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  • Eraserhead

    Eraserhead

    ★★★★★

    In a way this is the ultimate surrealist film.
    The ultimate midnight movie.

    The vision unfolds straight from the unconscious - or what James Joyce described as "streams of consciousness". The film seems to have created itself from an unknown space - a point in space-time that is purely from the imagination of its creator (a hitherto undiscovered country). It was born in a way that mirrors Stravinsky's 'Le Sacre Du Printemps' - another remarkable work of genius, whose composer…

  • Rendezvous

    Rendezvous

    ★★★★

    Rendezvous ‘C'était un rendez-vous’ (directed by Claude Lelouch, 1976), is literally an edge-of-the-seat high speed trip in a car through the streets of Paris. The camera is set up to give that rush of the POV footage. You can almost hold your breath the whole length of the film, as it's relatively brief.

    Absolutely recommended for those with a penchant for the LONG TAKE.

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  • 2001: A Space Odyssey

    2001: A Space Odyssey

    ★★★★★

    Just another diatribe from me about the music of 2001: A Space Odyssey.

    Regarding what has been alleged as Kubrick's reaction to Alex North's score: He said it was DATED. And so it was rightfully rejected by the master.

    I'm sure Kubrick meant that it was "dated" in that he was envisioning music that transcends the boundaries of what are the recognisable or emblematic stylistics of a certain period. Ligeti's music accomplishes this temporal transcendence brilliantly. Strauss (both), and Khachaturian's…

  • Hardware

    Hardware

    ★★★★

    Low-budget cyberpunk horror schlock par excellence. Hardware, a dystopian midnight movie, nods respectfully (and/or irreverently, as demands) to Blade Runner, The Terminator, Alien, Repo Man, Videodrome, Soylent Green, Damnation Alley, (etc. etc.) - with deadpan humour reminiscent of Dark Star. Aficionados of Philip K. Dick, will revel in this quasi postmodernist collage/collision buffet that will leave you hungry for more (however satisfying).

    It also boasts an original score from Simon Boswell, and music by Public Image Ltd, Ministry, Iggy Pop, Lemmy of Motörhead (the latter two both make cameo appearances). It may just reverberate in the walls of your cochlear with sheer delight.