Diablo review – Scott Adkins enters Cormac McCarthy territory in over-the-border revenge thriller

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Its deranged antagonist might be an Anton Chigurh rip-off, but some fantastically flailing fight scenes almost lift this otherwise humdrum action romp No Country for Old Men’s Anton Chigurh was the scariest thing to come out of Latin America since Argentinian inflation. So it’s taken a surprisingly long time to see a direct imitator: the dark-clad avenger El Corvo, played here by Marko Zaror. Not only does he have the gauche coiffuring (bald on top this time), but also the philosophical penchant, asking imminent victims if they’ve given themselves a present recently. If the Cormac McCarthy rip-off wasn’t enough, Ernesto Díaz Espinoza’s ponderous thriller also gives El Corvo a couple of scenes lifted from The Terminator, and the villain from Enter the Dragon’s blade-hand for good measure. Diablo isn’t all cliches though: martial arts multitool Scott Adkins has a potentially interesting role inverting the usual over-the-border revenge mission. He plays former bank robber Kris, who’s be...
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A Prince review – queer erotic drama of sexual enlightenment through … gardening

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Pierre Creton’s literary film is about the carnal blossoming of a gardener’s apprentice under the tutelage of a series of older men

This latest film from artist, film-maker, and farmer Pierre Creton evokes a tradition in French erotica in which a youthful protagonist has a series of encounters, providing carnal knowledge and sexual enlightenment as well as intellectual revelation. A Prince follows gardener’s apprentice Pierre-Joseph (Antoine Pirotte), whose love for nature leads him into the arms of two older lovers: Alberto (Vincent Barré), his botany school teacher, and Adrien (Pierre Barray), his employer.

Its literary feel is enhanced by the prioritisation of voiceover above dialogue. The characters’ inner monologues speak, often retrospectively, of transgressive erotic experiences and desires. Accounts of incestuous yearnings are laid over scenes of gardening or age-gap lovemaking, all shot in the same strikingly matter-of-fact fashion. The contrast between the provocative voiceover and the naturalistic cinematography is notable in itself, conveying a resistance to the politics of queer assimilation, which courts acceptance from the heterosexual majority.

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