• 10 Reasons to Remember…
  • A Brief Word About…
  • About
  • For One Week Only
  • Happy Birthday
  • Monthly Roundup
  • Old-Time Crime
  • Other Posts
  • Poster of the Week
  • Question of the Week
  • Reviews
  • Trailers

thedullwoodexperiment

~ Viewing movies in a different light

thedullwoodexperiment

Tag Archives: Iran

Tehran Taboo (2017)

19 Saturday May 2018

Posted by dullwood68 in Movies

≈ 2 Comments

Tags

Ali Soozandeh, Animation, Arash Marandi, Drama, Elmira Rafizadeh, Iran, Prostitution, Review, Sex, Tehran, Virginity, Zhara Amir Ebrahimi

D: Ali Soozandeh / 96m

Cast: Elmira Rafizadeh, Zhara Amir Ebrahimi, Arash Marandi, Bilal Yasar, Negar Mona Alizadeh, Morteza Tavakoli, Alireza Bayram, Hasan Ali Mete

Pari (Rafizadeh) is a wife and mother whose husband is a drug addict and in prison; she wants a divorce but he won’t agree to it. Sara (Ebrahimi) is a wife and mother-to-be who wants a job; her husband, Mohsen (Bayram), won’t allow it. Babak (Marandi) is an aspiring musician who has a one-night stand with Donya (Alizadeh) who is due to marry in a week’s time; this means she is no longer a virgin, something her fiancé is expecting her to be when they marry. Babak must arrange for Donya to have an operation to “restore” her maidenhood. Pari resorts to prostitution in order to get by; a chance encounter with a judge (Mete) sees her and her son, Elias (Yasar) set up in the same apartment block that Sara and Babak live in. Pari and Sara become friends, while  Pari finds herself helping Babak and Donya. As their lives intertwine, and secrets are revealed, each of the four must make decisions that will affect each of their futures, some of them irrevocably…

A movie that perhaps could only be presented in the rotoscoping animated format that director Ali Soozandeh has opted for, Tehran Taboo creditably and credibly explores the hypocrisy and double standards inherent in Iranian society today. Just how deep-rooted this is, is best illustrated by an early scene where Pari negotiates a sexual favour for a taxi driver. With the act and its price agreed, Pari sets to only for the taxi driver to spot his daughter walking along hand in hand with a boy. His sense of outrage is almost incandescent. That Iranian society is overwhelmingly patriarchal, and its laws designed to keep women firmly in the places prescribed for them, is nothing new, but the way in which Soozandeh and script collaborator Grit Kienzlen have constructed the interlocking stories of Pari, Sara, Babak and Donya, is to show just how far-reaching its effects can be. This is reflected in the lengths that Pari will go to to provide for herself and Elias, and the desperation that Sara feels at Mohsen’s unwillingness to agree to let her work. Likewise, Babak’s good intentions in supporting Donya lead him into unfamiiar social and political territory. They’re all trying to do what’s best, but at a continual cost to themselves.

Soozandeh is savvy enough to ensure that not everyone makes the best decisions, and though some of what transpires can be guessed at way in advance, the situations his characters find themselves in are compelling enough that the movie’s obvious lack of subtlety isn’t a hindrance (plus you could argue that with Iranian laws lacking their own subtlety, why bother?). At one point, Babak’s friend Amir (Tavakoli) says, “Saying no is more important than breathing in Tehran!”, and it’s the most persuasive observation in the whole movie, a moment of carefree discourse that sums up the oppressive nature of Iranian law as a whole. With its focus on various sexual proclivities, and moments of female nudity, this is definitely not a movie that could have been made in Tehran (or anywhere in Iran for that matter), and the rotoscoping effect adds an emotional currency that might not have been present otherwise, with expressions highlighting the characters’ feelings in ways that feel far more intriguing than usual. Soozandeh is aided immensely by a very talented cast, with Rafizadeh particularly impressive as the world-weary yet still optimistic Pari, while it should be noted that, thanks to editors Frank Geiger and Andrea Mertens, the movie has a brisk sense of immediacy about it that helps make it absorbing to watch.

