Author Archives: leerobertadams

Lucy (2014) Review…

I’ve recently started writing for a lively, brand new pop culture website called pop.junk. Here’s my first offering for my new comrades -

Lucy (2014) – If it had brains, it would be dangerous…

scarlett lucy

“Alfred Hitchcock had a thing for icy blondes, and shared his kinks and fetishes with the viewer in films like Vertigo, The Birds, and Marnie. Luc Besson also likes to air his sexual preferences in his films, and the French director likes ‘em hot, young and deadly.” Click here to read the full review…


A.M.W.T.D.I.T.W; Transformers: Age of Extinction; Nowhere in Moravia (2014)

Recently I’ve picked up my first paid writing gig – I’m now the film critic for the Brno Expat Centre, writing film reviews and movie-related articles for the expat community in my adopted home town. It’s been great so far – apart from new cinema releases, I’ve covered a local film festival and started reviewing Czech films.

Here are links to my reviews for the Brno Expat Centre so far -

20/06 – A Million Ways to Die in the West (2014) – Seth McFarlane Fires Blanks in Smutty Western Comedy…

A Million Ways to Die in the West 1

“Have you heard the one about the farting cowboy? If not, go see A Million Ways to Die in the West, and Family Guy creator Seth MacFarlane will tell it to you half a dozen times.” Click here to read the full review (opens in new tab).

01/07 – Transfomers: Age of Extinction (2014) – Michael Bay’s Metal Monster Mash Goes East…

Tranformer pic

“No-one in modern cinema blows up $165 million like Michael Bay. His fourth installment of the money-spinning franchise Transformers: Age of Extinction is flashy, hollow, juvenile and about an hour too long, but at least all the money’s on the screen.” Full review here.

Lastly, my first attempt at reviewing a Czech movie – this was actually quite nerve-wracking, because I’ve only seen a handful of Czech films before -

28/07 -Nowhere in Moravia (Díra u Hanušovic) – Sex, Beer and Boredom in a Small Village…

Nowhere in Moravia

“Miroslav Krobot’s morbidly funny Nowhere in Moravia is a downbeat portrayal of small lives, set in a tiny village where life takes forever.” Full review is here.


An 80’s Childhood in Ten Beards…

[Video Krypt is branching out - I've been on a nostalgia trip for the past week, so have decided to add a new TV category to the blog.]


Studies show that people are more likely to start smoking if surrounded by smokers when they are children, and public health watchdogs are always wringing their hands about TV & movies making cigarettes look glamorous. The same goes for beards – I didn’t have my first beard until the age of thirty-three. Trying to work out why, I looked back at my childhood and realised that not only did my Dad and Santa Claus have beards, but beards proliferated TV too, surely having something to do with my late-developing urge to have facial hair.


1. Timothy Claypole (Michael Staniforth) in Rentaghost


One of my earliest TV memories was of Timothy the medieval jester cavorting around a suburban house in Rentaghost. The show was about a bunch of ghosts who worked for a supernatural agency, but grew increasingly surreal with the more characters added. Timothy eventually became almost the straight man when surrounded by a Scottish witch, a pantomime horse, and Miss Popov, who teleported every time she sneezed. Which was about twenty times an episode. I had absolutely no idea what was going on as a kid, and re-watching an episode before writing this, I still have no idea.


Under the Skin (2013) – A chilly meditation on being human…

You spend a lot of time gazing into the eyes of Scarlett Johansson’s alien temptress in Under the Skin, Jonathan Glazer’s obtuse adaptation of Michael Faber’s acclaimed novel. You also spend a long time scrutinizing the expression on her face, which is usually as enigmatic as the Mona Lisa’s. If the eyes are the windows to the soul, does this creature have a soul? What is she thinking – or is she just computing? The facial expressions are like ones we use, but does she share any comparable emotions with us?

Questions such as these arise because Glazer has stripped the story to the absolute minimum. We are given almost no information about Johansson’s character Laura. In his last film, Birth,Glazer left it up to the viewer to decide exactly what had happened. In Under the Skin, he pares it down even further, so there is almost no dialogue to help us along. We’re left alone to draw our own conclusions.

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The Lavender Hill Mob (1951) – “By Jove…it’s a good job we’re both honest men.”


I could’ve robbed my company blind in my last job.  With intimate knowledge of their processes and systems, I could’ve created so much confusion that I would be safely esconsced in a bar somewhere in Buenos Aires, spunking my way through half the loot before they even realised something was wrong.  The reason I didn’t?  Because I’m an honest person.  I believe in the basic goodness of humanity, and believe that most people on this planet are generally honest and decent, which is why I think the Heist Movie performs such a valuable function to society.

