Ain’t Them Bodies Saints

3 Nov

Aint them bodies


Director: David Lowery

Writers: David Lowery

Stars: Rooney Mara, Casey Affleck, Ben Foster

Motion Picture Rating: R

Runtime: 96 minutes


The inexperienced writer-director David Lowery admitted that he set out to make a “classic film” with Ain’t Them Bodies Saints and he certainly gave it a good go. He demonstrates a high level of technical skill and is supported by a strong cast, an effective score and some beautiful cinematography. This is a wonderful looking film that deserves recognition. It does not reach classic status, but so few films actually do.

Bob Muldoon (Affleck) and Ruth Guthrie (Mara) are lovers and bank robbers in 1970’s rural Texas. Bob takes the fall after a failed getaway, is sent to prison and leaves pregnant Ruth behind. They both suffer their separation deeply with Bob writing endless letters home and Ruth re-focusing her attention on their daughter. In time Ruth strikes up a friendship with local sheriff Patrick Wheeler (Foster) whilst Bob’s mentor Skerritt (David Carradine) watches on. When Bob breaks out of prison the slowly developing lives of those left behind are further entwined and changed for good.

The heart of this film is the passionate relationship between Bob and Ruth. Once apart the story focuses on how they adjust with Ruth learning to fend for herself and to be a mother. As the years go by she realizes the conflict inherent in loving an outlaw and caring for her daughter. Ruth opens up a little with the sheriff, but feels guilty doing so and like the imprisoned Bob she yearns for life as it was before they were caught. Rooney Mara conveys all of that passion, conflict and guilt. It is an excellent performance and it is matched by those of Affleck, Foster, impressive yet again in a supporting role, and Carradine.

The casting of Affleck and Mara is a coup for the writer-director Lowery. Rightly these are two of the hottest actors working today and it is stirring to see them together on screen. At times Rooney’s flawless porcelain skin is at odds with her Texan country girl roots, but ultimately she convinces as the doomed Ruth. Affleck is always good. The direction is as strong as the acting and the whole film is beautifully shot in hues of a late summer haze. It is a slow ride and that will frustrate some viewers, but tension builds and the ending is smart.

It is impossible to watch this film and not to think of the work of Terence Malick. The plot in part resembles Badlands (1973) and the country setting echoes Days of Heaven (1978). The slow, controlled pacing and warmly photographed natural world are central to The Tree of Life (2011). Malick makes ‘classic films’ and Lowery is trying to follow suit. In doing so he has produced an old-fashioned effort with a lot of heart and passages of real beauty. It has its flaws, but the ambition should be applauded and I would describe this as a minimalist triumph.


31 Aug

calvary image


Director: John Michael McDonagh

Writer: John Michael McDonagh

Stars: Brendan Gleeson, Chris O’Dowd, Kelly Reilly

Motion Picture Rating: R

Runtime: 100 minutes


The word calvary can mean agony or anguish as well as torture or affliction. The calvary being endured in John Michael McDonagh’s second film as writer-director is that of Father James Lavelle, a Catholic priest in rural Ireland. It is also that of the Irish people. Their deep anguish at the hands of the Catholic Church as well as other tainted pillars of society from bankers to politicians. Ireland during the last 5 – 10 years has suffered a crisis of faith and this film wades through it warts and all.

The opening of the film is in confessional with Father James listening to a male member of his parish. The voice from behind the curtain tells the priest that he will kill him in 7 days’ time to make amends for the pedophile sins of the Church. It is a shocking first scene. Father James has little to say. The clock on his execution come sacrifice is already ticking.

The film follows father James, played by Brendan Gleeson, through the days leading up to that date with destiny. He ministers to his congregation as best that he can with equal parts charm and bemusement. His community is a mix of oddball characters, played nicely by Chris O’Dowd, Dylan Moran, Aidan Gillen etc, with plenty of dark secrets shared around. Father James must deal with adulterers, deviants, criminals and addicts. For a small wind-swept town there is plenty of healing to do (although most seek solace a long way from the church). It becomes clear that this priest gets short shrift from an ever faithless flock.

Father James starts to question his own faith as the town openly questions the church and other once lofty Irish institutions. The tone of the film gets darker, the themes heavier and the numerous comic touches of the first 60 minutes fall away. The transition is mostly handled well by the writer-director. Arguably this is a black comedy, but the blackness engulfs the comedy by the end. Unlike its predecessor “The Guard”, another very good film, McDonagh paints a much bigger picture than ‘rural Irish strangeness’. This attempts something grander.

