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Everything Everywhere All at Once (2022)
It's a marmite film... and I LOVE marmite!
The pace is insane. The plot line is proposterous. The cinemotography is gorgeous. And certain characterisations are bizarre.
EEAAO is certainly a one off, and needs to be watched and embraced with an open mind. I totally get why there are haters but I loved it. The film is deliciously layered and Yeoh supported by a middle aged Short Round are superb. And Jamie Lee Curtis looks like she is having the time of her life.
I cant remember a recent film where I was moved, laughed or intrigued in equal measure. There are no spoilers here. Let's just say that this unique film stretches your intellectual and emotionally intelligence and if your mind is up for it, you're in for quite a ride.
Magnificent. I can't work.out what this film really is but I love it all the same.
Split (2016)
Excellent until...
...the final 15 minutes.
Up until then, the mesmerising performance of James McAvoy kept me on the edge of my seat. The effortless way he portrays so may characters (some changes being made in mid sentence) are astounding. Ably supported in the acting stakes by Anya Taylor-Joy, Split is a horror/thriller with much to like and represents a welcomed return to form for M. Night Shyalaman after some box office disasters.
So why, after so much spectacle and intrigue, did Shyalaman transform Crumb's character into a far fetched, super human beast? It wasn't necessary - the more believable character study of a man with multiple personalities was easily enough. The most interesting psychotic character since Hannibal Lector.
It killed the credibility of what, until that point, was an outstanding piece of cinema.
Hats off to McAvoy though - what a performance! Also, it's pushing it to call this a horror movie. 70s Hammer films have more genuine frights than this.
So not a miss this time, but could have been a much bigger hit, rather than trying one plot shock too many which is Shyalaman's calling card.
Sometimes less is more.
House of Gucci (2021)
The Seduction of Power
House of Gucci serves as an example of why I no longer pay any creedence to reviews before deciding to watch a film.
Yes, there are noticeable flaws here, but I found the film hugely watchable and not the borefest that some people have eluded to. Yes, Jeremy Iron's lacklustre attempt at an Italian accent stands out, as does Jared Leto's total overkill portrayal of Paulo, which is more pantomime dame than useless son. What starts off funny and interesting, soon becomes annoying.
Nevertheless, House of Gucci is beautifully shot, stylish, engaging and contrary to popular opinion, far from boring. Adam Driver, in particular, is excellent as Mauricio, well supported by Lady Gaga and Al Pacino. Nor, in truth,, did I find Gaga's or Driver's Italian accents overbearing.
True stories are fascinating, and House of Gucci is no exception. But next time the producer (Ridley Scott) casts for a film like this, go for De Niro instead of Irons as intended, and pick an actor that doesn't grossly overstate the ridiculousness of their character because Leto misfires on all levels.
That said, it's still an intriguing watch, and showcases the glamour and corruption by money and power brilliantly.
Pistol (2022)
Fabulous Filthy Lucre
Let's start with the elephant in the room.
John Lydon wasn't involved in this mini series which is a monumental missed opportunity. His exclusion depends on which story you believe - Disney & Boyle are adamant Lydon wanted no part of it. Lydon insists he was never asked and excluded from the outset. Either way, it's a shame.
However, for the most part, Pistol, which is based on Steve Jone's biography, is a triumph and captures the chaos, destruction, humour and self destruction of the destroyers of rock n roll.
Although focusing for the most part on Steve Jones, his damaged upbringing and his relationships, especially with Chrissie Hynde, Pistol brings to life the rebellious, anti-establishment, punk rock movement of 70's Britain.
In particular, Anson Boon as Rotten is superb with his acerbic barbs directed indiscriminately at anyone and everyone. And ironically, despite Lydons non-involvment in the series, the character is portrayed sensitively although I doubt Lydon will ever admit he likes it.
While acted brilliantly, Thomas Brodie-Sangster seems miss cast as McLaren, coming across more as a baby faced assassin rather than the weird and wacky provocateur. However, Sydney Chandler as Hynde is top drawer.