Rating: 8/10 – while some of the traditional background animation feels flat and in need of development, and some of the more political elements are laid on with the proverbial trowel, there’s no denying that Tehran Taboo is a timely reminder of the undeserved restrictions imposed on a certain section of its population; thought-provoking despite some of its more soap opera-style elements, it’s a movie that also offers hope and sympathy along the way.

Share this:

  • Twitter
  • Facebook
  • More
  • Print
  • Email

Like this:

Like Loading...

I Am Nasrine (2012)

03 Saturday Mar 2018

Posted by dullwood68 in Movies

≈ Leave a comment

Tags

Drama, Iran, Micsha Sadeghi, Refugees, Relationships, Review, Sexuality, Shiraz Haq, Tina Gharavi, Travellers

D: Tina Gharavi / 88m

Cast: Micsha Sadeghi, Shiraz Haq, Steven Hooper, Christian Coulson, Nichole Hall

Nasrine (Sadeghi) lives in Iran with her mother and father, and her older brother, Ali (Haq). One day she finds herself being detained by the police. What happens to her is both violent and distressing. Fearing for her continued safety, her father decides that she and Ali must travel to the UK and seek asylum there. They enter the country illegally and find themselves in another difficult situation: while their application is processed, Nasrine has to attend school, while Ali is forbidden to work. They are given a flat in which to live, but in order for them both to get by, Ali finds work in a car wash and, later, a kebab shop as well. At school, Nasrine finds it hard to fit in, but makes a friend in Nicole (Hall), who is part of the local travellers community. Meanwhile, Ali struggles to fit in socially, his serious demeanour keeping others at bay (his concerns about his sexuality don’t help either). Nasrine also has relationship issues, having attracted the attention of Nicole’s older brother, Leigh (Hooper). But with the events of 9/11, both Nasrine and Ali discover that being refugees in a foreign country has unexpected consequences…

The debut feature of Iranian-born Gharavi, I Am Nasrine is a coming-of-age tale that explores issues surrounding the refugee experience, politics and sexuality, and finding one’s place in the world. But though it addresses these issues in various ways, and to varying degrees, it’s a movie that is about connections, how difficult they are to make, how difficult they are to maintain, and how difficult they are to break when they’ve run their course. In Iran, Nasrine’s actions cause the end of her middle-class lifestyle. In the UK she has to start again. The same applies to Ali, charged with being Nasrine’s protector, but equally unnerved by the changes that have led them to a dingy flat in London, and an uncertain future. Whether they are better off proves more and more debatable as the movie progresses, but it’s the siblings’ attempts at fitting in that provide the necessary dramatic focus. Whether it’s Nasrine’s growing friendship with Nicole and then Leigh, or Ali’s attempts to deal with his feelings for other men, including kebab shop customer Tommy (Coulson), it’s the way that writer/director Gharavi takes these basic desires and shows their universality that makes it all work so well. Refugees or not, Nasrine and Ali deserve the same respect we ourselves feel entitled to.

Gharavi’s approach is often straighforward and/or blunt, but this isn’t a bad thing as it precludes the possibility of any unnecessary sentiment, and allows what happens to Nasrine and Ali to remain unforced throughout. There’s a degree of unexpected and poetic beauty in the movie’s imagery as well, from the shot of Nasrine looking back from the motorbike she’s riding on in Tehran (see above), to the moment when she and Leigh experience their first kiss. Gharavi is also confident enough to minimise the impact of 9/11, safe in the knowledge that it will resonate quietly as the narrative unfolds, an unspoken component of the racial distrust and hatred that follows. She’s aided by a terrific performance from first-timer Sadeghi who instills Nasrine with a naïve yet determined quality that won’t be swayed, and unobtrusive production design courtesy of Chryssanthy Kofidou that anchors the narrative in a recognisable and credible setting. Gharavi occasionally makes some obvious dramatic choices that border on being predictable and rote, but the sincerity and the integrity of the story she’s telling more than make up for these choices, making the movie an absorbing exercise in what it is to try and belong anywhere where belonging comes at a price.

