“Total Recall was one of my favourite experiences. When was it released? 30 goddamn years, my god.”
Michael Ironside may not immediately remember just how long ago it was that Total Recall was released, but few have been able to forget Paul Verhoeven’s slippery sci-fi action blockbuster since it came out in 1990, nor his memorably intense performance as Richter. The primary heavy in this adaptation of Philip K. Dick’s short story ‘We Can Remember It for You Wholesale’, Richter is in constant pursuit of amnesiac protagonist Quaid (Arnold Schwarzenegger) across both Earth and Mars, leaving a trail of devastation in his wake.
One of Canada’s most prolific actors, with more than 260 screen credits to his name, Ironside is perhaps best known to a certain generation for various antagonist and authority figure roles in fondly remembered films from the 1980s and 90s, including Verhoeven reunion Starship Troopers (1997), Tony Scott’s Top Gun (1986), David Cronenberg’s Scanners (1981) and Charles Burnett’s The Glass Shield (1994).
Ahead of the release of a new 4K restoration of Total Recall, Ironside spoke to us via Zoom about both Verhoeven collaborations; his own lifelong affinity for science fiction; the on-set experience of making one of the last massive-budget movies based around mostly practical special effects; and how he thinks Cronenberg’s scrapped adaptation of the story might have turned out…
Full interview for the BFI
A thoroughly absorbing though deeply upsetting drama, County Lines is a remarkable debut feature from New Zealand-born writer-director Henry Blake. Inspired by his own experiences as a youth worker in East London, the film explores how personal and economic factors lead to 14-year-old Tyler (the magnetic Conrad Khan) being groomed for involvement in the eponymous drug-dealing networks that exploit vulnerable children into trafficking Class A drugs, primarily heroin and crack cocaine, from urban areas to rural or coastal towns.
Co-starring Ashley Madekwe and Harris Dickinson, County Lines is a vital empathy machine concerning a difficult subject sometimes prone to bad faith discussions when it comes to the young people who get caught up in the trafficking. But with genuine cinematic verve and complex characterisation, it’s far from a didactic tug on the heartstrings.
Speaking to us at the Glasgow Film Festival back in February, Henry Blake discusses some of his intentions for the project…
Full interview for The Skinny
Saint Maud, the acclaimed horror darling of the past year’s festival circuit, finally reaches British cinemas on a wave of hype – despite release delays owing to the COVID-19 pandemic. As the debut feature of British writer-director Rose Glass, the psychological drama follows Maud (Morfydd Clark), a reclusive, pious hospice nurse with a dark past, who becomes dangerously obsessed with a perceived higher purpose and her latest patient in a seaside town: Amanda (Jennifer Ehle), a hedonistic and embittered retired dancer who’s dying of cancer.
Glass has pointed to Taxi Driver as a specific influence on Saint Maud’s structure, with both sharing narration by the increasingly volatile protagonist. She also pays homage to Martin Scorsese’s film with at least two specific shots. “Generally any stuff that I felt that, in some way, I shouldn’t be watching, I wanted to watch,” she says of her burgeoning enthusiasm for left field cinema in her early teen years in the 2000s, which included films by David(s) Lynch and Cronenberg, Hideo Nakata (Ring), Takashi Miike (Visitor Q) and Fruit Chan (Dumplings).
To mark Saint Maud’s UK release, Huck spoke to Glass at this year’s Glasgow Film Festival – in an interview that originally took place back in March – about making an empathetic genre movie concerning mental illness, body horror, and the extreme places the human mind can take us…
Full interview for Huck
Following a decade’s worth of award-winning shorts, Glaswegian director Peter Mackie Burns made his fiction feature debut in 2017 with Daphne, a lauded character study concerning a pessimistic and hedonistic young woman (Emily Beecham) living in south London and undergoing an existential crisis after witnessing a stabbing.
Second feature Rialto, supported by the BFI Film Fund, sees the director collaborating with writer Mark O’Halloran and heading to Dublin. Colm (Tom Vaughan-Lawlor) is a married dock worker with 2 teenage children. Still grieving the death of his destructive father, and with his job threatened by a recent takeover, he struggles to share his vulnerability with wife Clare (Monica Dolan). Where he finds solace, while threatening his family’s stability, is in his encounters and growing infatuation with Jay (Tom Glynn-Carney), a 19-year-old who intermittently works in prostitution.