In music history, there have been a few occurrences of the 'perfect storm' where the music world has changed forever, Nirvana being one such example. But none more dramatic or explosive as the Pistols and Boyle's mini series captures much of the mood and madness, perfectly.
There is much deviation from actual events for presumably artistic reasons. And I'm sure Lydon will dispute much of Jones's recollection of events. But as an entertainment set-piece it all works surprisingly well.
The Mandalorian (2019)
Definitely 'the way'
If Sergio Leone was still alive and was asked to direct The Mandalorian it would be right up his street - it plays like a turbo charged adrenaline induced, intergalactic spaghetti western.
The Mandalorian develops fantastically well as the jobbing Bounty Hunter travels the universe carrying out contacts, often for further information or simply, because he is in the wrong place at the wrong time.
Either way, Pedro Pascal plays the title character with real style and panache, ably supported by an excellent cast. Throughout the seasons, the bar is set extremely high and some episode's are slightly weaker than others but the story telling and production values are super high. In reality, even the weaker episodes are highly entertaining.
Add in a quirky soundtrack, a baby Yoda character and a CGI character of a familiar, old face, and we are left with an original concept which is difficult to fault.
Maybe this is the future for Disney, because this series offers far superior merit when compared to the final three Star Wars movies which were badly thought out.
This is most definitely the way.
Obi-Wan Kenobi (2022)
Zzzzzzzzzzzzzzzzzzz
Boring.
I get it. Obi Wan has lost his mojo. He believes all is lost. It didn't need to take an entire 60 minutes of the first episode to get this message across though.
It's well shot with good production values but from an entertainment and dramatic perspective It's mightily dull, and just more regurgitated Disney nonsense.
Very dissappointing.
The Book of Boba Fett (2021)
A slow burn that finally gets there!
The difficulty of watching the Book of Boba Fett is that it comes straight on the back of The Mandalorian and therefore serves as a direct comparison. And for two-thirds of the series, it does not live up to its predecessor or the hype.
Firstly, I don't care so much for Temeura Morrison's portrayal of Boba Fett - I find his performance pretty dour and lacking charisma. After watching the first few episodes, I gave up on the series because although the programme was beautifully shot, it was... how dare say I it? ... a bit 'samey', a bit boring!?! (it was like watching a sub-standard season of The Mandolorian).
However, I was urged by friends to go back to it and thankfully I did because they were right. As soon as Mando enters the fray, the series's pace, scale, and intensity is elevated dramatically, culminating in an epic season finale that is one of the best I have seen. So much so that I have watched the last episode three times!
Fortunately for Temeura Morrison, he is supported by an impressive cast of characters, including Pedro Pascal (Mando), Ming-Na Weng as the excellent Fennec Shand, Timothy Olyphant (Cobb Vanth) and Sophie Thatcher (as Drash). However, my favourite character has to be Cad Bane played by Corey Burton. He only gets the last two episodes, but what an incredible impact he makes in true, spaghetti western style.
Ironically, as the supporting cast develops through the series, Boba Fett's ' dourness' seems to work. I believe the character should be short on dialogue and have a mysterious, understated edge, which does come through as the character develops.
So, all in all, from pretty dire beginnings, The Book of Boba Fett builds momentum, resulting in the most epic season climax. But as a cohesive whole, it falls short when compared to The Mandalorian, which is outstanding.
However, The Book of Boba Fett did turn into a brilliant watch (eventually).
Grimsby (2016)
Sickening, Depraved, Disgusting and ... Hilarious!
Sacha Baron Cohen has ploughed a career as a divisive and controversial figure in the comedy world. From Ali G to Borat, Cohen has proven adept at satirising popular's themes. Cohen's humour often exceeds the limits of good taste whilst conning ordinary people into revealing their abhorrent views in mockumentary style.