Rating: 8/10 – an engaging, thought-provoking movie that paints a candid and guileless picture of the need for acceptance, whatever someone’s personal circumstances, I Am Nasrine is severe and heartelt at the same time, and entirely up front about its plea for inclusivity; Gharavi’s passion for telling Nasrine’s story is evident throughout, and the story itself is rendered with compassion and honesty, making this a movie that is far more effective, and affecting, than it might seem at the outset.

NOTE: The quote by Ben Kingsley on the poster translates as: “An important and much needed film.”

Share this:

  • Twitter
  • Facebook
  • More
  • Print
  • Email

Like this:

Like Loading...

10 Reasons to Remember Abbas Kiarostami (1940-2016)

05 Tuesday Jul 2016

Posted by dullwood68 in Movies

≈ 1 Comment

Tags

Career, Close-Up, Director, Iran, Minimalism, Non-actors

Abbas Kiarostami (22 June 1940 – 4 July 2016)

Abbas Kiarostami

And so we say goodbye to yet another iconic figure from the world of movie making. As if 2016 hasn’t been bad enough so far, to lose Abbas Kiarostami as well is like being kicked in the stomach while you’re already on the floor. Kiarostami wasn’t just one of the most influential figures in Iranian film – if not the most – he was also one of the most influential figures in film worldwide, an artist who prompted Jean-Luc Godard to say, “Film begins with D.W. Griffith and ends with Abbas Kiarostami.”

He began his career at the age of thirty after having set up a film section at Tehran’s Centre for Intellectual Development of Children and Young Adults. He made his first movie, a short called Nan va Koutcheh (The Bread and Alley) in 1970, and continued his career during the Seventies by making an eclectic mix of short movies, features and documentaries. As he developed and refined his style, his movies became more and more minimal. Kiarostami kept stripping away everything he felt was extraneous or unnecessary, until he had the essence of the story he wanted to tell. Audiences across the globe began to connect with his movies with the release of Close-Up (1990), a mesmerising treatise on life and art and the blurring that often occurs at the boundaries of these two elements.

From there he went from strength to strength, his movies often appearing to great acclaim at film festivals around the world, while in Iran, they were largely ignored by the authorities, his way of reflecting Iranian social attitudes apparently providing little enticement for them to interfere or complain. Thus free of the constraints that have affected fellow movie makers such as Jafar Panahi and Mohammad Rousolof, Kiarostami was able to make the movies he wanted to make, and his continued success, along with critical approbation, made the release of his movies something to anticipate and cherish. He often worked without a script and was keen to improvise, and he also enjoyed crafting performances from non-actors, using their inexperience to capture a more realistic mise-en-scene. His last work, the documentary Venice 70: Future Reloaded, was released in 2013. He leaves behind an impressive body of work, and the grateful thanks of movie goers around the world who have been captivated by his simple yet telling way of movie making, and the wholly human worlds he’s invited us into over the years.

The Report

1 – The Report (1977)

2 – Where Is the Friend’s Home? (1987)

3 – Close-Up (1990)

4 – Through the Olive Trees (1994)

5 – Taste of Cherry (1997)

Taste of Cherry

6 – The Wind Will Carry Us (1999)

7 – Ten (2002)

8 – 10 on Ten (2004)

9 – Shirin (2008)

10 – Certified Copy (2010)

Certified Copy

Share this:

  • Twitter
  • Facebook
  • More
  • Print
  • Email

Like this:

Like Loading...

A Girl Walks Home Alone at Night (2014)

23 Thursday Apr 2015

Posted by dullwood68 in Movies

≈ 2 Comments

Tags

Ana Lily Amirpour, Arash Marandi, Bad City, Drama, Drug addict, Drug dealer, Father/son relationship, Horror, Iran, Marshall Manesh, Review, Romance, Sheila Vand, Vampire

A Girl Walks Home Alone at Night

D: Ana Lily Amirpour / 101m

Cast: Sheila Vand, Arash Marandi, Marshall Manesh, Mozhan Marnò, Dominic Rains, Rome Shadanloo, Milad Eghbali

In the fictional Iranian town of Bad City, Arash (Marandi) lives with his cat and junkie father Hossein (Manesh). His most treasured possession is his car, but when his father’s dealer, Saeed (Rains) claims payment for some of the money owed him, Arash is forced to hand over the keys to his car. Saeed shows off the car to a local prostitute, Atti (Marnò), but is spooked by a cloaked figure he sees in the rear view mirror. Later that evening he meets a girl (Vand) on the street and takes her back to his apartment. When he makes his move, what happens next comes as quite a shock: she sprouts fangs and attacks him, biting him in the neck and killing him.

