certainly wasn’t necessary for the plot.
Our favourite scenes were the opening heist and the subsequent car chase, as well as the prison break. We also loved the meticulous planning and the main heist, of course. Robbery touches on most clichés within the heist movie genre, but it does it well and it’s thrilling from start to end, so we have no complaints.
Starring: Catherine Deneuve, Jean Sorel, Michel Piccoli, Geneviève Page, Pierre Clémenti
Runtime: 1h 40min
Séverine (Deneuve) is married to Pierre (Sorel) and on the surface their relationship is perfect. He is a respected and successful doctor and she is… pretty. That’s basically all you need to make a marriage work.
However, there is trouble in paradise. Séverine struggles with her sexuality after childhood molestation and is unable to have a normal sexlife with her husband. Her sexuality is further confused by her BDSM/rape fantasies – fantasies she cannot act on or even communicate to Pierre.
Since therapy was obviously not yet invented in France in the 1960s, Séverine decides to deal with her problems in her own way, by becoming a prostitute. Every day between two and five, she entertains at Madame Anais’ (Page) brothel as “Belle de jour” – Beauty of the day. Now, while this gives Séverine an opportunity to explore her sexuality in a “safe” way (i.e. with no emotional involvement or societal expectation of purity), this charade cannot last. Especially when one client becomes more than just a random John…
We love us some Buñuel, and Belle de jour delivers. The surrealism he’s known for may not be as pronounced as in many of his other works, but there are definite influences in the blurring of fantasy, dream and reality. It’s also an excellent example of how to make something sexy and alluring without actually showing much skin, and a very interesting exploration of “broken” female sexuality.
Oh, and did we mention Séverine’s outfits by Yves Saint-Laurent? That girl looks gooood in this movie (as opposed to her usual drab and dowdy look, you know).
The costumes were great, we loved the Asian client (what’s with the bells?? What’s in the box???), we loved to hate Mr Husson (a truly horrible man), and we really enjoyed not always knowing which part was real life, which part was fantasy… There was also a touch of À bout de souffle towards the ending. All in all, this was a winner!
August, 2016. Two Norwegian sisters drunkenly come up with the idea to skip ahead a bit on the list they recently started. A die is cast. The fates have decided. The choice is Mario Bava’s 1966 horror Kill, Baby… Kill!
Four years later, the same sisters dig out their notes from that fateful day, ready to write an insightful and witty blog entry based on the impeccable and detailed notes they always keep. However, what they find proves not to be decipherable by the sober mind. Thus, we present them here in their entirety, paired with pictures that may or may not refer to the notes.
Zeus (MacGinnis) is throwing out prophecies to anyone who will listen, and as one would expect, some of them lead to murder. Pelias (Wilmer) decides to slaughter the entire royal family of Thessaly as its throne is his “destiny,” but one tiny baby escapes. Also, during the slaughter, Pelias manages to desecrate the temple of Hera, which pisses off the goddess, who vows to protect baby Jason (Armstrong. Well, once he grows up, that is).
Years later, Jason saves Pelias from drowning but the latter realises who his saviour is. When learning that Jason is interested in travelling to find the mythical Golden Fleece, Pelias sees an easy way to get rid of our hero, and he even sends his own son Acastus (Raymond) to make sure Jason fails. The gods offer their help as well, and Jason gathers a strong and brave crew and goes on one of the most epic journeys ever put on tape.
Jason and his crew of Argonauts (named for the ship on which they travel) face many dangers, such as living statues, harpies, evil oceans, Triton himself (though benevolent in this case), traitors, love interests, Hydra, and fighting skeletons.
Despite our initial disappointment with the subject matter, we ended up really enjoying the squabbling Greek gods, the stop-motion special effects, the harpies and the skeleton army (we want one for Christmas if anyone’s feeling generous). It’s a fabulous epic in glorious Eastman color and a must for any fan of Ray Harryhausen. Or mythology.
Black Sabbath consists of three separate stories, all tied together by host Boris Karloff, which are freely adapted from classic tales by Tolstoy, Maupassant and Chekhov. The order they appear in depends on which version of the movie you watch (there are at least two), so we will present them according to the version we watched.
The first story, “The Drop of Water,” is by Anton Chekhov. An elderly medium has died while in a trance during a seance, and when preparing her body for burial, nurse Helen Chester (Pierreux) steals a ring from the deceased. Big mistake.
Guy de Maupassant’s contribution is “The Telephone” (or is it? There is some debate as to whether Maupassant ever wrote anything like this). Rosy (Mercier) is at home in her apartment (another place we’re moving into as soon as the payment goes through) when she starts receiving strange phone calls from her former pimp. Instead of calling the police (who she probably doesn’t trust given her profession), she calls old friend Mary (Alfonsi) for help. Big mistake.
The third and final story, “The Wurdulak,” is credited to Aleksei Tolstoy (not Leo, mind you). In 19th century Russia, rider Vladimir D’Urfe (Damon) finds a backstabbed body on a horse. He brings him to the nearest house to find that the body belongs to a Turkish bandit believed to be a Wurdulak. A Wurdulak, the farmers explain, is a vampire who feeds on his or her loved ones.
The father of the family, Gorca (Karloff), has been in pursuit of the Wurdulak and has given strict orders not to let him in the house if he is gone for too long as he will have been turned. When he returns too late, with a significant personality change, the family naturally lock him out and take every precaution to stay safe while plotting how to kill him.
Just kidding! They let him in, let him play with his grandchild, follow his commands, go to bed without locking any doors and are then flabbergasted when it turns out he tries to drink their blood. Then again, this is a family who implicitly trusts an unknown Eastern European Count called Vlad while in the middle of a vampire crisis.