The Brothers Grimsby is no exception in the toilet humour stakes - the movie is often depraved, sickening and disgusting. And yet, it must be said that unlike much of the comedy trash put out by movie studios today, there are genuine comedic moments that make you laugh out loud. For this reason, the film is worth watching. Playing a character obviously inspired by Liam Gallagher, Cohen offers a range of puerile, immature and foul-mouthed gags that may be in bad taste or potty-mouthed but are often incredibly funny.
This comic bravery makes the film watchable, although certain elements were tough to entertain (the elephant scene, sucking out poison and so on). But if you dig through the depravity, there are some fabulous comic one-liners and Cohen is supported brilliantly by Mark Strong (who plays it straight) and Rebel Wilson (who really doesn't!)
To be honest, creating a film that delivers such unashamed filth and yet makes you laugh uncontrollably is a work of genius. Pushing the boundaries of decency is Cohen's trump card and if you have the stomach for it, its worth a watch.
The Courier (2020)
A Flawed, Reluctant Hero
Ernest Hemingway once said, "The best way to find out if you can trust somebody is to trust them."
The Courier embodies this profound quote, showcasing the relationship between a reluctant, amateur spy and an ex Russian Colonel played out during the height of the Cuban Missile Crisis.
After watching Jane Campion's beautifully shot but excruciatingly tedious Oscar nomination, The Power of the Dog, I hoped Benedict Cumberbatch would land a film that his rich acting talents deserved.
The Courier is that film.
As the reluctant hero, Greville Wynne, Cumberbatch is dragged into the world of Cold War espionage, where he teams up with an ex Russian Colonel, Oleg Penkovsky, to try and stop nuclear escalation between Russia and the USA. The problem is that Wynne is not a seasoned spy. He is not a spy at all, just an ordinary businessman who drinks a little too much and has had at least one extra-marital affair. So he is not your typical international saviour type.
I won't say anymore as it would ruin the story (a true story, in fact). Still, I can say that Cumberbatch is magnificent as Wynne, ably supported by Jessie Buckley as his wife, Sheila. However, Merab Ninidze's restless portrayal of Penkosvky is hugely compelling as his character wrestles with his conscience over Russian patriotism versus the greater good.
From a relatively slow burn beginning, The Courier builds into a taut thriller where the future of the world as we know it hangs in the balance. Ironically, the film directly parallels the situation we find ourselves now with Mr Putin and the Ukraine.
A fascinating, enthralling watch where Cumberbatch gets to show his A-lister acting credentials and delivers in spades.
Taboo (2017)
Dark, Sinister & Brilliant
It proved very interesting when reading many of the British tabloid reviews of Taboo. Many journalists opined that this series would have failed if it weren't for the performance of Tom Hardy, and I am sympathetic to this view to an extent.
Tom Hardy's performance is mesmerising. A barnstorming effort where he steals virtually every scene in the series. And yet he plays the character not only in a mysterious and often intimidating way but also in an understated manner. His character, James Delaney, is short on dialogue but big on thoughts and even bigger on decisive actions. Yet it becomes clear that while he is going head to head against the East India Company and the Crown, he is always one step ahead, regardless of his hardships.
I differ from the tabloid view because a great cast brilliantly supports Hardy. Jonathan Pryce is excellent, even though I was taken aback when he repeatedly uses the F-word (this is one of the Two Popes!). Jason Watkins appears to have made the creepy character his own as Solomon Coop, while Franka Potente is brave to play a hideous looking prostitute called Helga. A tattooed Stephen Graham gives a flawless London accent while Jessie Buckley excels in the role of Lorna Bow. Tom Hollander is also hilarious as Cholmondeley, the chemist and bomb maker.
The production side is covered by Steven Knight (Peaky Blinders), Ridley Scott (Gladiator, Bladerunner) and Tom Hardy himself. The quality of this team shows in the finished output. Taboo combines the decadence of British society with the squalor outside the palace and establishment walls to brilliant effect. Ridley Scott started as an art director, and those skills are clearly on show with the eeriest and bleakest settings, which create the perfect foundation stone for Tom Hardy's outlandish performance.