Outside, Arash has come to get his car back. The girl passes him as she leaves, and for a moment, there’s a connection. Arash goes up to Saeed’s apartment and finds his body. He takes Saeed’s stash of drugs and his money, and leaves. The next night, the girl menaces Hossein and a small boy (Eghbali) on the street but spares them both. Later that same night, Arash dresses up as Dracula to attend a party. There he runs into Shaydah, a young woman whose family he works for as a gardener. Wanting to make an impression he lets her have some drugs for free; in return she persuades to take a pill himself.

When it comes to making it back home, Arash finds it more difficult than he expected. While standing staring at a lamp-post, he’s spotted by the girl. They begin a conversation. When Arash takes her hand and realises how cold it is, he gives her a hug in a clumsy attempt at warming her up. Surprised by this unexpected show of kindness and sympathy, the girl takes Arash back to her apartment. They discover a shared love of music, and bond further. When Hossein questions Arash about his being out all night, he’s less than impressed when Arash can’t even tell his father the girl’s name.

The girl spends some time with Atti, then at Arash’s request, meets him at the nearby power plant. She tries to warn him off, telling him she’s done some very bad things, but Arash is dismissive of her claims. She walks off, leaving Arash confused and frustrated. When Hossein’s withdrawal symptoms cause an argument the next day, Arash snaps and throws him – and the cat – out and gives him some of Saeed’s drugs and money to get by with. Hossein visits Atti and makes her take heroin. The girl arrives and in a fit of rage, attacks Hossein, the consequences of which will lead Arash to make the toughest decision of his life.

A Girl Walks Home Alone at Night - scene

Shot in glorious black and white by Lyle Vincent, and with the town of Taft, California standing in (very effectively) for Iran, A Girl Walks Home Alone at Night is a small, almost perfectly formed horror movie that avoids genre clichés and provides its story with a rich visual backdrop. In making what could be described as the first Iranian vampire western (with Mexicali tinges), writer/director Amirpour has come up with a spellbinding tale of reluctant desire that resonates far strongly than it perhaps has a right to.

Bad City is the archetypal place where bad things happen to good people, but even worse things happen to bad people. The worst thing in Bad City is the girl, a pale music-loving, wide-eyed monster who preys on the people of Bad City with seeming impunity – with all the bodies that have been dumped in a ravine on the outskirts of town it seems she’s been pretty busy, and for a long while. Used to being alone, and reliant on music for access to long-buried emotions and feelings, the girl feeds when necessary, but has no compunction about doing it. When Arash’s attentions take her by surprise, the girl regains something she hasn’t had for such a long time: hope. Distrusting it at first she tries to sabotage her relationship with Arash before it’s properly begun. But his persistence renews and encourages that hope, and before long she too has to make a decision that will be the toughest she’s ever had to make.

Vand – despite having precious little dialogue to work with – gives a tremendous performance, her sallow features and piercing stare perfectly expressing her curiosity about, and yearning for, a normal life. She makes the girl’s need for Arash so completely understandable – even if there are some obvious obstacles that will prove difficult, if not impossible, to overcome. But while the girl’s wistful longing is touching to witness, Amirpour and Vand ensure that the character’s darker habits aren’t glossed over: the scene where she threatens the little boy with taking his eyes out of his skull is chilling for its raw viciousness.

Marandi plays Arash as a brooding though needy soul, his good looks and cool car no solution for the emptiness he feels eating away inside him. With his good looks and easy-going charm, Arash should have no problem dating women, but there’s something off about him, and they realise this. Marandi expresses Arash’s confusion and inner turmoil over this with quiet persuasion, and makes Arash as desperate for some form of human connection as the girl is. The scene they share at the power plant is one of the most affecting, most awkwardly romantic scenes of recent memory.

