Faisal A. Qureshi

NIGHT MOVES (**1/2) One of those films where the thesping is of more importance then the plot, slight that it is. Worth watching for the performances and cinematography.

THE DAMNED (***1/2) Imagine Visconti adapting Harold Robbins because this feels like it. Disturbing, repulsive and yet can't help admiring its ambition. Though its set in pre-war Nazi Germany, the themes of capital's compromising to autocracy remains relevant today.

DEAD OF NIGHT (***1/2) A effective mix of horror and comedy. Younger audiences may find some of it dated but its worth checking out. @studiocanal.co.uk have supplied a lot of good extras.

PETER IBBETSON (***) It starts as a studio weepie and then goes in a direction that I didn’t expect. The film gained notable fans with surrealists such as Bunuel and Breton. Some gorgeous cinematography and art direction with @indicator.bsky.social supplying informative extras.

KILLERS OF THE FLOWER MOON (****) Reminded me of Hitchcock's SUSPICION with DiCaprio as a blue collar Cary Grant. The stench of systemic racism and white supremacy grows stronger as the film progresses with none of the victims getting justice. 4K UHD only released in Italy.

HARLEQUIN (**1/2) Aussie supernatural thriller inspired by Rasputin. A mysterious clown appears to heal the son of a ambitious senator. The story is disjointed but Robert Powell's enigmatic performance kept my attention. Hope @indicator.bsky.social consider restoring THE SURVIVOR next.

RISKY BUSINESS (***1/2) Not seen in over 30 years so forgot how funny this is. Great chemistry between the two leads, a witty script, a fitting Tangerine Dream soundtrack. The @criterion.bsky.social release assembles a nice bunch of extras.

Kubrick used music to direct child actors and can spot this in the making of documentary of THE SHINING.

Watching rushes for a old Steven Spielberg film and yeah get a good idea how he gets such great performances from child actors. Basically talks them through the scene as its shooting like he's directing a silent film.

I'd stick the first six seasons of RED DWARF on there too.

OUTLAND (***) The plot maybe HIGH NOON but the world building is terrific. Aided by Sean Connery and one of Jerry Goldsmith's best score get over the some shortcomings. Clearly an influence on THE EXPANSE @ArrowFilmsVideo supplements are to their usual high standard.

THE LEOPARD (****) Sumptuous epic about an aristocrat seeing his way of life fade away. Burt Lancaster is dubbed but his performance still commands the screen with support from the ambitious Alain Delon and Claudia Cardinale. The shorter US cut is included here by @criterion.bsky.social .

WATERSHIP DOWN (***1/2) Rabbits fleeing a doomed warren seek a new home. It shouldn't work but it does, keeping the attention of both children and adults, balanced by a director who never done animation before. The @bfi restoration is its usual high standard.

NIGHT HAS A THOUSAND EYES (***) A fraudulent psychic is tormented by real visions of a woman in danger. Loosely adapted from Cornell Woolrich's novel. A crime writer who specialized in torturing characters trying to escape their predestined fate. Good extras by @indicator.bsky.social

DARK CITY (****) Saw this in 1998 and could feel the audience breath taken away at the moment of conceptual breakthrough. Anyone interested in screenwriting should hunt down the various drafts of the scripts and see what each writer contributed.

ZOMBIE FLESH EATERS (**1/2) The dialogue is stilted. Characters. What characters? But where else are you going to find a zombie fighting a shark? Real zombie. Real shark. All underwater. Bet you won't get that on Celebrity Love Island. Zombie vs Shark. That's all you need to know.

IN THE MOUTH OF MADNESS (***) A PI goes searching for a missing horror author whose overdue delivering his next best seller. One of the better Lovecraft inspired tales. It may not succeed all the time but its worth sitting back to admire its ambition.

CARLITO'S WAY (****) A classy gangster opera. Decades ago a mate got the rights to make this after a crazy week wooing Edwin Torres. At the time, he rejected Pacino to play the lead for being too young. Now its difficult to see anyone else in the role.

DRESSED TO KILL (***) Biased as a mate appears in this and only realized half way through. Stylishly put together tale of a hooker investigating a murder but with a plot twist that likely have a writer kicked out the room if tried today.

MONKEY MAN (****) Clearly made by folks who had no fucks to give. Think of it like the story of Batman but coming from the gutters rather than a manor. Balances hard action with contemporary politics that may have scared off a streamer but which only adds to its appeal.

CARRIE (****) Sissy Spacek performance is the heart of the film. Piper Laurie ain't bad either. I prefer this far more then THE BREAKFAST CLUB. @arrowvideo.bsky.social extras give further context.

THE STUFF - WORKPRINT (***1/2) When a new dessert becomes popular, the ice cream mafia hires a industrial sabotuer to find out where it came from. I was less then impressed on first viewing but @arrowvideo.bsky.social put out a superior workprint that satirises rampent consumerism.

MIDWAY (*1/2) When THE BATTLE OF ALGIERS came out, there was a disclaimer stating no newsreel footage was used. This WW2 potboiler boasts about its use here and its a contrast to the TV drama that includes a pointless romance subplot. A diverting Sunday afternoon time waster.

E.T. THE EXTRA-TERRESTRIAL (****) One of the kids I was looking after tonight said afterwards "That's the best old film I've ever seen". That Spielberg chap sure knew his stuff. Of course I showed them the theatrical cut. I'm not some ghoul.

MULHOLLAND DRIVE (****) Intended as a TV pilot but its rejection by the network and Lynch's belief in the two leads results in one of his best films. Ye with a rigid belief in story paradigms, abandon all hope here. @criterion.bsky.social 4K transfer does justice to picture and sound.

Agree a 100% with this.

SPRING NIGHT SUMMER NIGHT (***) A early US microbudget feature about step siblings trying to reconcile their romantic feelings towards one another. Has a great sense of place with beautifully restored cinematography. @indicator.bsky.social do a great job in pushing this unknown gem.

THE BRUTE (*) A sexploitation flim on domestic violence from the director of THE BITCH. It tries to make some points on DV which is undermined by Bruce Glover popping up in drag. @indicator.bsky.social extras make it clear its a case of good intentions gone wrong. A curiosity.

CHARLIE BUBBLES (**) A meandering tale of a succesful writer returning to Manc with locals trying to get a piece of him. Decades ago, a friend went nuts trying to get a print for a Salford film festival. @indicator.bsky.social release is up to their usual high standard.

MARATHON MAN (***) Once the punchline for every dentist gag during the 70's-80's. The visual composition and score make this a good fit alongside THE PARALLAX VIEW as both build the feeling there is a greater threat just out of frame.