Beginning as an eye-popping cavalcade of dismemberment, cannibalism and pigs gorging on human offal, this quickly turns into an occasionally amusing attack on the critics of director Lucio Fulci's work, with Fulci himself starring as a horror director wondering whether extended exposure to fake gore has turned him psycho-killer. Demented.
John Carpenter was 24 when he shot one of the most influential films in movie history in just 20 days, on a budget of just over $300,000, for the apparently meagre salary of $10,000, a cut of the profits and his name above the title. Looking back, a quarter of a century on, it was probably the best deal he ever made. After a faltering opening run, Halloween quickly became a critically acclaimed box-office smash that went on to gross over $50 million and spawned a raft of sequels and an entire industry of mostly inferior slasher movies.
If Jim Carrey was suddenly declared God, what would he do? That's the premise, and only the easy, obvious routes are taken. But, as he did in Liar Liar, Carrey makes them funny even if you're determined he won't. Thus he enlarges Jennifer Aniston's breasts and you guffaw like a goon because the man is a comedy giant: you want him to fall on his ass, he does, you laugh again.
Dark, hugely inventive '93 animation from Tim Burton, possibly much too spooky for kids (or probably not, the sick little psychos). The Pumpkin King of Halloween tries to co-opt Christmas; the voices of Catherine O'Hara, Pee-Wee Herman and other disreputable types ooh and aah. Dazzling, macabre and faintly mad, an Oscar nominee for visual effects.
Corporate exploitation, US foreign policy, K-Mart, small-town rednecks, the NRA and Charlton Heston are all in the firing line as shaggy documentarian, and now best-selling author, Michael Moore tackles America's self-destructive gun culture. Mostly witty and irreverent, it's also sporadically profound—see the terrifying slow-mo security footage of the Columbine massacre and Chuck Heston's final broken and bewildered interview.
Nothing dates faster than camp, and here The Fifth Element (aka David LaChappelle does Blade Runner), barely six years old, is already fraying around its fluorescent edges. The plot is nonsensical (Gary Oldman's Zorg aiding giant ball of evil etc), the model work is ropey, and the production design very Munchkinland. Thankfully, Bruce Willis' taciturn hero and Milla Jovovich's super-femme still hold firm at the heart.
Never released theatrically in the UK, this operatic epic about a Korean peace delegation struggling to make it home from remotest China encompasses swordplay, romance, brooding landscapes and thousands of extras, yet doesn't quite add up to the crowd-pleaser it ought to be. Zhang Ziyi of Crouching Tiger, Hidden Dragon fame is on hand as a princess who hooks up with the mostly Korean cast.
Paul Schrader deals with intriguing, uncomfortable issues here, but with, for him, a slightly saddening conservatism. Telling the story of Bob Crane, the '50s star of Hogan's Heroes, whose career nosedived as he became increasingly addicted to filming his own sexploits, it's initially vibey and buzzing, with a terrific turn from Greg Kinnear, but later lapses into soggy moralising and mopey depression.
