Episode 92: The Inbetweeners 2

The Inbetweeners 2 - Silver Screen SnobsThe Inbetweeners “lads” are “back” and they’re headed to “Australia”! This week we discuss the second film to spawn out of the incredibly popular U.K. comedy and Tom also covers the last couple of MIFF 2014 screenings. Plus some news. Always with the news.

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Housebound (MIFF 2014)

Gerard Johnstone’s debut feature kicks off with an intriguingly original premise. After a botched robbery, Kylie Bucknell is sentenced to house arrest (complete with electronic ankle bracelet) with her ill-equipped Mother as warden. It’s a haunted house tale wherein the protagonist cannot legally leave.

It’s clear from the opening scene that this is not going to be a gritty, serious horror flick. The suburban comedy is so deft in fact, that it actually renders the scares a bit toothless at times. But despite the tonal balancing act at play, Housebound remains consistently funny, with the horror tropes adding shades to the unusual setting. Continue reading →

Electric Boogaloo: The Wild, Untold Story of Cannon Films (MIFF 2014)

Mark Hartley’s unofficial trilogy capper to his genre-films documentary series is a worthy successor to his name-making debut: Not Quite Hollywood (2008).

Electric Boogaloo follows the fortunes of two Israeli cousins, Menahem Golan and Yoram Globus, as they come to Hollywood to (as they put it) ‘make American movies’. Developing the floundering Cannon Films, they enjoyed success in the 1980’s pumping a steady stream of B-pictures into the market before imploding in the early 90’s. Continue reading →

Turkey Shoot (MIFF 2014)

At a key point in this new remake of 1982’s Turkey Shoot, our stalwart hero asserts that he’s not going to kill the villain, as ‘It’s not about revenge anymore.’ Intrigued, his blonde companion asks: ‘Then what is it about?’
His earnest reply?
‘I don’t know’.

It’s moments like this that make it almost comforting to know that the characters are even less sure of tone and motivation than the audience is. For Turkey Shoot tries to be many things: an exploitation film, a cutting satire of reality TV and an achingly serious action film. Unfortunately, it doesn’t really achieve any of these. Perhaps trying to pin down just one style would have been a good start. Continue reading →