Amirpour – making her feature debut – lifts motifs and inspiration from a variety of disparate sources but melds them into one confidently assembled whole. The tone of the movie stumbles on occasion – a scene that sees Atti dancing with a balloon feels like it belongs in another movie entirely – but for each misstep, Amirpour redeems herself with a moment of striking imagery, such as the sight of the girl, her chador billowing out behind her like bat wings, riding a skateboard toward the camera. She also shows a confident use of form and content, framing her characters against often overwhelming and impersonal backgrounds, emphasising their emotional discomfort and the difficulty of breaking free of the chains that bind them. With an equally adept use of light against shadow, and a creative sense of when to glamourise the black and white images, Amirpour displays a skill that easily bodes well for any future endeavours.

Rating: 8/10 – with lush visuals and one of the best scores and soundtrack of recent years, A Girl Walks Home Alone at Night is a refreshingly original take on the vampire story; with a captivating performance from Vand and self-assured direction from Amirpour, it’s a movie that lingers in the memory long after its final image has faded from the screen.

Share this:

  • Twitter
  • Facebook
  • More
  • Print
  • Email

Like this:

Like Loading...

Rosewater (2014)

17 Friday Oct 2014

Posted by dullwood68 in Movies

≈ 1 Comment

Tags

2009 Election, Drama, Gael García Bernal, Imprisonment, Iran, Jon Stewart, Kim Bodnia, Maziar Bahari, Mir-Hossein Mousavi, President Ahmadinejad, Review, Tehran, Then They Came for Me, True story

Rosewater

D: Jon Stewart / 103m

Cast: Gael García Bernal, Kim Bodnia, Shohreh Aghdashloo, Haluk Bilginer, Golshifteh Farahani, Claire Foy, Dimitri Leonidas, Nasser Faris, Jason Jones

An Iranian-born journalist, Maziar Bahari (Bernal), travels to Tehran in June 2009 to cover the Presidential election for Newsweek.  In the run up he speaks to supporters of both President Ahmadinejad and his main rival Mir-Hossein Mousavi, and while his own opinions favour Mousavi, he remains outwardly neutral in his reporting, even when on the day of the election he finds himself barred from an open polling station at the same time that news is being broadcast that Ahmadinejad has won.

In the days that follow, Bahari films on the streets as the Iranian people protest against what they feel have been rigged elections.  During one such protest, Bahari films a crowd outside a military barracks that come under fire from the militia in the building.  He arranges for the footage to be seen outside Iran.  On June 21, while staying with his mother, Moloojoon (Aghdashloo), Bahari is arrested and taken to Evin prison where he is charged with being a spy.

Kept in solitary confinement, Bahari is regularly taken to a room where he is made to sit facing a wall but with a blindfold on.  Here his interrogator (Bodnia) keeps asking him who he is spying for, and is it with the aim of trying to undermine and/or overthrow the Iranian government.  Bahari rejects the idea, and does his best to convince his interrogator that he is just a journalist but the interrogator, in turn, rejects his assertions.  Days pass in this way as various forms of psychological and physical torture are used to break Bahari and get him to confess.  Eventually, after several weeks he makes a televised confession that he is a spy.

Despite being what the Iranian authorities have wanted all along, the confession serves only to highlight Bahari’s plight on an international level, and helps his pregnant wife, Paola (Foy), with her campaign to get him released.  Back in the prison, the interrogations continue but now Bahari begins to regain some level footing by making up stories about his travels, stories that his interrogator believes wholeheartedly.  And then, on October 20, after a hundred and eighteen days, Bahari is offered a chance at freedom: agree to be a spy for the Iranian government and he will be released.

Rosewater - scene

Based on the memoir, Then They Came for Me, that Bahari co-wrote with Aimee Molloy, Rosewater is a compelling, occasionally provocative drama that benefits from solid performances, a clever script courtesy of first-time writer/director Stewart, and a skilful re-creation of the events that led up to Bahari’s confinement.  The movie begins with Bahari’s arrest, a tense scene that carries an uncomfortable hint of menace towards his mother.  From there we flash back to Bahari preparing to leave London for Tehran; the audience gets to see how confidently Stewart is able to set up the story, explaining concisely the basic political situation in Iran, and the importance for the people of the election.

