Conor Crooks
Bio
Living in Newcastle Upon Tyne, born in Belfast. Studying a masters in Film, I'll watch anything starring Bugs Bunny and Michael Jordan.
All credit goes to the respective creators of the images in my articles.
Stories (8)
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'Pain and Glory' (2019) Review
In a similar vein to Once Upon a Time in Hollywood (2019), Pain and Glory (2019) is another set of cinematic giants coming together to create a reflective magnum opus. With a swell of critical acclaim, and a "Best Actor" win at Cannes, Pain and Glory has finally arrived on UK screens, and has continued to maintain its high standards. Almodóvar has had a long career filled with widespread acclaim, and an Oscar win for his original screenplay. He has now turned his attention to the twilight years of a once-successful film director, who has become a self-inflicted recluse due to bad physical health and depression. Through a reconnection with an actor from years before, and an introduction to heroin, he begins to reflect on his past as it rears its head into the present.
By Conor Crooks6 years ago in Geeks
'Onibaba' (1964) Review
Onibaba (1964). Abstract, disturbing, and rich in subtext. Takes the classic ghost story narrative and adds layers of depth and nuance. Two women fight for survival by killing unaware Samurai and selling their clothes for food. However their quiet monotonous struggle is rocked by an affair with a returning soldier and an unexpected meeting with a mysterious masked Samurai. Written and Directed by Kaneto Shinido, a member of the loosely termed ‘Japanese New Wave’, Onibaba rocked the film world for its provocative nudity, liberal approach to sexuality, and its dark, disturbing horror steeped in spirituality. Originally going unreleased in British cinemas and causing a storm with censors, it was only after being re-cut four years later did it finally reach British audiences. Shinido forgets the jump scare and choses to instil a sense of dread, lodging itself in the mind of the audience long after the credits have rolled.
By Conor Crooks6 years ago in Horror
'Once Upon a Time in Hollywood' (2019) Review
Quentin Tarantino’s rapturous return to the silver screen since its announcement in 2017, to its first screening at Cannes, and Quentin refusing the hypothesis of a journalist, we have finally arrived at what is arguably, for many, the most anticipated movie of the year. It’s a special time for cinema when a Tarantino release isn’t the only competition for topping the list of must sees in 2019, the movies are in a good place. As has become customary with Tarantino's choice of subject matters, his decision to cover the Manson murders caused some worry among fans, in previous films he has chosen to rewrite history, which some have considered to be insensitive. But as always, it was quickly followed and drowned out by the expected excitement of what feels like the prodigal son returning home. As he turns to the Hollywood of the late sixties, a time when the studio system was gasping for air, while the movie brats of the counter culture took control and created some of the most important films ever released. A time of transcendent classics, grindhouse films and dirty movies, all of which get an honorary mention in Once Upon a Time in Hollywood. Quentin has built a career on intertextual referencing genres, national cinemas and every aspect of pop culture. However he has yet to deep dive into Hollywood as a narrative backdrop, this feels fresh and warmly familiar all at once. With a nod to Sergio Leone in the title, Once Upon a Time in Hollywood follows a failing movie star and his stunt double as they try to recapture fame and fortune in the final days of Hollywood’s Golden age. Isn’t this the fairytale Quentin Tarantino was born to tell?
By Conor Crooks6 years ago in Geeks
The Importance of 'Peeping Tom'
So absorbing and successful at focusing on the camera as a tangible concept that you quickly forget this film is being directed by the late great Michael Powell, rather than aspiring director and psychopath Mark Lewis. The film focuses on a young man who murders women and uses a camera to film their final moments, immortalising them in his growing filmography. Peeping Tom was incredibly controversial upon its release and sent critics and audiences into uproar with it’s sleazy, sexual themes mixed with overt violence. As a result, it’s initial release only lasted five days before being pulled and single-handedly crumbling Michael Powell’s illustrious career. However, years on it, is now considered a masterpiece of both horror and British cinema and is widely considered as a spiritual partner to Hitchcock’s game-changing Psycho (1960) and also Rear Window (1954), connected in character types, subject matter and style. But this film did not get a chance to reach the box-office heights of it’s American counterparts.
By Conor Crooks6 years ago in Horror
'The Dead Don't Die' (2019) Review
A bizarre melting pot of comedy, conventions, and concepts. From its hyped opening at Cannes, to its wide release, the reception for Jim Jarmusch’s The Dead Don’t Die (2019) has been a mixed bag. The same can be said of the film itself. Riffing off of films such as Zombieland (2009) and more directly the Romero classics, Night of the Living Dead (1968) and Dawn of the Dead (1978). In it’s humour and genre-informed characters and also in it’s critiques of humanity and society. The Dead Don’t Die is a zombie film with something to say, but what that is exactly gets lost in translation.
By Conor Crooks6 years ago in Horror
'Midsommar' (2019) Review
Going from strength to strength in his sophomore feature. Midsommar (2019) is the follow up for Ari Aster who achieved acclaim with his debut film Hereditary (2018). Once again, written and directed by Aster, Midsommar (2019) follows a couple in a strained and toxic relationship as they travel to Sweden with some friends to visit a commune’s once in a lifetime mid-summer festival. However things quickly deteriorate as the commune’s true motives are revealed.
By Conor Crooks7 years ago in Geeks
'Stan and Ollie' (2018) Review
Stan and Ollie (2018) is a nostalgic deep dive into the duo’s strained relationship in their twilight years as they attempt to raise enough funds for a new film. They attempt to achieve this by setting off on their grueling 1953 theatre tour of the United Kingdom, while also trying to fix their personal issues, which have been bubbling under the surface for the sixteen years previous. Written by Philomena’s (2013) Jeff Pope and directed by Filth’s (2013) Jon S. Baird, the duo are brought to life in a sensitive homage in every facet that choses celebration over re-creation.
By Conor Crooks7 years ago in Geeks
'Burning' (2018) Review
Written and Directed by Chang-Dong Lee, Burning is the story of Jong-su an aspiring writer and delivery worker whose life is turned on its head when he bumps into Haemi a childhood friend whom he hasn’t seen in years. They reconnect and Haemi asks Jong-Su to take care of her cat for her while she goes traveling, when she returns, it is with a friend, Ben portrayed by Steve Yeun, who turns out to be an upper-class mystery with an interesting hobby.
By Conor Crooks7 years ago in Geeks