The great thing about a good heist film is that you get to feel part of a caper for a couple of hours.  The best examples have a clearly defined prize, and make it clear who or what is being robbed.  You get to be involved in the planning, make your own judgements on the cleverness of the plan, and enjoy the thrill of the robbery without any personal risk.  Many heist films simultaneously withold vital information from the viewer – The Sting and Soderbergh’s Ocean’s Eleven are good examples – so that while the viewer feels part of the scheme, they are also deceived by a final rug-pull at the film’s conclusion.

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Harold and Maude (1971) – Stinks of Bad Death…


“It’s a funny old world,” W.C Fields once said, “A man’s lucky if he gets out of it alive.” When he was dying, a friend visiting him in hospital found him reading the Bible. Why? “I’m checking for loopholes.”

Those two quotes, in a round about way, sum up why I don’t like Harold and Maude. Life is hard at times, a knackering, exasperating accumulation of circumstance that sometimes leaves one wishing for a quieter life…oblivion, for example. But no-one gets out alive, and there are no loopholes. One may not have signed up for this shit, but to check out early is a dereliction of duty.

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Mr Brooks (2007) – No Sympathy for this Drivel…

mr brooks 2

They say the Devil gets all the best lines, which is perhaps why most actors are drawn to the darker side of human nature during their careers.  It is often the actors with a “nice guy” image that make the most startling transformation – one of James Stewart’s finest films was Vertigo, playing out Hitchcock’s fetishes as the obsessive cop Scottie Ferguson; Henry Fonda’s warm blue eyes famously because the stone-cold glare of a killer in Leone’s Once Upon A Time in The West.

It doesn’t always work out, though – Jim Carrey in capable of playing baddies and morally dubious characters, but his misguided The Number 23 stank out theatres the same year as Kevin Costner potrayed a serial killer in Mr Brooks.  Carrey’s alter-ego looked just like an evil Ace Ventura, and was impossible to take seriously.

Mr Brooks isn’t much better, but luckily Costner is an inspired choice as the title character, a successful businessman who aso happens to be a meticulous serial killer.  Costner has played bad guys in the past, most notably as an escaped convict in Eastwood’s A Perfect World, but is usually associated with upstanding, honest types – Eliot Ness in The Untouchables; Ray Kinsella in Field of Dreams; Jim Garrison in JFK.

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Tokyo Story (1953) – Simple & True…

Tokyo Story 3

Yasujirō Ozu‘s Tokyo Story is a film I would urge anyone to see, because I can’t think of another film that matches it for such simple and profound emotional truth.

In twenty years as a film buff, I’m ashamed to say that I’ve had a blind spot when it comes to Japanese cinema.   My prejudices were probably strengthened by the few examples of J-horror that I’d seen.  The end of Ringu was so pant-wettingly scary that it almost got me a free month’s rent – my flatmate was so frightened he offered to let me off if I’d let him sleep in my room that night.  Yet the preceding two hours or so were pretty much how I expected Japanese films to be – chilly, inscrutable, oblique.

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The Exorcist (1973) – The Ultimate White Hats vs Black Hats Movie…


There are few films with the diabolical aura of William Friedkin’s The Exorcist.  The story of demonic possession built its fearsome reputation during the long years of exile from videotape – while it was not included in the BBFC’s list of banned films via the Video Recordings Act 1984, it became an unofficial member of the “Video Nasty” club. BBFC censor refused to issue a home video certificate, thus depriving a generation of latchkey kids with access to their dad’s video card the joys of a head-spinning, pea-soup-puking, spider-walking little girl, and the brave priests who try to save her.

Nowadays, the special effects sequences look a bit creaky and rather tame compared to what our torture porn era has to offer, but what is left is a film of undeniable power.

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Julia (2008) – Not the kind of girl you’d take home to meet the parents…


I’ve never been a big fan of movies with just the character’s first name as a title – it creates so much expectation.  What is so special about this individual that I’m on first name terms with them before the opening credits roll?  I think – what will the trials and tribulations of Arthur, Annie, Alfie or Paul tell me about the world around me, or more importantly, the world within me?

So Arthur’s a rich pisshead; Annie’s an annoying ginger orphan; Alfie just wants to get his leg over with a bit of crumpet; and Paul is a slacker alien voiced by Seth Rogan.  Then I think – so what? Let’s watch something else instead.

Movies titles with just the surname fare slightly better – at least Bullitt sounds like a hard name, matching Steve McQueen’s inscrutable hero.  Perhaps it was Shakespeare who created such high expectations, naming some of his most famous plays after the eponymous character – Macbeth & Hamlet for example.  But the Bard could get away with it, a) because Macbeth & Hamlet are pretty cool names, and b) he was alright at creating memorable characters to match the anticipation generated by the title.

Julia gets away with it too.  The name itself is pretty mundane, and the film is based on another first-name-titled movie, John Cassavette’s Gloria; but it does feature an absolutely enormous central performance by Tilda Swinton.  In fact, if I could write a one-word movie review for Julia, borrowing the rather obnoxious exclamation mark from Oliver! – I would just write: TILDA!

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