Speaking to us at the Glasgow Film Festival in February, Mackie Burns discussed his tips for second feature success…
Full interview for the BFI
Fans of grim but strangely uplifting films but who also happen to love Groundhog Day, will have a new horror fable to prioritise in 2020 with Koko-di Koko-da.
This second feature from Swedish director Johannes Nyholm really does do something inventive – and frequently disturbing – with a time loop storytelling device.
Koko-di Koko-da follows a grieving married couple taking a holiday, stopping off in the woods on the way to camp for the night, only for their tent to come under siege from a group of figures straight out of the circus of your nightmares. We talk to Nyholm about his film…
Full interview for SciFiNow
It’s early January 2020 and SciFiNow is among what’s apparently the first audience to see select full scenes from one of the year’s most intriguing blockbuster prospects. We’re very impressed by the thrilling scale and tender, moving intimacy of the wildly different sequences we’re shown. And this is somewhat surprising because this film is one of those oft-dreaded propositions: a remake.
Well, yes and no to it being a strict remake of another movie. Disney’s new Mulan is definitely a live-action update of its own animated film from 1998, but the character of Hua Mulan originates in a famous story first told over 1,500 years ago, in which a young woman, disguised as a man, took her aging father’s place in the army. In paying tribute to various versions of the story, as well as the character’s importance for Chinese audiences, the new Mulan is a very different beast from its Disney predecessor…
Full interview for SciFiNow
A veteran performer who has worked extensively in his native Iceland, Ingvar Eggert Sigurðsson is perhaps best known to British audiences as one of the leads of hit crime series Trapped, which has aired on BBC Four, and for the eccentric dark comedy Of Horses and Men (2013). His credits in international productions include roles in HBO’s Succession, Fantastic Beasts: The Crimes of Grindelwald (2018), Everest (2015) and Kathryn Bigelow’s K-19: The Widowmaker (2002).
The thrilling A White, White Day — which won Sigurðsson an acting prize in the Critics’ Week section at last year’s Cannes Film Festival — offers his greatest showcase to date. The sophomore feature from Icelandic writer-director Hlynur Pálmason, it explores how anguish and resentment can manifest in dangerous and disturbing ways.
Sigurðsson plays Ingimundur, a prickly widowed police officer who processes the loss of his wife in a car accident by focusing his attention on a labour-intensive building project to provide a new home for teenage granddaughter Salka (Ída Mekkín Hlynsdóttir) and her mother. When evidence suggests that Ingimundur’s late wife was having an affair, his quest for the truth begins to consume him and puts the safety of Salka in jeopardy.
Here, Josh Slater-Williams speaks to the actor about A White, White Day and the current state of Icelandic cinema…
Full interview for the Curzon Blog
I See You is a puzzle movie where revealing the exact horror sub-genres it sticks with to the end, or even to its halfway point, constitutes as a spoiler. Penned by American actor-turned-writer Devon Graye (Dexter, The Flash), directed by Brit Adam Randall (who helmed Netflix Original sci-fi iBoy) and starring Helen Hunt and Jon Tenney, the Ohio-filmed movie benefits from knowing as little as possible, beyond the basic premise that concerns a series of abductions in a small town coinciding with the apparent haunting of a family’s home.
That said, there’s still plenty to discuss without giving the game away. Speaking to SciFiNow at last summer’s Edinburgh International Film Festival, Adam Randall (carefully) told us about his film…
Full interview for SciFiNow
Behind some of Canadian cinema’s most acclaimed films, Atom Egoyan is best known for a string of breakthrough independent features he made in the 1990s, including The Adjuster (1991), Exotica (1994) and The Sweet Hereafter (1997), the latter earning him two Oscar nominations. Regularly playing with the conventions of melodrama, his time-jumping narratives are characterised by their gradual teasing of information with the full nature of characters’ relationships never immediately clear.
Egoyan’s latest, Guest of Honour, is another tale about past sins and moral dilemmas of the present. It gives the great David Thewlis a rare leading role as a widowed health inspector, Jim, whose mind dwells on the incarceration of his adult daughter, Veronica (Laysla De Oliveira), for a crime she didn’t commit. In a parallel timeline, a now released Veronica discusses her father with a local priest (Luke Wilson) in order to compose a eulogy.
Here, Josh Slater-Williams speaks to the writer-director about his storytelling interests and the genesis of Guest of Honour…
Full interview for the Curzon blog