We’re suckers for horror anthologies and Mario Bava, so there’s really nothing here we didn’t love. The humour between segments is silly and fun, and the entire film is very aesthetically pleasing, as giallo movies tend to be. A lot of this also feels oddly modern, as if it could have been made today but by someone trying to make it look older (think Garth Marenghi’s Darkplace or “The Devil of Christmas” episode of Inside No. 9). We loved all the apartments (as stated, we’re moving into all of them), the colours, the creepy child and the ghost. Love, love, love this!
In 1943, British soldiers are stranded on the Greek island of Kheros, about to be blitzed by Germany but unable to leave due to the Axis controlled guns (as in big, massive cannons, not just a couple of revolvers, mind you) on the nearby island of Navarone. As no bombing missions have been successful, the British assemble a commando unit to infiltrate the island and take out the guns.
The unit is a team of “pirates and cutthroats;” Major Roy Franklin (Quayle) Captain Keith Mallory (Peck), Corporal John Miller (Niven), Colonel Andrea Stavros (Quinn), “Butcher” Brown (Baker), and Spyros Pappadimos (Darren). Their mission, should they choose to accept it, is to climb an unclimbable cliff to sabotage the guns.
The team is gathered, plans laid and events put in motion. They’re a ruthless but charming bunch, and they set out on their hazardous journey where they encounter storms, Germans, trust issues, dangerous climbs in awful conditions, injuries, capture, torture and romance.
The Guns of Navarone is an action packed movie about manly men doing manly things. We loved the long sequences without dialogue and the (often lack of) score. Among our favourite scenes were the storm with the subsequent shipwreck and climb, and the incredibly tense ending when we were waiting for the booby trap to be triggered. We were quite literally on the edge of our seats.
The tension is oftentimes palpable and this is a very entertaining war epic, not unlike The Bridge on the River Kwai. So if you’re looking for a WWII double feature and you have several hours to spare, the two might make an excellent combo. Just be sure to wrap up warm and bring a snack.
Zazie’s only goal for the weekend is to go on the metro, so she is less than impressed when it is closed due to a strike. On her first morning at her uncle’s place, she sneaks off to explore the city on her own and try to find an open metro, but instead she finds a very creepy stranger (Caprioli) and lots of trouble.
The creepy stranger may or may not be a paedophile, may or may not be a cop, and may or may not also be attracted to Zazie’s aunt and a merry widow they encounter on their adventures. It’s all a bit fuzzy and bewildering.
While we didn’t quite understand what was happening half the time, Zazie dans le Métro was a wild ride from start to finish. The visual comedy of it reminded us a bit of Hulot, and we loved the silliness of it all, although we’re pretty sure we saw a poor lady stabbed at some point. And there’s an attempted rape. And there’s a fairly big chance Zazie is a victim of abuse or a psychopath, judging from her reactions to people and events. Now that we think about it, are we sure this is a comedy..?
For those of you who want more context than the initial summary, Mark Lewis (Böhm) is an aspiring film maker who shoots soft porn during the day and murders at night. His neighbour Helen (Massey) takes an interest in the socially awkward weirdo, and we learn that Mark was used as a guinea pig by his psychiatrist father who studied fear.
We were enthralled from the very beginning, with the camera point-of-view, and we were on the edge of our seats throughout. Mark is a complex and strange character; is the real him the awkward and timid man he is in social situations, or is it the dynamic take-charge man we see when he’s about to commit murder?
It’s a must-see for horror fans (or movie fans in general), and it works fantastically as a double bill with the upcoming Psycho. Get out your blankets, wine (or tea – we don’t judge) and snacks, and enjoy!
The tiny Duchy of Grand Fenwick is in a financial crisis after their sole export, Pinot Grand Fenwick wine, is priced out of the market by a cheap American imitation. Their solution: declare war on the United States, lose, and collect aid from their former “enemy.”
Unfortunately, through a series of unlikely events they end up winning, and Prime Minister Count Mountjoy (Sellers), Grand Duchess Gloriana (Sellers), and Field Marshall Tully Bascomb (Sellers) must find a way out of their newfound power and notoriety.
The Mouse that Roared is no longer on the list, but we post this in our we-already-bought-the-fucking-DVD-so-we’re-watching-it-dammit category. It’s a very silly and very enjoyable comedy with an excellent Peter Sellers. We loved all the characters, especially the Duchess; the narration, the fox, the army uniforms, and the peace treaty. While no longer deemed good enough to occupy a precious space on the list, it’s still very much worth watching. Such fun!
A young woman is found murdered in Hampstead Heath with nothing to identify her but a monogrammed handkerchief. Investigators Hazard (Patrick) and Learoyd (Craig) identify her as Sapphire Robbins and start trying to find the truth behind her death.
They track down her devastated boyfriend, David Harris (Massie), and her big brother Dr Robbins (Cameron), but surprises keep coming. First off, the autopsy reveals that Sapphire was pregnant at the time of her death, and the investigators are then baffled when her brother comes in as he is black and Sapphire appeared to be white.
These new revelations lead to an investigation which encounters racism and prejudice, both from the white and black communities and even from within as not all investigators manage to stay neutral. But was her ethnic background motivation for murder? And if so, who was enraged enough by her “transition” from black to white to murder the young girl?
We love a good murder mystery, and we love it even more when it deals with real political and social issues. Sapphire may be from 1959 and deal with racism and prejudice in the wake of the first waves of Commonwealth immigration in Britain, but there are parallels to be drawn to recent debates considering Brexit.
We were also reminded of Sarah Jane although her and Sapphire’s stories are different and so are their societies. A great mystery movie with real social and political commentary, we can definitely recommend this.
What we learned: School teachers are very respectable and a bit above the rest. Thank you! Also, racism sucks and we need to stop this shit already!