Scarface (1983)

Tuesday night’s showing of Scarface was jaw-dropping. 170 minutes flew by. I, along with a very enthusiastic cross-section of Generation X males (I think I saw two women) squeezed into screen 2 of Shaftesbury Avenue’s Cineworld and was transported in time and space to what now seems like an era long gone. Not so much in memory but in film representation. On the way out, “they don’t make ‘em like that anymore” echoed audibly around the auditorium.

Part of Cineworld’s rather limp campaign of re-released modern classics (The Blues Brothers (1980), The Thing (1982), Animal House (1978) et al.) this again was scheduled without any fanfare or promotion and yet digitally re-mastered and beautifully presented in pristine condition. It seems a shame.

It must be 6 or 7 years since I last saw it. Whilst being familiar enough to appreciate nods of respect from the likes of Gomorra (2008) and Vice City (2002), watching it with a sense of hindsight allows further appreciation of the look, feel and style accomplished by De Palma and clan.

Notable mentions go towards composer Giorgio Moroder (a one-time only collaboration with De Palma) and script-writer Oliver Stone. Four years later Stone would reiterate his 80’s greed theme replacing Elvira Hancock’s (Pfeiffer) message “nothing exceeds like excess” with Gordon Gecko’s (Douglas) “greed is good”.

The film is dedicated to Howard Hawks and Ben Hecht, the un-credited writers of the 1932 original, Scarface: Shame of a Nation – well worth checking out if you can get a hold of it.

The next film in the series is John Carpenter’s The Thing, showing around the country for one day only on the 15th September, 2009

Riverside Studios

The death of double-bill cinema was covered in Sight & Sound magazine (Aug 08) a year ago this month. Even they, with their most astute research, failed to mention the Riverside Studio's long standing history in this, the most dedicated form of cinema-going. A cynic would attribute this slight oversight as an attempt to disregard the one cinema that bucks the very trend and main argument of the article. I on the other hand, would put this down to a lack of consumer awareness, something I'm trying to repair today.

One year later and TFI Friday's old home is still going strong. Tonight's choice is as calculated as ever. Dead Man (1995) vs. Public Enemies (2009) sees Johnny Depp as both poet William Blake and gangster John Dillinger. The themes are very much alike yet the styles couldn't be further apart. One is direct, up-close and frenetic; the other is stolid, methodical and hypnotic. Comparing Jarmusch and Mann defeats chalk and cheese but at least we have Neil Young and Otis Taylor to guide us.

Having seen and loved Public Enemies already, a third viewing is more than welcome. As a huge fan I think all efforts should be made to see a Mann film at the cinema. Whilst not perfect by any means Collateral (2004) remains one of the most readily accessible and easily watched films in my DVD collection. Tonight, however, I feel Dead Man will steal the show. Having never seen it I am anticipating a lost gem in 90's cinema. Costing $5m and recuperating only $1m, a critical flop at the time of release, it sounds right up my street. Greil Marcus is one of its few defenders, titling his film review "Dead Again: Here are 10 reasons why 'Dead Man' is the best movie of the end of the 20th century". Strong words indeed, we shall see...

Dead Man is showing at 18:00 and Public Enemies is showing @ 20:20. Tickets are £7.50and that includes both films.

Avatar (2009): Teaser Trailer

Teaser trailer is available here, I can't embed for some reason.

Needless to say, I'm not blown away. 8 years since Final Fantasy, the hype has led me to expect more. Brilliant marketing obviously, read a fantastic article here from The Guardian's Stuart Heritage who pretty much just sums it all up.

We'll see, but based on this I thinking meh. Holding out for Where the Wild Things Are (2009)