Movie review: "Censor"

By Tim Brayton

Giallo homages, modernising the sordid, stylish vibe of Italy's cultishly beloved, violent and colorful 1970s thrillers, have gone from being an odd little niche project to a veritable cottage industry over the last decade. It takes more than just dousing a movie in candy colors to stand out, and so that's the first thing to praise about Censor, the extraordinarily self-assured debut feature by Welsh director Prano Bailey-Bond, is that it has so much to offer. Though it is very candy colored.

The film, currently open in limited release, isn’t exactly a giallo homage, to be honest. Above all else, it's a love letter to the Video Nasties, the notorious list of movies targeted for prosecution on home video by the British government’s Department of Public Prosecutions in the 1980s, when the film is set...

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Harrison Ford's quick lesson on film editing

by Tim Brayton

When we think of the most memorable moments in Oscar history, we tend to think about winners and their speeches, or maybe particularly impressive (or disastrous) musical or comedy performances during the ceremony itself. We don't, as a rule, tend to think about how the categories get introduced, but I find myself in the position this year of thinking that the very best, or at least the most gratifying moment in Sunday night’s telecast was exactly that. I'm talking about Harrison Ford introducing Best Editing, where we got one of those vanishingly rare moments throughout the years where this annual event designed to promote and celebrate filmmaking actually managed to promote and celebrate filmmaking.

If you've forgotten the moment, it was as unflashy as it gets: Ford, in an apparent state of, ahem "advanced relaxation," read a bunch of bullet points off of a sheet of paper...

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93rd Academy Awards: On the Best Animated Feature nominees

by Tim Brayton

With a day between us and the Oscar nominations announcement, it’s time to start digging into some of the categories that fly under the radar a little bit without the proper love and attention. For now, I’d like to walk you through the five films nominated for Best Animated Feature, ranked in order of how good I think their chances are of winning the big prize...

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Review: Weathering with You

By Tim

Makoto Shinkai, the Japanese animation director whose new film Weathering with You opens this weekend in the US, has honed in on a few particular aesthetic preoccupations with laserlike intensity over the years. One of these is rain and the way that each droplet catches and reflects the diffuse light of a cloudy day; one is the brilliance of sunbeams piercing their way into shady areas, with fuzzy, dusty edges blurring the difference between light and dark; one is the way that riding in trains forces a lateral flatness onto the perception of the rider, transforming landscapes into planes of action moving across each other. He also favors stories about the extreme emotional states of teenagers, starting with but not limited to youthful romantic passion, and these stories tend to end in lopsided sentimentality expressed with as much unsatisfying contrivance as a decent filmmaker would dare throw into an otherwise satisfying screenplay.

Weathering with You, comes with a scenario that has been created with the apparent goal of specifically enabling him to chase every one of those things as far as a person possibly could. It's about a near-future Tokyo where it's always raining, and a teen girl who has the ability to create localized pockets of rainless sunshine...

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Animated Feature Contenders: "Primal"

By Tim

A record-setting 32 films were submitted in 2019 for the Academy Award for Best Animated Feature. Of these, the biggest outlier is the clumsily-titled Genndy Tartakovsky's Primal: Tales of Savagery, which only barely deserves to be called a film at all. It's a feature-length repackaging of of the first five episodes of the television limited series Primal, which aired on Adult Swim in October (with another five coming sometime in 2020), and which was never at any point intended to be seen in any other form than as discrete 22-minute episodes. The condensed feature-length version existed solely to have something that could be put into theaters in Los Angeles for a week to qualify for the Oscars, and there are no plans for it to ever see the light of day again.

Ordinarily, that would be the kind of rule-bending chicanery that we disapprove of here at the Film Experience, but I'm content to overlook it in this case. First, because it's extremely unlikely to pay off in the form of a nomination on Monday morning. Second, if Adult Swim hadn't played this cheap trick, I'd have no excuse to talk to all of you about Primal, which in any medium is clearly one of the major works of animation from 2019...

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