fairbrother’s Film Reviews
201 Films have been rated or reviewed by fairbrother.
Klute (1971)
As stylish and intelligent a thriller as one could hope for, not least for the way "whodunit?" fades into the background, leaving us to consider the bigger mystery of Fonda's character. An astonishing performance; a fascinating film.
Body Double (1984)
De Palma sends up himself; it's bad but amusing. A knowingly outrageous murder scene is the highlight, and the score is ace, but the plot and leading man are both risibly dopy. For mid–80s kitsch, and pure male gazery, it's a must.
Spider-Man: Into the Spider-Verse (2018)
I have little love for comics or superhero flicks – but even this cynical snob concedes that Into the Spider–verse (slight over–length notwithstanding) is a zippy, witty, exciting hoot. Time for Marvel to abandon live–action altogether?
Most Violent Year, A (2014)- Criminally under–seen. Too low–key for those wanting an outright thriller, perhaps, but a must if you prefer suspense built on credible characters and the incremental raising of stakes. Palpable atmosphere, superb performances.
Sex, Lies and Videotape (1989)
- A witty diamond of a script, superbly acted, and realised with a very cool sense of style – the coy restraint of which is perhaps, in retrospect, the sexiest thing about the film. Sundance would never be the same again afterwards.
Candyman (1992)- Works as a literal urban spook flick or as a metaphorical riff on white privilege (and the great American taboo of miscegenation). There maybe imperfections but overall it's a classy, thoughtful, and truly frightening genre gem.
Visit, The (2015)
A found footage thriller that, otherwise, avoids gimmickry. The suspense is subtle but well–sustained, leavened with humour, and built around two kids you can root for. Slight but enjoyable, a good "gateway horror" for young viewers.
Audition (1999)- A wicked dissection of male romantic illusions. Deliberate pacing pays dividends as the story gradually enters feverish nightmare territory. Try to go in blind: love it or hate it, this one's unforgettable, worthy of a 'modern horror classic' rep.
A Dark Song (2017)- Oram's performance outshines Walker's, and it could stand to be 15 minutes shorter. On the plus side, it mostly avoids the obvious (the third act turn is a doozy), favouring dread and mystery over easy shocks. Flawed but interesting.
Once Upon a Time in America (1984)- Often overlooked when considering the modern gangster genre – a shame. The four–hour cut is a masterful, if devoutly old–fashioned (and sexist), epic: baroque, melodramatic, and deeply engaging once you surrender.
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