(Source: larmoyante)
Hammer Horror’s second venture into Ripper territory (after 1949’s Room To Let) provides an entertaining romp through the eyes (or should that be hands?) of a young woman haunted by the murder of her mother.
Directed by Peter Sasdy, perhaps best known for opposite-ends-of-the-spectrum productions Welcome to Blood City (very good) and The Lovely Lady (monumentally abysmal), Hands of the Ripper is an enjoyable murderous cavort through the streets of Edwardian London. It’s full of the hallmarks of classic Hammer; excellent character actors, unnecessarily heaving bodices and no small amount of crimson.
Read the rest at: http://www.thedailytouch.com/uncategorized/shlock-and-load-hands-of-the-ripper/
The concluding half of my series on Scandinavian cinema and its representations of fathers and fatherhood. This article looks in more detail at why such representations are often negative, and seeks a point of comparison in fatherly representations of Hollywood cinema.
Read the article here: http://www.thedailytouch.com/entertainment/tv-film-theatre/norwegian-wouldnt-scandinavian-cinema-and-its-ever-present-daddy-issues-part-2/
Jake Schrier’s sort-of-sci-fi is the beautiful, understated tale of a curmudgeonly rogue and his new best friend, Robot.
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Frank (Frank Langella) is an aging cat burglar with dementia. Divorced, and with his daughter (Liv Tyler) globe-trotting and his son (James Marsden) feeling the strain of the weekly five hour commute, he is left with a robot, and the two form an unlikely bond.
Jake Schrier’s vision of the near future is one without moral obligation. There is no agenda, no dystopian technocracy nor spartan, Apple Mac paradise (pull apart the differences between yourselves), just a potential, a frame within which the action takes place.
read the rest here: http://www.thedailytouch.com/entertainment/tv-film-theatre/review-robot-and-frank/