The climax of Season 1 is ingenious as we finally see Delaney get the better of the EIC and the Crown, although we are left with a series of cliffhangers for Season 2.
As long as you don't mind a rather dark, spooky, gloomy affair with some gut-wrenching and graphic violence at times, Taboo is big on originality, characterisation and entertainment.
Superb stuff!
Peaky Blinders (2013)
Gripping, Epic Story Telling
I've just finished watching the final series, and I was worried that Peaky Blinders wouldn't hit the same levels as in previous seasons.
Sadly, there's no Aunt Polly (the late, great Helen McCrory), while Arthur seems more intent on self-destruct than being at his psychotic, violent best. Nor is there much evidence early doors of Alfie Solomon's impact on proceedings (who represents one of the best cameos in any film or TV series, in my opinion).
But I need not have worried.
After a bit of a slow burn (and I did fear that Season 6 was one too many), it ramps up in the last two episodes to deliver a climatic, tumultuous conclusion that was worth the wait. The production team used flashback footage of Aunt Polly to emphasise certain plotlines, which was clever and a fitting tribute to McCrory's character. Arthur finally (and miraculously) appears to be 'opium free' and eventually returns to the brutality he is well known for. And Tom Hardy rocks up from nowhere to add the gloss to the perfect conclusion of Thomas Shelby's infamous career. Yet they still found time for tons of fabulous twists in the final episode involving mustard gas, a bomb and a wedding photograph!
Peaky Blinders is a triumph on numerous levels. Every TV episode plays with the sophistication and drama of a big-budget movie. The soundtrack is exceptional too and uses quite a lot of Radiohead, which just works for some reason. But the biggest plus is the actors themselves and their character development as we watch the struggle of Shelby and his family against the IRA, the Mafia and the British elite.
Favourite episode? One of two, I think. Either the final episode or the one where Adrian Brody, playing a mafia boss, is spectacularly double-crossed, just when you feel Shelby and Co are finished.
Peaky Blinders is one of the most gripping, epic dramas ever produced. Now on to the Peaky Blinders film, which starts shooting in 2023 if the rumours are true.
Death on the Nile (2022)
Death on Location
My lasting memory of this film is, unfortunately, its major flaw. You can have all the style and acting prowess on show, but if you introduce too much CGI at the expense of real, on-location settings, it erodes the film's atmosphere.
I appreciate that shooting on location on the River Nile is likely to be an expensive and problematic affair and capturing the period of the day may prove difficult. But many CGI rendered backgrounds and sequences are present (some are laughable, like the near-miss with the poisonous snake). The film does have some rdeeming qualities, however.
Kenneth Branagh plays a decent Hercule Poirot, who shows his genius and vulnerability. It is impossible not to compare his performance to Peter Ustinov's in the original, which is a tough ask for any actor, and Branagh does a fine job. The flashback at the beginning to a young Poirot doing battle in World War 1 was well done and provided some context for the detective genius we see in the present. The film runs its course nicely with all the traits of a typical 'whodunnit', and the supportive cast gives a good account, but there is nothing new or spectacular here, no matter how stylish and slick the delivery is.
Critically, I can only see that this film took the lazy, cost-effective option, which shows a total lack of commitment. David Lean's epics, such as 'Lawrence of Arabia' or 'The Bridge Over the River Kwai', are beautifully shot on location with no trickery to hand. I'd expect CGI in the latest Star Wars or Marvel films but not in what is, in essence, a period drama on water.
Death on the Nile is a watchable, semi-enjoyable flick but could have been significantly better if the production team had increased the budget to include more real-world on-location shots.
The Gentlemen (2019)
British Tarantino
Thank goodness that Guy Ritchie is better at making films than his ex is at making records! This movie is a riot from start to finish, with laugh out loud moments, plot twists and engaging characters.
