Tag Archives: David Cronenberg

7 romantic horrors to watch after ‘Bones and All’

Reuniting Call Me by Your Name pair Timothée Chalamet and director Luca Guadagnino, Bones and All is many things. It’s a horror movie. (It’s more specifically a cannibal horror movie.) It’s a road movie. It’s a coming-of-age tale. But perhaps most crucially, it’s an empathetic portrait of romance rooted in unsavoury origins.

Bones and All sees young Maren (Taylor Russell) embark on an American odyssey to track down her roots, after her latest cannibalistic outburst sees her finally abandoned by her father (André Holland) and left to fend for herself. Encountering other ‘eaters’ like herself, she forms a connection with drifter Lee (Timothée Chalamet), and the two fall in love while navigating their need for human flesh.

Your typical love story, then. If Bones and All has you salivating for more romances wrapped in bloodlust, here are seven horror gems (in chronological order) that have love or infatuation at their centre. Given the genre involved, it should be no surprise that few of these films end on a happy note. And since they are romances in horror movies, their inclusions here don’t necessarily reflect healthy relationships or advice to follow. i-D accepts no responsibility if you watch these films and then attempt to reanimate your deceased partner in a suspicious laboratory…

Full feature for i-D

Nine Songs: Howard Shore

He’s a three-time Oscar-winner who’s composed music for over 80 films, yet – excluding when he’s returned for sequels or spin-offs of movies he previously worked on – no Howard Shore score sounds quite like another.

There’s a chameleonic quality to the oeuvre, perhaps reflective of how he tells me that every score he works on is deeply personal in its own way. Somewhat to my surprise, when speaking about his Nine Songs selections, each a pivotal composition in his life, Shore nominates just one piece purposefully written for a film: Nino Rota’s title theme for Federico Fellini’s 1973 film Amarcord.

“It’s pieces that influenced me,” Shore says of his final choices. “Mostly when I was younger when I was developing my ideas. It took quite a process, actually, because I was trying to show a range of influences.”

Talking with the great Canadian composer proves fascinating for how even the smallest attribute of a track can get the mind’s gears going for an artist finding their own voice. Bar one piece by someone he’s collaborated with in the past, it’s not immediately obvious, until he elaborates, how many of his jazz-heavy selections could have been a direct influence on his output for film, television and stage. But then, it’s perhaps daft to try assuming what Shore’s influences might be when his work is so eclectic in its own right.

In the mainstream consciousness, Shore is likely best known for the music of Peter Jackson’s The Lord of the Rings trilogy, for which he received his three Academy Awards – one for the song “Into the West”, co-written with Annie Lennox and Fran Walsh. But while he’s worked on many grand epics (Martin Scorsese’s Gangs of New York and The Aviator, plus Jackson’s later Hobbit films), he’s just at home with small-scale comedies (High FidelityBigMrs. Doubtfire) or low-key dramas (SpotlightPhiladelphia). Or in the weirder fringes of studio films, such as Tim Burton’s Ed Wood, David Fincher’s Seven and The Game, and his iconic work on Jonathan Demme’s The Silence of the Lambs.

His latest full score, for the sci-fi Crimes of the Future, is his 16th feature with director David Cronenberg. His earliest frequent collaborator, Shore has composed the scores for all of Cronenberg’s features since 1979’s The Brood, excluding 1983’s The Dead Zone. For as much as films like VideodromeThe FlyDead RingersCrash and A History of Violence may linger for their transgressive material and shocking images of human bodies in distortion, they’d not be nearly as impactful without Shore’s soundscapes in accompaniment…

Full interview for The Line of Best Fit

10 great British films of 2002

Looking back on a nation’s output for any artform 20 years removed, there’s a risk of rose-tinted glasses misrepresenting the quality or wider health of the medium at the time. But while certain contemporary commercial successes should perhaps remain left in the past (Ali G Indahouse and The Guru, to name two), a not insignificant portion of the British films of 2002 have endured with audiences in the decades since.

In terms of acting talent, 2002 saw the release of breakthrough films for actors who are still major names 20 years later, including Chiwetel Ejiofor, Keira Knightley, Naomie Harris, Sean Harris, Benedict Wong, Nicholas Hoult and Martin Compston. Regarding early career directors, Lynne Ramsay proved Ratcatcher (1999) was no fluke with her second feature, Morvern Callar. Another key Scottish filmmaker of the last few decades, David Mackenzie (Young Adam, Starred Up, Hell or High Water), also had his debut feature as director – the thriller The Last Great Wilderness – premiere this year. And actor-director Peter Mullan won the Golden Lion prize at Venice for his second feature, The Magdalene Sisters, which explores three teenage girls’ experiences of Ireland’s infamous ‘Magdalene laundries’. 2002 also saw premieres of key films in the careers of Ken Loach, Danny Boyle, Stephen Frears and Michael Winterbottom.

While not all of the same quality as Boyle’s 28 Days Later…, 2002 was a particularly interesting year for British genre cinema. Neil Marshall’s ambitious debut feature Dog Soldiers transplanted the formula of James Cameron’s Aliens (1986) to the werewolf movie; Jamie Bell followed up Billy Elliott (2000) with First World War supernatural tale Deathwatch; westerns influenced Shane Meadows’ Once upon a Time in the Midlands; and ouija board horror Long Time Dead made solid earnings worldwide. The American-set British thriller My Little Eye is very dated in some ways, yet its story of an online reality show experiment with a deadly twist makes it a crucial text for how internet-rooted horror would later develop.

With a new restoration of Dog Soldiers surfacing on physical media, here – in the order they premiered – are 10 of the best films made in Britain that fertile year…

Full feature for the BFI

I can remember it for you wholesale: The making of ‘Total Recall’, 30 years on

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

Ben Wheatley on ‘High-Rise’

The Skinny’s chatting to director Ben Wheatley on the phone on the evening of the Glasgow Film Festival programme launch, with the Scottish premiere of his new film being among the screenings publicly announced as we speak. High-Rise, his fifth feature, is an adaptation of JG Ballard’s beloved 1975 novel. It’s a dystopic tale of alienation, corruption and societal breakdown within the confines of a lavish apartment complex that starts off sleek and appealing, only to gradually transform into the kind of tower block that wouldn’t seem out of place in the world of Judge Dredd. Tom Hiddleston and Jeremy Irons, as grand architect Royal, topline an impressive cast for the British director’s first foray into bigger budget filmmaking.

“What it gives you as a filmmaker is much more control,” Wheatley says of the scale change. “You can have much more control on very basic stuff like the colours of the rooms, how costumes relate to spaces, and how spaces relate to the overall design of the whole film. I think it’s a big difference…

Full interview for The Skinny