J Lee Thompson directs a young Diana Dors' compelling portrayal of condemned prisoner Mary Price Hilton in this suffocating study of banal, bureaucratic torture. Stripped of her trademark bombshell costumes and makeup, Dors looks uncommonly vulnerable as a true understanding of her plight begins to dawn as appeals fail and hope fades. Without her legendary good looks to hide behind, Dors gives the performance of her career as the fallen party girl transformed into a pale and mournful lost soul, hollowed out and shuffling around the prison grounds in a tortuous cycle of waiting and worrying as her inescapable fate approaches.

On constant suicide watch, the tension of mundane routines slowly climbs to an unbearable peak as Hilton struggles to ascribe some worthwhile meaning to her life and her final days in the claustrophobic condemned cell as she endures the agony of awaiting the noose. Eating, sleeping, smoking and playing cards with the prison officers surrounding her as the clock ticks down in that cold and spartan prison regime. The interplay between Hilton and her "matrons" is especially absorbing, as the surrounding staff struggle to balance their common humanity against their clear and inflexible judicial duties, with the invisible walls between the condemned and her handlers constantly being probed, breached and re-built as those charged with supervising Hilton's state sanctioned demise struggle with the burden of their own individual consciences.

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It's that time of year again, when the nights grow dark, the lights grow bright and our favourite old movies are dragged out of the attic for their ritual parade across the Christmas schedules. We might never actually watch Die Hard, Scrooged, Mary Poppins or the Guns of Navarone, but we gain a sense of comfort and continuity from knowing that they're still around…somewhere. These tried and tested staples are a lot like that quaint old village church we never visit, yet fight tooth and nail to protect from all manner of modern encroachments.

If current reports are even remotely accurate, then 2017 will be remembered as the year that big media and big politics were finally exposed as hotbeds of the very misogyny and predation they've often railed against with a screeching self-righteousness that was bound to raise suspicions sooner or later. I'd often thought they protested too much.

In light of this ruthless, career ending hunt for sexual misconduct both real and alleged, it's kind of strange to see our socially awkward friends from the Carry On team gracing our screens day after day during the holiday season. How can we explain this contradiction? How is it that a bunch of bawdy farces from the sixties and seventies are still airing as family viewing long after most of their contemporaries have been demoted to obscure footnotes in feminist literature?

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That's it. I just can't take any more!

I'm done with Hollywood.

As an avid movie fan, I thought that statement would be a painful one to write, but to be honest I'm glad to have finally gotten it out of my system. I feel free, cleansed, liberated. Already I can feel my mind repairing itself, my critical faculties renewed and reinvigorated.

The break has been coming for a long time, and it's not the latest round of revelations, accusations and denials swirling around Los Angeles that have hardened my resolve. Instead it's the increasingly shrill, haughty, condescending and downright hypocritical finger wagging from an embattled and self-regarding gated community. Who the hell told a bunch of pampered actors that they have a duty to harangue the unwashed masses about exactly what they should think on any given social, moral or political issue?

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The Mothman Prophecies

"You will see her, in time."

Director Mark Pellington's hugely disturbing exploration of prophesy, obsession, grief and loss is one of the subtlest and most unsettling examples of the modern storyteller's art. Slowly brought to the boil by some excellent cinematography and the expert use of a non-musical sound score, The Mothman Prophecies manages to make the fantastical feel entirely credible.

Loosely based on accounts of the real-life Silver Bridge disaster, The Mothman Prophecies follows the story of a troubled man searching for answers that simply do not exist. Expertly shot in the freezing emptiness of flyover country, the bleak photography and slow-burn storyline somehow produce an ambient grey chill that seeps out of the screen and settles on the necks and spines of an unsuspecting audience.

Richard Gere steps outside his normal typecast boundaries to deliver a good performance as John Klein, a high-flying journalist who is haunted by the sudden death of his wife. That haunting takes a dangerous turn as it begins to manifest outside of Klein's own imagination, inexplicably drawing him to an obscure town and leaving him with no knowledge of how he arrived there. As he probes deeper into his own experiences, Klein is forced to accept that the course of his life has been influenced by the same psychological contagion that's consuming this icy backwater Virginian backwater.

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Excalibur

"They made themselves God, and Christ has abandoned us!"

Perhaps my choice of number one occult movie will be a surprise to some readers of this blog, but nonetheless, John Boorman's adaptation of Thomas Malory's famous Morte d'Arthur stands head and shoulders above the rest of its class. Excalibur is so overflowing with symbolism, synchronicity and occult references that it's difficult to truly do it justice in a short blog post such as this.

Boorman's first and undoubtedly best decision was to abandon any attempt at historical accuracy and concentrate on the archetypal themes explored in this most famous of the chivalric romances. His second and even braver decision was to incorporate the music of Richard Wagner into the score. Thus Excalibur helps to re-establish one of Western art's greatest triumphs in its true context by wrestling it away from the National Socialists who had so selfishly appropriated it for their own dark and desperate ends.

A stellar cast including Gabriel Byrne, Liam Neeson, Patrick Stewart and Helen Mirren bring this timeless archetypal tale to life as each character struggles to find wisdom, bring peace and wreak vengeance in a world governed by the rules of blood, magic and honour.

What makes this film so very, very special is its endless attention to detail and the ever-deepening spirals of symbolism that can easily be lost on first, second or even third viewing. For example, the ever present and endlessly shifting symbolism of water is brilliantly exploited as both the sword and the young king rise from water. This idea of birth and rebirth is echoed later as Percival drowns and is yet saved, cleansed and reborn, emerging from depths to finally claim the Holy Grail which he has sought for so long. When considered in the light of Carl Jung's remarkable work on the symbolic and psychological importance of water, this aspect alone can lead to many hours of thought, discussion and research.

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"Some books are dangerous, not to be opened with impunity."

Controversial director Roman Polanski manages to pull off the difficult Hitchcock-esque trick of keeping the viewer enthralled by the fairly sedate story of a search for forbidden knowledge hidden among the closely guarded manuscript collections of Europe's ageing dynasties.

Johnny Depp actually plays a character, rather than a caricature in his portrayal of Dean Corso, a mercenary freelance bibliophile. Concerned only with profit, Corso is employed to authenticate a rare and valuable occult work, which is itself steeped in rumour and folklore. As his investigations continue, a formerly hidden, and yet altogether darker design slowly reveals itself, finally crossing the boundary between historical curiosity and contemporary reality.

Veteran actor Frank Langella is definitely the unsung hero of The Ninth Gate, and he's more than a match for Depp on screen. His understated menace as the pathologically cold publishing magnate Boris Balkan completely convinces the viewer that they are in the presence of a man who has already gone to, and will go to any lengths to achieve his dark design. He is the shadowy and obsessive puppet master, controlling events from within his private library or from the end of the phone line, seemingly much closer to the action than he appears to be.

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