eventide72

Without doubt, the strongest, most poignant and utterly heartbreaking of all the episodes. It's their dynamic that ignites the series, it's the secret sauce. Everyone is on point here...cinematography, direction, acting, production design, music. The timeloop and re-loop works surprisingly well, the narrative threads through the episode seamlessly. There's an almost genuine restraint in this episode that means less action but ultimately we do need it. Everything somehow clicks succinctly into place and when the emotional belter comes it comes hard and true. I though it may be difficult to better THAT episode from Season One but they've surely done it here.

I was lucky enough to attend the London premier of Rudolf Buitendach's wild excursion into the shadowed souls of the LA art scene and, whilst I expected great things, the movie, so resolute and confident in tone, caught me off guard. Firstly Dark Heart's freshness, much like the tubes of blood dimmed paint that scatter Buitendach's canvas of broken, sometimes lost characters, chimes through on every scene. There's also a knowingness and grasp of genre but a giddy willfulness to play the trump card and subvert expectations. It's true to say the threads of Jarmusch, Lynch, Bigelow and even perhaps Hal Hartley wind their way through this shady pantheon of the downtown LA art scene but director Buitendach juggles and panhandles them into his own unique voice. There's so much to admire here and so much fun to be had. The kind of stylistic bloodletting we haven't seen in such a long time, a smoky, mercurial turn by a wildly beautiful and wanton mysterious Sonja Kinski, a strong, soulful discovery in Lucas Til's Sam, who, ensnared by the brutally sexual and fetishistic interplay of our main characters, becomes our voice in the wilderness, our 'conscience' when the insanity kicks in full tilt. A special mention must also go to Suzanne Barnes costume design, sparse and dense in equal measure, which in itself very cleverly becomes indivisible from the set and production design. The use of Guy Theaker's moody, murky score shades and colors our ensemble of broken souls nicely whilst Kyle Schmid, Juliet Landau, Goran Visnjic and Rachel Blanchard all turn in compelling, memorable performances in a feature film debut completely worthy of your attention. Buitendach is clearly a director to watch, and watch closely. Delve in to Dark Hearts. You'll come out bloody and tangled, delirious and spent...but it's a exhilarating trip you'll want to savour again.

...a refreshing throwback to the early days of Amicus horror, Don't Let Him In even feels like a 70's shocker, downbeat & sun-blocked & gnashing at the bit, with strong performances, particularly Sam Hazeldine (a nascent star in the making?)and Sophie Linfield. The frenzied, no-nonsense pace and fun set-pieces are all orchestrated by director Kelly Smith with flair and an invested love and utmost understanding of the genre. Pitchfork in a whole heap of sly humour, flurries of absurdity a terrific score by Samuel Karl Bohn, right on the money editing by Mark Towns and you've got a stonking package of diabolical fun. Check it out!