I Wish is an absolute delight. It tells the story of two young brothers whose parents have split up; the mother took the elder brother to live with her parents, leaving the father and younger brother behind. The split was acrimonious, and so the boys must communicate by phone, in secret. The mother’s family live in a town across the water from an active volcano; its looming presence fills the sky and ash falls more or less all the time, coating the town in a dull film that has to be constantly cleaned up. It’s a state of depressed limbo that reflects the lives of the family; things are unresolved. The film centres around the elder boy’s desire to bring the family back together; he decides that if the volcano exploded it would resolve things once and for all by forcing an evacuation of his town, and his parents to reunite. He ends up leading an expedition of children, each bringing a desire of their own, on a quest to reach a magic place where two Shinkansen trains will pass each other for the first time, which the kids believe will create enough energy to make wishes come true.
Monthly Archives: October 2011
London Film Festival 2011 – Day 2
The Giants (Bouli Lanners, 2011)
A joy, from the first frame to the last. Director Bouli Lanners will be familiar to LFF audiences from his apearance as a transsexual assassin in Gustave de Kervern and Benoît Delépine’s anarchic Louise-Michel, and his last film, Eldorado, was one of our recommended obscure gems.
London Film Festival 2011 – Day 1
by Indy Datta
The festival opener, Fernando Mereilles’ 360 – a reimagining of La Ronde written by Peter Morgan and starring an embarrassment of top global thesping talent (Eminem and Jude Law, together at last! Or cosmically connected at last, or something) is digitally unspooling to the first night audience right about now (I’m writing this the evening before publication).
We should be bringing you a review of 360 in the next few days, along with reviews of other films playing in the first days of the festival. In addition, you can follow our Twitter feed for our instant reactions to films and retweets of other writers’ reactions throughout the festival. In additional addition, we’re still on the lookout for people to send in their own reviews, as previously noted. And in addition to that, why not join in in our comments section? You know you want to.
Raindance Film Festival 2011
By Indy Datta
Up front, an apology for the films, I didn’t see at this year’s Raindance Film Festival, whether because I couldn’t get in to the screening, because I got the time of the screening wrong by two hours, because I got stuck at the office, or because Westminster City Council decided at the last minute that that freaky Cuban movie would warp my fragile little mind. It takes, you might argue, some kind of special incompetence to spend the bulk of one’s spare time at a film festival for a week and yet not see a single one of the festival prize winners, but this is the hand I have to play.
With that out of the way, let’s get to the reviews, in the order I saw the films.
Ten Highlights of the 2011 San Sebastian Film Festival
by Matthew Turner

I’ve been going up to Edinburgh every year for the Edinburgh Film Festival since 2001 but until four weeks ago I had never been to an international film festival. Every year, when the San Sebastian Film Festival rolls around (just a few weeks before the London Film Festival but, crucially, not clashing with anything else) and fellow film reviewers come back raving about it I am consumed with jealousy, so this year I thought I’d take the plunge and go. I left it all till the very last minute (including a nail-biting emergency passport renewal) but I got a great hotel recommendation from a friend, and the nice lady at the festival’s travel bureau sorted me out with a cheap flight, so I was good to go. Needless to say, I’m glad I did. It’s a wonderful festival in a beautiful city and I will be going back every year for the rest of my life. After the jump, my ten highlights from this year’s Donostia (that’s what they call San Sebastian in San Sebastian).
Continue reading Ten Highlights of the 2011 San Sebastian Film Festival
London Spanish Film Festival 2011
By Susan Patterson

Aside from Almodóvar, Spanish films barely get a look-in in the UK outside of festivals, and sometimes not even then (there are four Spanish films at the forthcoming London Film Festival and there were none at Edinburgh this year). Fans of Spanish film should be grateful, then, for the London Spanish Film Festival, now in its 7th year.
A Pause for Breath
A Wax Museum With a Pulse
Indy Datta revisits Pulp Fiction
1.
In a clever postmodern/wanky touch, this post will be presented out of chronological order.
2.
Recently, I attended a screening of Quentin Tarantino’s 1994 breakthrough movie at the Soho Square offices of the British Board of Film Classification. Before the film, Craig Lapper, senior examiner at the board, told us a little bit about the classification history of the film at the BBFC. In 1994, with the murder of James Bulger a recent memory, that old BBFC standby, “imitable behaviour” was a contentious issue in film censorship in Britain, due in large part to fabricated tabloid reports that Bulger’s killers had had their minds murderously warped by repeat viewings of Child’s Play 3 (as quaint and faintly hilarious as that sounds now). Although the film had been passed uncut for theatrical exhibition, when it came to home video, one particular shot particularly disturbed James Ferman, who was then the board’s director: the shot of a hypodermic needle piercing the skin of John Travolta’s smackhead hitman Vincent Vega. Ferman’s belief was that there were certain trigger images that had a quasi-hypnotic effect on drug users, causing them to lose control to their addiction, and that this was one of them. Accordingly, the shot was optically reframed so that home video viewers couldn’t see needle break skin.
The Audience Who Waited
By Ricky Young

The last time MostlyFilm talked about Doctor Who, I expressed a hope that the second half of the series would be more fun, less annoying, and feel slightly less like it was heading up its own time-tunnel. Did it succeed? If I were to follow the recent Who template, the answer would have been heralded in the article before last, with tantalising hints spread around the rest of Europe’s Best Website – most of which would turn out to be red herrings – and after I’d spent weeks talking it up as the shiznit, you’d finally read it with a bit of ‘oh, that’s quite clever’ and a bit of ‘yeah, but hang on – is that it?’
So, avoiding all that; it was more fun, it was less annoying, and it looks like the next series will veer away from its own time-tunnel at the last minute. Although if it then crashes headlong into its own time-perineum, it’ll only have itself to blame. Continue reading The Audience Who Waited
Tucker and Dale vs Distribution
by Spank the Monkey

Here’s a terrifying statistic for you. Last weekend – to be precise, the weekend starting Friday September 30th – eighteen films were released theatrically in the UK. They covered everything from Taylor Lautner’s first attempt at a leading role, via the new Lars von Trier, to a 3D documentary about cane toads. The weekly review pages were positively wheezing trying to fit that lot in. But how many of them are you likely to see at your local multiplex? Certainly not all 18.
So you end up with the scenario that I encountered just one week earlier. A horror comedy flick, Tucker and Dale vs Evil, was released to generally favourable reviews. The buzz piqued my interest, so I scanned the listings for it. Sadly, it looked like it would be close to impossible to see the film in my town.
My town, by the way, is called London. So what’s going on here?