The few flaws that appear are mostly the result of over-ambition. There are one too many characters to follow, their traits are too extreme at times and the storyline about the disgraced banker (Moran) pales against that of the crumbling church. However, Gleeson holds it all together with a perfect performance. He relishes the material and gives it his all. His Father James goes on a hell of a journey and his anguish is very real. That calvary is seemingly reflected in the dark, damaged and detached minds of many of his fellow countrymen.

The Canyons

16 Jun

the canyons image


Director: Paul Schrader

Writer: Bret Easton Ellis

Stars: Lindsay Lohan, James Deen, Nolan Gerard Funk

Motion Picture Rating: R

Runtime: 99 minutes


I cannot remember when I first heard of this film, but it was a long while before I saw it. The hype was significant as soon as director Paul Schrader and writer Bret Easton Ellis came together. Their film was bankrolled by crowd funding, to be shot fast on commonplace digital equipment, with a male porn star as the lead and to feature rehab queen Lindsay Lohan. It was almost too much to process. The context, storyline and casting were unreal. I, like many others, could sense a car crash on the horizon.

Unfortunately for the film-makers, the opening of The Canyons proves all doubters right. A pivotal dinner scene with the 4 main characters – Christian (James Deen), Tara (Lindsay Lohan), Ryan (Nolan Funk) and Gina (Amanda Brooks) – is so badly lit, scripted and acted that it feels like a hoax. Are the film-makers being deliberately bad? Were Schrader and Ellis playing us all that time? Why else have porn star Deen, completely out of his depth with his clothes on, and battling addict Lohan sit and spout preposterous dialogue for 5 minutes. It is cringe-worthy.

Christian, as it happens, is living with Tara and funding a new movie to star Ryan and being produced by Gina. Tara was influential in casting Ryan (her ex-boyfriend) and Gina is also Christian’s personal assistant. The 4 of them have overlapping lives, but it’s Christian, with his substantial trust fund and self-confidence, around whom they orbit. It is the destructive and poisonous relationship between Christian and Tara that centres the film. He likes to film her having sex with strangers and she is seemingly OK with that whilst he puts a very expensive roof over her head. It’s that type of relationship. And there is a fair amount of sex and voyeurism on display.

Exactly what Schrader and Easton Ellis are trying to do and to say with The Canyons is not clear. They have talked about ‘re-inventing’ cinema with this low budget, quick and open production, but that’s not the case. They achieve some high quality shots considering the budget and equipment, but it still feels amateurish. The story is old hat and they borrow from other films (such as Body Double by Brian de Palma). The premise of young, amoral and wealthy Americans deadened by modern digital life was addressed by Don Jon, The Bling Ring and by Spring Breakers (all reviewed on

The most interesting aspect of this is Lindsay Lohan’s participation. She looks shocking and she acts with real pain. It is uncomfortable to watch. The plastic surgery and addictions have aged her to quite an extraordinary degree and there is something desperate and sad about her appearance in this provocative nonsense. The film-makers want to comment on the death of cinema – hence the inclusion of stills of closed theatres throughout and quotes from Christian such as “we are all actors now” – but with Lohan they have a living embodiment of said decay. She is Norma Desmond. She looks haunted and yet still puts in a solid performance. It’s about all that The Canyons has to offer.

The East

21 May

the east


Director: Zal Batmanglij

Writers: Zal Batmanglij, Brit Marling

Stars: Brit Marling, Alexander Skarsgård, Ellen Page

Motion Picture Rating: PG-13

Runtime: 116 minutes


Over the opening credits oil slicks pollute coastlines as an Ellen Page voiceover introduces an eco-terrorist group called The East. It is a strong intro to a topical and interesting subject. The East is a young anti-corporate group of agent provocateurs that target businesses polluting the environment. Members are described as anarchists and counter-culture types. We expect a mix of Green Peace activists and Occupy Wall Street protesters with the likes of Exxon, Goldman Sachs and Dow Chemical firmly in the crosshairs of their righteous rifles.

