Empire UK

(Chris Devlin) #1
STREAMING
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ALSO STREAMING


BEASTS OF NO
NATION

Instead of returning to
True Detective director
Cary Fukunaga headed to
Ghana to shoot this civil-
war drama from his own
script. It’s Netflix’s first
original fi lm — Adam
Sandler’s The Ridiculous
Six is next (see pages 12
and 48). FROM NOW

WHIPLASH

Even if you’ve seen it
before you should be
rushing (not dragging) to
catch a second viewing
of Damien Chazelle’s
white-knuckle psycho-
thriller. If you’ve already
seen it twice or more
congratulations: we won’t
throw a chair at you.
FROM OCTOBER 16

SLOW WEST

John Maclean formerly of
The Beta Band is very
good at making groovy
tunes. This beautifully
shot Western his
directorial debut proves
he’s also good at making
fi lms. Aptly it’s a slow
burn building up to one of
the best fi nal reels of the
year. FROM OCTOBER 19

ONLY FOOLS AND
HORSES

With Dad’s Army getting
a movie will this
perennial BBC caper
follow suit? And would
Tom Hiddleston and Tom
Hardy be Rodney and Del
Boy? While you ponder
such questions revisit the
fi rst two series now on
Netfl ix. FROM NOW

BLOW

Before the arrival of
Johnny Depp’s Whitey
Bulger biopic Black
Mass revisit another
law-breaking performance
from the star. As George
Jung cocaine king of the
’70s he snorts enough
devil’s dandruff to make
Tony Montana blanch.
FROM NOW

ENTOURAGE

Vince and co.’s big-screen
debut was a bit patchy
but it’s worth catching
if only for the blizzard of
cameos from returning
guest Jessica Alba to
Liam Neeson who
steals the show with
only one line and his
middle fi nger.
FROM OCTOBER 12

RED OAKS

A sort-of answer to
Netfl ix’s Wet Hot
American Summer series
Amazon Studios’ latest
comedy is set at a country
club in the 1980s. Craig
Roberts Jennifer Grey and
Paul Reiser star; Steven
Soderbergh and David
Gordon Green produce.
FROM OCTOBER 9

Return To Oz


★★★★
OUT NOW / CERT. PG


DARK MATTERS


ASY TO FORGET


but buried below the
Disney dream factory
is a hall of nightmares.
From the moment
Snow White’s clawing
hag appeared Disney’s
repeatedly fl irted with macabre imagery
but in 1985 they really opened the
trap door. Return To Oz was such a
scandalous fl op it was thrown back
in the cellar alongside Walter Murch’s
career — the legendary editor never
directed a movie again. Back then it
looked like a phantasmagoric folly.
Now it looks like black magic.
Six months after the tornado hit
we rediscover Dorothy in such a
distorted haze that the only cure from
cuddly Aunt Em and Uncle Henry is
a sharp dose of electric-shock therapy.
Dorothy’s escape to Oz riding a chicken
coop down a sewer-brown river isn’t an
escape at all: it’s another prison. The
Emerald City resembles an abandoned
theme park. Anything alive has
been nuked into stone. Joined by


Above:Fairuza Balk’s
Dorothy with Jack
Pumpkinhead
Tik-Tok and Gump.
Below:Scarecrow.

a steampunk soldier a skeletal
pumpkin and the Gump (Google it)
Dorothy crosses the wasteland to
confront her world-destroyer: the
monolithic Nome King.
Although the mushroom cloud
is invisible Murch’s idea of O
post-apocalyptic allegory is
and again and again he turn
to children’s cinema but to
Kansas is a storm of Hamm
Nome’s stop-motion minio
from Raimi’s Book Of The D
disembodied heads of Prin
are straight out of Dr. Fran
trophy room. This all soun
ridiculously perverse but
there’s a purpose:

whereas 1939’s Oz was a Technicolor
escape; Return off ers a darker closer
refl ection of the grim rural reality that
fed Dorothy’s fantasies. Ironically for
a fable about repressed imagination
Murch’s vision is wickedly untamed
and let’s be honest utterly bonkers.
Often fi led alongside dark ’80s
fantasies Labyrinth and The Dark
Crystal this is no more a kids’ movie
than Pan’s Labyrinth sustained by
a miraculous turn from Fairuza Balk
just ten years old wearing adult eyes
in a child’s head. The fi lm’s very fi rst
line “Can’t you sleep?” now sounds
like a warning shot. If it haunted you
as a kid it’ll equally stain your dreams
as an adult. SIMON CROOK

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