The concise nature of the opening scenes allows the audience to spend more time with Bahari in Evin prison, and it’s here that the movie explores the surprising nature of captivity and its effect on the individual.  Bahari is never conventionally tortured.  There are no beatings, no physical restraints put in place (other than the blindfold), and only one attempt at violence that is conducted more out of frustration on the interrogator’s part than from any premeditated action.  But it has a profound psychological effect on Bahari, and Stewart – aided greatly by Bernal – shows how he did his best to survive by creating interior dialogues with his deceased father and sister.  These scenes are among the most effective in the movie as, for the most part, despite it seeming that Bahari is able to come up with a constructive way of dealing with his captors, by and large he’s unable to do so.  These dialogues allow him to feel and be strong in his own mind, but not in the interrogation room.  It’s a subtle acknowledgment – that often, our strength is something we can only convince ourselves of – but one that Stewart pulls off with deliberately muted style.

With much of the prison scenes allowing little of the outside world to creep in, Bahari’s loneliness and isolation is powerfully presented, though as time goes on and he becomes almost inured to the passage of time, Stewart gradually opens up the movie to show us what’s been going on in the meantime.  Again, it’s a clever move, and adds to the sense that time is passing slowly (which, for Bahari, it must have done).  It’s not until a guard refers to him as “Mr Hillary Clinton” that we – and he – begin to realise that he’s not been quite as alone as it’s seemed.  From there the movie begins to gain pace as the prospect of Bahari’s release becomes more likely, and Stewart allows the tension to unwind.  It’s a slightly counter-intuitive approach but it works in the movie’s favour.

Rosewater - scene2

With Stewart so firmly in control of the material it’s good to see he’s also firmly in control of the performances.  Bernal is an actor who continually impresses, and here he inhabits Bahari with ease, displaying his nervousness and fear and desperation with conviction (though perhaps his best moment is when he dances around his cell to a song only he can hear).  It’s a measured, contemplative performance, one that brings a greater depth to Bahari as a man than audiences might expect.  As his nemesis, and user of the titular liquid, Bodnia is also on fine form, a more traditional style of interrogator who would usually favour a more physical approach, but who finds himself increasingly out of his comfort zone.  When Bahari talks about his “obsession” with sexual massages, his willingness to believe these stories is both comic and pathetic.  The two actors spar around each other with skill, and both are equally mesmerising in their scenes together.

The rest of the cast haven’t quite as much to do in comparison, though Leonidas stands out as Bahari’s “driver”, Davood, and Faris plays the interrogator’s boss with patronising detachment.  Aghdashloo and Bilginer are persuasive as always as Maziar’s parents, though as his sister, Farahani has too little screen time to make any real impression.  This being a Jon Stewart movie there’s also plenty of humour to be had in amongst all the drama, and one scene will have audiences laughing out loud thanks to Bernal and Bodnia’s skill as actors.  The photography is sharply detailed and the movie is brightly lit throughout, at odds with the more gloomy aspects of events.  There’s also an effective score courtesy of Howard Shore that adds weight to the emotional content, but doesn’t overwhelm it.  A couple of gripes aside – Bahari’s hair and beard remain the same throughout the entire hundred and eighteen days he’s imprisoned, the interrogator seems a little too out of his depth to be kept on board the whole time – this is riveting, engrossing stuff, and a triumph for all concerned.

Rating: 9/10 – Rosewater takes a tale of imprisonment and loss of personal freedom but somehow makes it completely accessible and not in the least claustrophobic, while still reinforcing the seriousness of the situation; a great debut for Stewart and one that  succeeds with apparent ease.

Share this:

  • Twitter
  • Facebook
  • More
  • Print
  • Email

Like this:

Like Loading...