Page plays true believing activist Izzy. The lead character Sarah is her opposite and played by Brit Marling (sharing the writing credit with director Zal Batmanglij). Sarah works for a private company that protects the reputations of big business. The company sends her to infiltrate The East as a part of their surveillance and counter-terrorism work. She is chosen in part because she is a highly unlikely agent provocateur. She is a straight-laced Christian radio listening good girl (so just maybe The East will not see her coming…) Sarah’s journey into the heart of the anarchists’ collective, and away from the expected path, is no doubt where the film-makers expected drama to emanate from.

Unfortunately, the role of Sarah and the casting of Marling hobble the film from the get-go. She looks too much like a hair model, acts in an oddly impassive manner, and her character is simply far too naïve to ever be selected as an undercover operative. Marling can act and has shown up well in films such as Another Earth, but I don’t see her as a lead and one suspects her writing credit and friendship with the director partly led to the unconvincing turn here. That is a pity because the subject and basic premise are worthwhile.

Elsewhere the casting is similarly flawed. The East comprises of Page, Toby Kebbell as Doc, Aldis Hodge as Thumbs, and Alexander Skarsgard as their sensitive leader Benji. Together they look like a J Crew version of an eco-terrorist group. It’s a young, good-looking, confident and well attired group that would look out of place at Glastonbury let alone a Green Peace protest. It’s all too unbelievable and any semblance of drama from an early attack on a big pharmaceutical target dissipates as the gang mope and squabble and pout and shout. Their later raids are less impressive and the lack of drama continues to a muted ending. This is a missed opportunity. Never have counter culture types, anti-corporate terrorism and deep under-cover work been so dull.

Don Jon

25 Mar


don jon


Director: Joseph Gordon-Levitt

Writers: Joseph Gordon-Levitt

Stars: Joseph Gordon-Levitt, Scarlett Johansson, Julianne Moore

Motion Picture Rating: R

Runtime: 90 minutes



The internet has substantial power to corrupt and harm peoples’ perceptions of sex. The lack of real and immediate intimacy can desensitize those viewing sex remotely. Internet sex can advance stigmas, prejudices and encourage anti-social behaviour. It can be the same with internet violence, but that subject is less taboo than pornography which is, ironically, the most trafficked online content. It is rare for a film to tackle the topic of porn addiction so Joseph Gordon-Levitt (JGL), the writer, director and star here, deserves plaudits for Don Jon.

Gordon-Levitt’s Jon is sort of positioned as a modern day Don Juan and has accepted the ‘Don’ nickname from his admiring buddies. Jon spends his nights picking up ladies in neighbourhood bars and clubs and his days working out at the gym and watching porn. It’s a simple life. So simple that his work status is never confirmed. What we are told is that he loves his mother, goes to church each week, values his ride, his body, and good-looking chicks (on and offline).

Jon’s problem is his addiction to porn. He cannot go a day and sometimes an hour without it. He obsesses as much about internet sex as he does about his gym workouts and his weekly church confessions. It clouds his views on sex, love and relationships (that Jon feels are inferior in the real world). And that is the story being told here; how online porn can distort and ruin lives by preventing users from making real connections. It is a worthwhile and interesting tale, but the film comes up short in some key areas.

Jon is an unpleasant and one-dimensional character which is brave of JGL to create and play, but is unhelpful for most of the film. His interactions with the two main female characters are often awkward and Jon is hard to engage with. He chases and dates Barbara (Scarlett Johansson) and hangs out with Esther (Julianne Moore). He loves the way that Barbara looks and he likes the way that Esther challenges him, but those couplings don’t always convince. It feels forced, the plot turns are well sign-posted, Jon’s family is a sit-com cliché (with Tony Danza playing dad), and only in the final 20 minutes does the film provoke real emotion.

Overall, this is a good first effort from JGL and the film should be applauded for its subject matter. The acting is solid, with Moore as usual showing up to best effect, and there are a few funny lines and scenes. It’s not particularly subtle or insightful, but I imagine that the intended 18 – 28 year old target audience will thoroughly enjoy it and possibly learn from it. To that extent it has to be classed a success.

The Selfish Giant

7 Mar

the selfish giant


Director: Clio Barnard

Writer: Clio Barnard

Stars: Conner Chapman, Shaun Thomas, Sean Gilder

Motion Picture Rating: 15

Runtime: 91 minutes


Clio Barnard, the British writer director of The Arbor (2010), was inspired by Oscar Wilde’s short story for children to bring this piece of social realism to the screen. Wilde’s giant owns a beautiful garden in which children love to play on their way home from school. Barnard’s giant is a tough scrap metal merchant and his ‘garden’ is the rusting, dark and dangerous yard for which most children stay clear. That’s the children regularly attending school, the children with parents to worry about them whilst they get on with their homework. That’s not the two children at the centre of this tale; Arbor (Conner Chapman) and Swifty (Shaun Thomas).

