Author: Alex Cole

Great promise often falls short, and Biker Fox is one of these films. With his over-zealous nature and his almost constant homily on life, Biker fox is less of an inspirational tale of one man’s fight against adversity than it is repetitive and almost evangelical lesson on life.

Biker Fox is a fly on the wall documentary focusing on Frank P. DeLarzelere III, a Tulsa, Oklahoma resident and local eccentric who has become something of a cult hero. He has an immeasurable love of cycling and is known locally for his flamboyant protest against a sedentary America. Referring to himself solely in third person and only as Biker Fox we are taken into his world and shown his work, his passions, the adversities he faces and an awful, awful lot of cycling.

Biker Fox has been given a lot of control of the scenes featured in this film, and as an audience we are treated to some unique and innovative shots of his antics. There are some incredibly memorable scenes, particularly those in which he comes into conflict with motorists and his interaction with wild animals. Yet these moments of clarity and understanding are lost in the clouds, faced with a storm of unappealing and repetitive life lessons. His ‘life experiences’ are often repeated, sometimes several times and even the most interesting scenes are diminished when we’ve seen similar moments five or six times.

This feature has no rhythm and because of this, for me, it has no meaning. Biker Fox is clearly putting on a show throughout the film. He knows he’s being filmed and he is often in control of what is being shot. There are few moments of real vulnerability, and much of what we see and hear feels contrived in some way, not by the director (Jeremy Lamberton), but by Biker Fox himself.  Biker Fox tries so hard to portray himself as a beaten, misunderstood hero that it feels false and untrue. Even in one of the more entertaining scenes in which Biker Fox screams and shouts at an inconsiderate and unsafe motorist, despite the motorist’s unruly behaviour Biker Fox’s showmanship and exaggerated reaction removes any sympathy or empathy the audience may feel. As a result the issues cyclists face which he is trying to highlight are not properly addressed.

There are a few glimpses of real vulnerability when he discusses his family, the homosexual jibes he faces each day and the moments he talks about those closest to him. Ultimately, Bike Fox is a man with a good heart is only trying to make a positive difference. It is this side of Bike Fox Lamberton is trying to show as well as the coping mechanisms he employs to hide them. Unfortunately the ambiguity of what this film is and the far too frequent pomp Biker Fox displays remove what could make Tulsa County’s most flamboyant resident, and this film, appealing.

Regrettably unimpressive and a struggle to finish; pockets of promise don’t rescue Biker Fox from becoming what is a clouded and unattractive vision.

Undeniably Japanese, A Story of Yonosuke is a beautifully endearing tale that maps out the incredible impact one person can have on the lives of others. Split into four admittedly very lengthy parts it surrounds the life of Yonosuke Yokomichi (Kengo Kora). Taking us through his freshman year at University in Tokyo this Nagasaki native is forever joyful and has a profound impact on those he meets. Set predominantly in the 1980’s it is connected to the modern day by four friends of Yonosuke (whose name is apparently hilarious in Japanese). Each have lost contact with Yonosuke but are in turn reminded of their time with him and the remarkable impact he has had on their lives for some so ‘ordinary’. Yuseke Kato (Gou Ayano) describes the impact best when he says ‘I somehow feel luckier than you because I knew him.’

It is clear from my other reviews I’m not often bowled over by lengthy, slow dramatic tales and with a running time of over 130 minutes this film filled me with dread, but A Story of Yonosuke however is somewhat different. Though it will inevitably put some viewers off, the complexity and beauty of Yonosuke coupled with a stunning emotional performance by Kengo Kora is so lovable that I honestly felt luckier for having watched the film. For obvious reasons when I watch many foreign language films there are always times when your attention is drawn from the actor’s face due to my inherent need to read the dialogue to but with A Story of Yonosuke there is little in the way of story that cannot be told by the images on screen. The facial expressions Kengo creates are endless and the friendships are so real and inviting I challenge anyone not to draw parallels to their own lives. Kengo Kora is supported by a stunning cast, particular mention should go to Sosuke Ikematsu and Yuriko Yoshitaka whose performances are immeasurable and whose characters are so unique and fascinating that for me this film wasn’t near long enough.

Not only is this film hilarious it also features several heart-churning moments. A hospital scene between Yonosuke and his girlfriend Shoko (Yuriko Yoshitaka) is innocent and profound in its simplicity, not to mention the rousing speech given by Yonosuke’s mother at the film’s conclusion that gives the film its meaning. These moments tie in so well with the films otherwise cheerful nature and fully capture the joy of life that Shuici Okita is trying to create.

A Story of Yonosuke proves that comedy has more than one meaning. An ordinary plot with no real drama or suspense I wanted to watch it again the moment it finished. Though many may be put off by its length, or the style of Japanese film-making, I would recommend this to anyone and will be forcing it upon many!

Demonstrating that when faced with our own emotions certainty can never exist 2012 Ocscar winner Ashgar Farhadi, director of the internationally acclaimed A Separation, presents us with an intensely complex web of lies, truths and family life that makes us question if we can ever truly understand the people we love.

Beginning with the arrival of Ahmed (Ali Modaffa) in Paris to finalise his divorce from ex-wife Marie (Bérénice Bejo) he is soon faced with an impossible dilemma as he is forced to discover the roots of his now ex-family’s growing internal conflict.

Despite the film’s first hour predominantly focusing on Ahmed, The Past gradually shifts its focus between characters as audiences are led on a wandering of discovery. This film presents an interaction between characters that is more complex than traditional story-telling and is marked by layers upon layers of drama and intrigue. The very concept of love, honesty and truth are an ambiguous notion and The Past presents us with no real conclusion or climax, the more we learn the less we know. It is itself an enigmatic tale.

