James Absolon explains how this Pope-themed film, despite its risky premise, works
Alex Pollard reviews Hollywood's biopic of the controversial Margaret Thatcher
Over the next two terms, Peter and James will be taking us on an around-the-world trip through the medium of film. Each week will take us to a new destination - so check back every Thursday to see where we're going, and perhaps be intrigued by a film you never thought you would be.
It may surprise many to know that Mexico actually has one of the richest histories when it comes to cinema. Though it may have had to pass through some awful cult horror flicks in the sixties as it progressed from its 1935-1959 Golden Age to the recent Noevo Cine Mexicano the voice of Mexican Cinema has always been one of the loudest.
Here we have chosen to examine one film from this new wave of talent as well as taking time to look at a horror film that they may want us to forget.
Director: Alejandro Gonzalez Inarritu
Set in Mexico City Amores Perros uses non-linear chronology to tell three very different stories in three distinct segments, all connected by a brutal car crash and the involvement of dogs.
Amores Perros opens with a scene of total carnage; a horrific crash taking place before the film shifts backwards in time to answer the question of what the hell was going on. It is revealed in the first segment that these are the results of Octavio’s attempts to leave the poverty-ridden streets by entering the illegal world of dog fighting. The second story is about a woman injured in the car crash trying to help her dog who is trapped under the floorboards, and the last about a destitute assassin - all of which are put together with great skill to create one seamless narrative. The director must also be given considerable credit for the way he depicts the animals in the film for it is far from gratuitous, therefore still enabling an emotional attachment with a character who fights dogs.
The film however is not entirely original - the disjointed timeline and the use of title cards to begin each segment show the heavy influence of Tarantino, yet this is hardly a criticism. Even if some of his techniques may not be new, the director does succeed in giving it its own unique feel. Therefore although the movie may not be entirely original it is superbly crafted and brilliantly acted throughout, making for an electrifying film.
Director: Rafael Portillo
With both a robot and a mummy it is very surprising that such a combination could have gone so disastrously wrong (then again the viral sensation that was Snakes on a Plane was able to combine two amazing elements terribly so really anything is possible in the world of cinema).
The premise is a simple one: in order to steal treasure from an ancient Aztec tomb (naturally guarded by a malevolent mummy) a mad scientist decides to build a robot to engage in battle whilst he sneaks off to pilfer his way to riches. At the same time a group of people, having learnt about the plan, decide to try and stop this wannabe-tomb raider and preserve the tomb as was intended.
Aside from the minor concern that I am pretty sure that the Aztecs did not actively engage in the art of mummification this film is in fact so terrible that it became a cult classic. So much so that it was featured in Mystery Science Theater 3000 (MST3K) whereby the cast then watched and continuously ridiculed everything from the plot holes, terrible direction and the abysmal dialogue which makes no sense half of the time.
The best way to view The Robot Vs. The Aztec Mummy is to get a few mates around, a few drinks and then pop on the MST3K version and just holler abuse at the screen. Good night all round really.
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