The two boys hanging around the scrap metal yard come from an impoverished community on the edge of Bradford. They live on council estates in broken homes. Jobs are scarce, life is hard and there is a pervading air of anger and despair. Both boys, best friends around 15 years old, show flashes of anti-social behaviour from the outset, but Arbor is particularly troubled. He is on medication, clearly struggles to control himself and rarely attends school. He sees the scrap yard as a way to make money and drags along the gentle and mature Swifty. They annoy the yard owner Kitten (Sean Gilder), but he allows them in, gives them odd jobs and takes an interest in Swifty.

The story is simple. It follows the boys’ interactions with Kitten, the escalation in risks they’re willing to take to collect scrap and the impact of both on their friendship. Throughout there are some beautiful shots of dusk and dawn in the boys’ neighbourhood; of pylons, common ground, stray horses and vacant lots. Everything is haggard and past its best, but at the same time the cinematography pulls something from the void. It is rarely hopeful, but it is beguiling.

Whilst the story is simple, there is more going on in this film to subtly challenge the viewer. As with Wilde’s fable for children, themes touched upon include the end of childhood and the bonds between friends and within communities. Arbor and Swifty have their friendship challenged by their interaction with Kitten and the scavenging for scrap ekes away at their childishness. They are forced to become ‘adults’ and that’s as sad as the broken communities in which they roam. As such this is a deeply affecting film and I shed a tear or two at the end. Clio Barnard has produced a perfectly small, powerful and moving film about real life and with two excellent performances from the young and novice actors.

The Act of Killing

24 Jan



Directors: Joshua Oppenheimer, Anonymous

Stars: Anwar Congo, Herman Koto, Syamsul Arifin

Motion Picture Rating: NR

Runtime: 115 minutes


I have watched a lot of films, I still love doing so, but I am too rarely surprised by them. I try not to prejudge, but often my knowledge of the basic plot, the cast and crew and my experience of the trailer provokes subconscious comparisons that can be hard to shake. It is the ‘curse’ of the film critic. However, when a film does come along like The Act of Killing it is a truly thrilling experience. It makes all of the painful, forced and insulting movies fade into the background and reaffirms my belief that film-making is the most essential modern art form. This film did that and more. It is a vital piece of cinema and without a doubt one of the best films that I have ever seen.

Joshua Oppenheimer spent a long time in the North Sumatra province of Indonesia producing this documentary. He immersed himself in the communities, learnt the language and he researched in great detail. The film that emerged from his exhaustive investigation is not what was imagined by him and is certainly not a traditional documentary, but it is sublime. He allowed the film to take shape around the subjects that he followed and their journey into darkness is profound and unexpected. Of them it is Anwar Congo, gangster, executioner and celebrity that the camera focuses on.

Anwar Congo was a low level gangster in 1965 in the city of Medan who transitioned from selling black market cinema tickets to leading a death squad that tortured and murdered thousands of citizens. The military overthrow of Sukarno’s left-leaning and anti-imperialist government set those wheels in motion. Congo and his buddies took what they learnt at the local picture house – lots of American gangster and cowboy movies – and applied it to the coup. They were feared, feted and promoted during a period of extreme violence. Today Congo and the others remain popular and proud of their murderous past. There has been no truth and reconciliation commission for Indonesia and the failure to deal head on with the genocide makes this film so powerful. Oppenheimer somehow manages to get Anwar Congo and cronies to discuss, debate and to re-enact their crimes.

1 million people were killed in 1 year by paramilitaries and gangsters as Suharto ousted Sukarno in 1965. To this day the military and the gangsters are still in power in Indonesia – hence Congo and his group of ageing death squad members remain popular (as “history is written by the winners” as one of them tells Oppenheimer). It is a unique and unsettling situation. This documentary captures that by giving those winners a voice. They describe their torture techniques and justify their actions. The current leaders applaud them and many encourage discussion of the ‘open secret’. They tell us many times that the word gangster actually means free man. Their perspective and the film scrambles your mind.