The performances are excellent from everyone in this film, Elyes Aguis gave a particularly touching performance as Fouad, and it has the makings of a tremendous success. Unfortunately the ambiguity and complexity on which it is built is its own downfall. Its premise is beautifully subtle and what it is trying to achieve is truly unique; yet the shifting focus and approach to each character simply left me cold and unable to attach myself to the story. What was intended to demonstrate that our perceptions of ourselves and those around us are built by the truths we know, easily crushed by a single revelation, as brilliant as this is, is very hard to capture on film. It meandered through to the point with some very lengthy scenes that left me screaming for the end. I’d looked forward to this film, and for the first hour or so I was convinced, in love with the on-screen performances and ready to applaud Farhadi for weeks; but as it went on, just as Ahmad did on screen, the impact of this film quickly became background noise.

An ambitious testament to the ambiguity of life challenging the construct of drama, The Past is most likely a firm Oscar favourite and Ashgar Farhadi is undoubtedly destined for success; but for me this film was just too awkward and slow. A great watch for drama lovers, but requires bags of patience, patience I just didn’t have.

Larry Cohen is B-movie royalty, and The Stuff (1985) epitomises why. It has everything a good B-movie should; a plot that doesn’t make sense and doesn’t need to, a multitude of stars well versed in the skill of over-acting and characters so exaggerated they literally explode.

The Stuff tells the story of David ‘Mo’ Rutherford (Michael Moriarty), an industrial spy hired to steal the secret formula to a new product rivalling ice cream called ‘The Stuff’; only to discover the product is an alien creature mined from the earth’s crust that takes control of those who consume too much with deadly effect. As he discovers the threat to the planet, Mo is helped along by the most unlikely of allies. Mo’s team includes not only the woman responsible for The Stuff’s marketing campaign, a child who saw ‘The Stuff’ come alive in his fridge, a staunch anti-communist, overtly patriotic and racist army colonel but a former executive called Chocolate Chip Charlie (Garrett Morris) whose hands are registered lethal weapons! His quest for the truth and to punish those responsible takes him on a path from investigator to hero, and for an exiled FBI agent who claims to be called ‘Mo’ because he always asks for…‘Mo’ money… it is a remarkable and outright ridiculous one.

The Stuff is unashamedly ridiculous and bares a remarkable resemblance to Invasion of the Body Snatchers. Heavily referencing the films underlying vision of a communist plot from within; Mo Rutherford convinces Colonel Spears (Paul Sorvino), a thoroughly racist, perverted and patriotic egotist, that the communists have developed a mind altering substance in a subversive plot to takeover America. The film is littered with social messages which are oddly enhanced by the comical scenes of violence, and some downright ludicrous scenes. The goofy horror it presents to the viewer is by no means scary but I don’t feel it was ever intended to be. Though advertised as a horror, The Stuff is best enjoyed as a comedy. Consider it a horror and you’ll be disappointed. Consider this an epic portion of 80’s comedy gold complete with a soundtrack Robocop would be proud of and you’ll be in for a treat.

Michael Moriarty gives a good performance as Mo Rutherford, but his character’s impact is side-lined when compared to Morris and Sorvino’s hugely entertaining supporting characters. So much so I began to feel that it is built around these characters and not its star. This is not to reduce the importance of Mo. In fact, these supporting characters are linked and developed through the story with presence of Michael Moriarty; their exaggerated characters enhanced by his more orthodox anti-hero.

Larry Cohen is a satirical genius, and although The Stuff is by no means the leader of the comedy-horror genre, it is a hugely entertaining rest-bite from an industry that often takes itself to serious and is a must see for fans of 80’s cheese!

Alex Cole

Told through an extensive collection of interviews, courtroom footage and newspaper clippings, Alien Boy maps the tragic story of James Chasse. A schizophrenic struggling with the norms of life, Chasse was violently tackled and brutally beaten by police officers in Portland Oregon. Six years in the making, this reverent film takes us from Chasse’s bright punk rock youth through his ever increasing mental struggle to his brutal death and the contemptuous court proceedings that followed.

The cynics amongst us could argue that this film, largely told from the point of view of those that knew James Chasse and those who witnessed his death, is like many other documentaries of this kind, one sided and entirely focused on the viewer’s emotions. Yet in the case of Alien Boy this couldn’t be further from the truth. It is a reaction to the state led portrayal of Chasse as a dangerous and mentally ill vagrant immediately following his harrowing death. It is one of the most moving documentaries I’ve seen in years, but is remarkably fair and to the point. The culmination of Lindstrom’s talent and a community in shock, Alien Boy demonstrates the outrage felt by the people of Portland and displays the contempt of the court system when it is the system itself under question. It tastefully outlines the failings of the police and though it heavily criticises their actions it is sure to present that this is endemic of greater failings and thankfully falls just short of demonising the officers involved. As far detached from the sermons of Michael Moore as a documentary can be; Alien Boy does not preach to its viewers. It lets them determine for themselves whether to believe the evidence put in front of them and lets the people who experienced this tragedy, as well as those who committed it, tell their own story.

Alien Boy is gripping from the start and unlike many feature documentaries which can feel stretched and overplayed; Lindstrom delivers pace, suspense, gratifying content and boundless human emotion. It has a real impact to it and there will be few who aren’t affected by watching this film.

An absolute must see!