Dormarth112

Even 18 years after its release, Taxi to the Dark Side still packs a punch. As an Oscar-winning film, offering a sobering look at how ordinary individuals can become complicit in acts of cruelty under systemic pressure and institutional failure.

Director Alex Gibney weaves interviews with soldiers, legal scholars, and former officials, supported by archival footage and official records. The result is a compelling narrative that explores the erosion of democratic values in the name of national security. Gibney's approach is both intimate and political, revealing how personal responsibility can be lost within the machinery of war and governance.

My biggest issue is the presentation of the film. The presentation is of a standard documentary with talking-head interviews and a linear narrative structure. This standard approach lacks the innovation or cinematic style that might have elevated viewer engagement.

Anna May Wong is an icon who deserved far more recognition for her performance in Piccadilly. Many of the film's shortcomings are redeemed by her magnetic presence and nuanced portrayal.

This landmark of British silent cinema received a lukewarm reception upon its release, largely due to the rising popularity of talkies. However, it may also have been too boundary-pushing for contemporary audiences. The film explores taboo subjects for its time, including interracial attraction, jealousy, and ambition-topics rarely addressed so boldly in 1920s British cinema.

Wong had left Hollywood behind after being repeatedly typecast in stereotypical roles-often as villainous "dragon ladies" or tragic figures-due to the racial prejudices of the era. In Europe, she found greater creative freedom, and Piccadilly became one of her most significant roles. Her character, Shosho, was groundbreaking: she was one of the first Asian actresses to play a complex, central figure in a British film.

Director E. A. Dupont brought expressionist influences from Weimar cinema, giving Piccadilly a moody, atmospheric quality that set it apart from many British productions of the time. Wong's performance not only challenged racial stereotypes but also highlighted the limited opportunities available to actors of colour in both Hollywood and Europe.

However, the film is not without its flaws. The pacing is often slow, and the narrative tends to meander, making the story feel predictable at times. Many of the supporting cast members are far less compelling, and whenever Anna May Wong is not on screen, the film noticeably loses momentum. Despite its visual flair and thematic boldness, these issues can detract from the overall impact of the film.

Highly recommended for anyone craving a high-octane popcorn thriller with a powerful message! I had an absolute blast watching this at the Glasgow Film Festival. The experience was elevated by a Q&A session with the passionate actors and director, whose love for filmmaking was truly inspiring. It reminded me of Crank and similar films, delivering high-octane thrills and great comedy, thanks to the fantastic editing.

While I have some minor complaints about certain effects and the slow start of the third act, I'm thrilled to see an indie film with such incredible pacing and style. This is definitely a movie I'll be rewatching with friends! It offers a refreshing perspective on African cinema, as our leading actors romp through the vibrant streets of Dakar.