The cruelty and barbarism that is re-enacted by the participants during the documentary is very disturbing. Genocide is the blackest of holes. It is mankind with no humanity. To have it explained, debated and joked about is almost too much for the senses and yet this is The Act of Killing. Congo looks straight into the lens and describes how hacking people to pieces produced too much blood so strangulation became a preferred method of execution. At times the retired gangsters dress up and act out scenes of interrogation and torture for the camera. At those points the word surreal almost doesn’t cover it. One of the gang – fat, sweaty, dim-witted and menacing – takes female roles in the amateur productions and happily slaps on the make-up and piles into sequined dresses. Quite simply, I have never seen anything like this. Has anyone?

The journey that Anwar Congo goes on in contributing to The Act of Killing changes him. You can see it happening as, for example, he tells the director that he realizes how his squad’s use of torture took away victims’ dignity. Congo faces up to his past, tries to brazen his way through it, but can’t outrun the ghosts that he’s created. The final scene, where he revisits one of the slaughter houses, is almost too much for him to bear and it has stayed with me since I saw it more than a week ago. It is incredibly powerful. And Oppenheimer handles it so very well.

This is a strange, fascinating, dark and disturbing piece of cinema. The director deserves enormous credit for two specific achievements that I will close on. Firstly, the film breaks many film conventions with success. For example, Oppenheimer mixes the dry traditional documentary style with some jaw-dropping cinematic flashes of brilliance. Secondly, the film examines a topic that is extremely important, but rarely broached. That is the support for torture and genocide that citizens of war torn countries can readily supply. That is happening today in Syria, in Sudan and elsewhere. Military backed coups and dictatorships continue around the world to suck in all manner of local ‘gangsters’ to murder and maim in their cause. Sadly there are still men like Anwar Congo turning on their neighbours.

The Iceman

24 Nov

the iceman


Director: Ariel Vromen

Writers: Morgan Land (screenplay), Ariel Vromen (screenplay)

Stars: Michael Shannon, Chris Evans, James Franco

Motion Picture Rating: R

Runtime: 106 minutes

This is based on the true story of a contract killer living and murdering in New Jersey in the 1960’s and 1970’s. The hitman, Richard Kuklinski, achieved notoriety because of the number of murders that he was associated with (approx. 100), the iceman nickname that the press gave him and because of the very ordinary and healthy family life that he maintained. Kuklinski, of Polish origin, appeared to be a regular Joe, but was far from it. His psychopathic tendencies were funnelled into contract killing for local mobsters and that allowed him to support and to nurture a family. This film focuses on the central contradiction of his life.

Michael Shannon plays Kuklinski and his towering frame dominates the film. He is a large man and a brooding and menacing presence. Here he is reminiscent of James Gandolfini as Tony Soprano, but with added threat. Shannon is well respected by other actors, but is far from a household name. Acting like this, he probably should be; this is a big performance from a very talented actor. His large head, cold eyes, slow and purposeful walk fit the character, but Shannon is more than his physical attributes and imbues Kuklinski with magnetism, depth and a strange poignancy.

There is not a great deal of plot and when the story gets more complicated it less easy to follow and oddly less interesting. The second half mainly involves a lot of tough guys mumbling about double crossing each other. The most intriguing scenes later on provide an insight to the Kuklinski childhood dominated by an abusive father. The young Richard is prone to torturing animals in a clearly desensitized reaction to the physical abuse routinely met out by dad. A conclusion is that the contract killing work of the adult Richard is a way to stay level and to keep demons at bay. He thus manages to live a normal life with wife and kids.

This is a good and mostly gripping film. The 1970’s production and design are on the mark and there are a couple of very good supporting turns by the likes of Ray Liotta. Shannon is excellent throughout and pulls the audience in as his two wholly separate and compartmentalized lives unravel and collide. There are some smart observations about psychosis too in between the assortment of murders. It is not perfect by any means, but is very nicely done. A small, tight and rewarding movie. 

World War Z

9 Nov

world war z


Director: Marc Forster

Writers: Matthew Michael Carnahan (screenplay), Drew Goddard (screenplay)

Stars: Brad Pitt, Mireille Enos, Daniella Kertesz

Motion Picture Rating: PG-16

Runtime: 116 minutes

Big budget action movies getting into production difficulties? I admit I keep an eye out for reports of on-set fights, funding gaps and artistic differences. I waited to get a good look at Waterworld, The Brothers Grimm, Wolfman and Gangster Squad knowing their productions were disastrous. And it’s the same with World War Z. Brad Pitt’s belief drove the project forward, but at what cost? The film was edited multiple times and endings were swapped in and out as Paramount tried to manage pre-release bad buzz.

Unlike the majority of other troubled productions, this film did well at the box office. It is actually one of Pitt’s most successful films. Interest in his more adult take on the zombie genre was helped by his substantial personal promotional campaign, but there are elements to admire here. This is not a bad film.

Pitt is the retired UN conflict manager Gerry Lane living a quiet suburban life outside of Philadelphia with his wife and children. That life, and planet Earth’s survival, is threatened by a plague of fast moving zombies. The Lane family escape the first onslaught in downtown Philly, but then have to battle to meet up with Gerry’s UN crew. Thereafter Gerry is brought out of retirement and sent out by the UN to try and track the source of the zombie virus. He heads to South Korea and to Israel, but strangely ends up in Wales.

The first 20 minutes of panic and pandemonium are brilliantly shot and open the film with a bang. The CGI takes it close to a video game, but the mayhem is suspenseful and scary. Later scenes of rampaging zombie hoards, especially in Israel, are equally as effective. It is hyperactive and fast with these signature shots as good as anything I’ve seen (in the LOTR series for example). That the big stuff is handled well is not in doubt, but the glue keeping the set pieces together is unfortunately not as sticky as it should be.

The final third of the film takes place in a lab in Wales. Gerry has an idea for a cure and pulls in some stranded scientists. The action slows to the pace of a traditional zombie shuffle and the fairly patchy story comes to some form of conclusion. It’s clear that the studio had problems with the ending and the one decided upon is not perfect. All of the early energy and suspense dissipates. The result is close to two different films being sandwiched together and it doesn’t really work. There are some good set pieces and it’s enjoyable, but the film ends with a whimper.


31 Oct



Director: Neil Jordan

Writer: Moira Buffini (play)

Stars: Saoirse Ronan, Gemma Arterton, Sam Riley

Motion Picture Rating: R

Runtime: 118 minutes



Although film and TV vampire stories are being remodeled for younger viewers – Twilight, True Blood, and The Vampire Diaries – one of the best remains Neil Jordan’s 1994 film Interview with the Vampire. That was an adult tale of two vampires in a very gothic 18th century New Orleans. With Byzantium the same director returns in subject matter and tone, but the two vampires are female and the setting is a distressed English seaside town.

Gemma Arterton is Clara, a streetwise exotic dancer and guardian to sensitive Eleanor (Saoirse Ronan). They wash up in a rundown coastal town after Clara has a violent encounter with a thug from their past. They are seemingly on the run, but it’s not clear from what. Their relationship is also ambiguous as the age gap makes them closer to sisters than mother and daughter. The 200 year back story is revealed slowly and in fragments. Their first encounters with vampires are explained and that past is carried as a burden.

The two women take refuge in a defunct boarding house called Byzantium. Clara meets the owner Noel (Daniel Mays) whilst turning tricks down by the pier. As the dancer / hooker Gemma Arterton is saddled with a shaky accent, but is effortlessly enticing. The harlot with a heart of gold is a bit of a cliché, but never has it been played with such sex appeal. Arterton does well, but is outperformed by Ronan who is typically captivating. At 19 she is already a mighty talent.

The look of Byzantium is washed out, distressed and grey. There are splashes of colour, such as the symbolic red cape that Eleanor wears, but mostly the aesthetic is reminiscent of Tinker Tailor Soldier Spy (2011) by Tomas Alfredson. I like the production design in this, it suits the story and frankly most English seaside towns are shabby, dull and foreboding.

Those chasing Clara and Eleanor include Sam Riley as a shady policeman. He appears in present and in flash backs as part of some form of vampire secret society. Jonny Lee Miller also appears as a rotten naval officer. The centuries evolving plot is borderline ridiculous, but the actors commit to it and the slow reveal keeps it interesting. There is a nice modern day relationship, very much taken from Let the Right One in (2008, again Alfredson), involving Ronan and local teenager Frank (Caleb Landry Jones). Its youthful sweetness part balances the sourness of the adult liaisons.

There is a nice mix of serious and schlock in Byzantium and I enjoyed it. The film is sexy and scary at times and the cast is impressive and works hard throughout. It is not young and dumb like so much of the content in Twilight or True Blood and that’s one way to put some freshness back into the immortal bloodsuckers.

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