The Blood Countess review – Isabelle Huppert reigns supreme in a surreal vampire fantasia

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Vienna turns into a playground of camp, cruelty and aristocratic disdain in a blackly comic take on the Báthory legend – with Huppert gloriously suited to the title role From the dark heart of central Europe comes a midnight-movie romp through the moonlit urban glades of Euro-goth and camp from German director Ulrike Ottinger. As for the star … well, it’s the part she was born to play. Isabelle Huppert is Countess Elizabeth Báthory, 16th-century Hungarian noblewoman and serial killer, legendary for having the blood of hundreds of young girls on her hands and indeed her body, in an attempt to attain eternal youth. The “blood countess” has been variously played in the past by Ingrid Pitt, Delphine Seyrig, Paloma Picasso, Julie Delpy and many more, but surely none were as qualified as Huppert who importantly does not modify her habitual hauteur one iota for the role. Her natural aristocratic mien and cool hint of elegant contempt were never so well matched with a part. She gives us the ...
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Giant review – Prince Naseem biopic with Pierce Brosnan on hand misses the punch

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London film festival
Despite the odd laugh, the story of the boxer’s path from Sheffield gyms to global stardom and his break with mentor Brendan Ingle feels dramatically underweight

There’s a really good cast here, in a movie with a real-life story to tell: how Irish boxing trainer Brendan Ingle mentored a cheeky Sheffield kid from migrant Yemeni parents, “Prince” Naseem Hamed, teaching him to stand up to racist bullies and turning him into a media-friendly world champ in the late 90s, nurturing his showboating arrogance and his lethal fists. But, after becoming wealthy, Hamed brattishly turned against Ingle, cutting him out of the action, and turning him into a combination of John Falstaff and Broadway Danny Rose. Pierce Brosnan plays Ingle; Amir El-Masry is Hamed and Toby Stephens is bullish London promoter Frank Warren who saw the goldmine that Ingle had discovered.

But the movie frankly lacks the Prince’s fancy footwork: the boxing sequences run smoothly but the all-important drama between them is repeatedly flat and one-note. There is no nuance or light and shade in the depiction of Hamed himself, and that otherwise outstanding performer El-Masry isn’t given the chance to show any subtlety or much of what might make his character really interesting – although he’s clearly been training and looks very plausible in the ring.

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