Blog Stats

  • 383,750 hits

Recent Posts

  • 10 Reasons to Remember Bibi Andersson (1935-2019)
  • Fantasia (1940)
  • Dances With Wolves (1990) – The Special Edition
  • Kiss of the Spider Woman (1985)
  • The Three Musketeers (1973)

Top Posts & Pages

  • Cold Lunch (2008)
    Cold Lunch (2008)
  • Bruiser (2000)
    Bruiser (2000)
  • Life on the Line (2015)
    Life on the Line (2015)
  • 1812: Lancers Ballad (2012)
    1812: Lancers Ballad (2012)
  • Columbus Circle (2012)
    Columbus Circle (2012)
  • Slave Girls (1967)
    Slave Girls (1967)
  • The Corpse of Anna Fritz (2015)
    The Corpse of Anna Fritz (2015)
  • Where There's a Prank, There's a Pay Off: Spider (2007) and Family Values (2011)
    Where There's a Prank, There's a Pay Off: Spider (2007) and Family Values (2011)
  • 90 Minutes (2012)
    90 Minutes (2012)
  • Mini-Review: Bad Country (2014)
    Mini-Review: Bad Country (2014)
Follow thedullwoodexperiment on WordPress.com

Blogs I Follow

  • Rubbish Talk
  • Film 4 Fan
  • Fast Film Reviews
  • The Film Blog
  • All Things Movies UK
  • movieblort
  • Interpreting the Stars
  • Let's Go To The Movies
  • Movie Reviews 101
  • That Moment In
  • Dan the Man's Movie Reviews
  • Film History
  • Jordan and Eddie (The Movie Guys)

Archives

  • April 2019 (13)
  • March 2019 (28)
  • February 2019 (28)
  • January 2019 (32)
  • December 2018 (28)
  • November 2018 (30)
  • October 2018 (29)
  • September 2018 (29)
  • August 2018 (29)
  • July 2018 (30)
  • June 2018 (28)
  • May 2018 (24)
  • April 2018 (21)
  • March 2018 (31)
  • February 2018 (25)
  • January 2018 (30)
  • December 2017 (30)
  • November 2017 (27)
  • October 2017 (27)
  • September 2017 (26)
  • August 2017 (32)
  • July 2017 (32)
  • June 2017 (30)
  • May 2017 (29)
  • April 2017 (29)
  • March 2017 (30)
  • February 2017 (27)
  • January 2017 (32)
  • December 2016 (30)
  • November 2016 (28)
  • October 2016 (30)
  • September 2016 (27)
  • August 2016 (30)
  • July 2016 (30)
  • June 2016 (31)
  • May 2016 (34)
  • April 2016 (30)
  • March 2016 (30)
  • February 2016 (28)
  • January 2016 (35)
  • December 2015 (34)
  • November 2015 (31)
  • October 2015 (31)
  • September 2015 (34)
  • August 2015 (31)
  • July 2015 (33)
  • June 2015 (12)
  • May 2015 (31)
  • April 2015 (32)
  • March 2015 (30)
  • February 2015 (37)
  • January 2015 (39)
  • December 2014 (34)
  • November 2014 (34)
  • October 2014 (36)
  • September 2014 (25)
  • August 2014 (29)
  • July 2014 (29)
  • June 2014 (28)
  • May 2014 (23)
  • April 2014 (21)
  • March 2014 (42)
  • February 2014 (38)
  • January 2014 (29)
  • December 2013 (28)
  • November 2013 (34)
  • October 2013 (4)

Blog at WordPress.com.

Rubbish Talk

Film 4 Fan

A Movie Blog

Fast Film Reviews

for those who like their movie reviews short and sweet

The Film Blog

The official blog of everything in film

All Things Movies UK

Movie Reviews and Original Articles

movieblort

No-nonsense, unqualified, uneducated & spoiler free movie reviews.

Interpreting the Stars

Dave Examines Movies

Let's Go To The Movies

Film and Theatre Lover!

Movie Reviews 101

Daily Movie Reviews

That Moment In

Movie Moments & More

Dan the Man's Movie Reviews

All my aimless thoughts, ideas, and ramblings, all packed into one site!

Film History

Telling the story of film

Jordan and Eddie (The Movie Guys)

Australian movie blog - like Margaret and David, just a little younger

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Follow Following
    • thedullwoodexperiment
    • Join 482 other followers
    • Already have a WordPress.com account? Log in now.
    • thedullwoodexperiment
    • Customize
    • Follow Following
    • Sign up
    • Log in
    • Report this content
    • View site in Reader
    • Manage subscriptions
    • Collapse this bar
 

Loading Comments...
 

    %d bloggers like this: