My plunge into streaming has been more rewarding than not, catching up with a slew of recent action movies as well as a variety of older movies I missed decades ago, or remember from television screenings back in the ’70s.
Until fairly recently I’ve avoided streaming – I like nothing better than handling physical media, taking small shiny disks out of their case and putting them back on the shelf as part of my collection after watching their contents. But various factors have been pushing me towards rethinking my collector mentality and in the past few months I’ve found myself mixing and increasing amount of streaming into my viewing. This has included a number of (limited) series as well as quite a few older and newer movies. And I’ve become aware that I haven’t been writing about these shows because – that collector mentality again – I have kind of ghettoized them: somehow I haven’t taken a streamed movie as seriously as the ones I own. So perhaps it’s time to consider them here…
Three recent releases from England explore the survival into the modern world of ancient mystical forces, illustrating different aspects of folk horror. In Daniel Kokotajlo’s Starve Acre (2023) a pagan entity brings tragedy to a family; in Robert Wynne-Simmons’ The Outcasts (1982), villagers in 19th Century Ireland believe a farm girl is a witch: and in Peter Sasdy’s The Stone Tape (1972), scripted by Nigel Kneale, a research team believe they’ve found the mechanism behind hauntings.
Four new limited edition releases from Second Sight gave me a reason to revisit and to some degree re-evaluate movies I was quite familiar with. While my opinions may not have changed radically, each set did give me a new appreciation for the filmmakers’ work, most particularly in the case of Daniel Myrick and Eduardo Sánchez’s influential The Blair Witch Project (1999). The care and attention the company lavish on genre films – here, in addition to Blair Witch, the Ginger Snaps Trilogy (2000-04), Brandon Cronenberg’s Possessor (2020) and Ti West’s The Sacrament (2013) – is exemplary.
It’s that time of year again – have to look back and think about whether the time I’ve spent watching movies has been worthwhile. Here, I glance back at eleven disk releases which stood out for me.
Yet more notes on recent viewing, featuring horror – both high and low end – some documentaries and action movies, gritty realism and slick fantasy … eclectic and somewhat random.
In this, the longest section of my notes from the Fifth Hong Kong International Film Festival, I cover the English-language films from Britain, Australia and the U.S., which include documentaries, mainstream movies, films about sexuality and toxic chauvinism, class conflict and ennui.
Recent viewing includes a mix of horror, sci-fi and social commentary, from George A. Romero’s Bruiser (2000), about an office drone whose social invisibility enables him to exact revenge on his abusers, to a pair of Mexican Gothic fantasies about a vampire count; from an Aussie Indiana Jones rip-off to late effects artist David Allen’s passion project The Primevals, left unfinished at his death in 1999 but now completed by his friends.
Indicator’s new Columbia Horror box set collects six B-movies from the ’30s and ’40s, only half of which can honestly be called horror – the other three are adventure/crime movies. But all of them provide breezy, atmospheric entertainment, with strong casts (including Boris Karloff, Peter Lorre, Edward Van Sloan, Ralph Bellamy, Rose Hobart, Nina Foch and Fay Wray) and noirish cinematography.
My Fall viewing has been the usual varied mix, with a number of new and classic Japanese movies, John Boorman’s fantasy sequel to The Exorcist, Alex Garland’s uncomfortably prescient depiction of America tearing itself apart, a slice of anti-drug exploitation from the late-’60s, and a surprising discovery from none other than Bert I. Gordon.