I could go into great depth about the plot and the performances, but in reality, there is one excellent reason to watch this film - Hugh Grant. He is absolutely sublime as the seedy, blackmailing photographer, Fletcher. Playing entirely against type, Grant gives a career-best performance which will have you both cringing and laughing uncontrollably in equal measure.
I've never taken to Matthew McConnaughey before this (I've always referred to him as 'The Mumbler'), but he does an excellent job here as cannabis kingpin Michael Pearson, ably supported by Ray (a hilarious Charlie Hunnam). Yet Colin Farrell pops up mid-film and nearly steals the show as a boxing coach trying to save souls from a life of crime.
Taking in the UK cannabis trade, the Chinese & Russian Mafia, the British Gentry and the gutter tabloid press, The Gentlemen never lets up in laughs, twists and sheer entertainment value.
It's a Tarantino-esque film for geezers and a must-see. Brilliant casting, brilliant script, brilliant character development and all set at an exhilarating pace.
The Power of the Dog (2021)
Dog Rough
With so many Oscar nods and being someone who loves the Western genre, I watched The Power of the Dog with much enthusiasm but unfortunately was not impressed overall.
I liked so many aspects of this film - the beautiful cinematography combining the bleakness and beauty of the Montana wilderness. The acting performances of Benedict Cumberbatch and Kirsten Dunst. And initially, I was intrigued by the storyline through to the reveal and twist at the end. But my goodness, what a bleak, dreary and depressing story.
The pace of this film is slow (very, very slow). You sit through beautiful shots of the Montana landscape and meticulously watch Campion slowly reveal the storyline in the most excruciatingly detailed yet tiresome way. Yet you continue to watch in the hope that the wait will be worth it.
It isn't.
Despite excellent acting performances from Dunst and Cumberbatch and a good supporting cast, this anti-western disintegrates into a borefest to such an extent that when the story's point materialises, you are well past caring. I read somewhere that this was Jane Campion's first film in 30 years.
It wasn't worth the wait.
Nomadland (2020)
Drearyland
As a big fan of McDormand, I watched the film with great interest but was left hugely disappointed.
While the overall sentiment of the film is entirely honourable and the backdrops are breathtaking, the film plays out more as a documentary with a ponderous, plodding storyline revealing little more than the message that it is possible to see the beauty of this world if you just go out and look for it. This notion alone could easily form the basis of a classic movie but it doesn't transpire.
The film does pose some interesting social and moral questions, especially the country's treatment of the elderly but over time the storytelling becomes tedious and predictable.
When compared to McDormand classics such as Fargo and 3 Billboards, this is a relatively lame affair which again calls in to question the motives of the Oscars voting panel.
It's an interesting concept, and McDormand is always instantly watchable but the end result is as dreary as the town of Empire.
The Guernsey Literary and Potato Peel Pie Society (2018)
A Hidden Gem
During this awful pandemic, one of the few upsides has been the ability to catch up on movies I might have otherwise overlooked.
I decided to give The Guernsey Literary and Potato Peel Society a try, and when explaining the virtues of this film you may assume early doors that I think its a bit of a dud - I can assure you it isn't.
The film follows a somewhat linear format. Girl gets marriage proposal, girl meets another gentleman she has been corresponding with by letter, girl falls in love with said gentleman, girl gets her man. A plot line that has been delivered countless times before. I guessed the climax of this film very early on - but it didn't matter.
The journey the film takes you on, from a glamorous post war London to a pig farm on the Isle of Guernsey is enchanting. The character development is rich, the story is complex, intelligent and at certain times, moving. While the lead actors all put in an excellent shift, it is the supporting cast which elevate the film. Katherine Parkinson as the eccentric, gin boot legging singleton is superb as is Tom Courtney who offers a number of comic moments. Penelope Wilton is also brilliant as a mother stricken by grief and guilt.
There is no CGI in this film, no explosions or showers of bullets. There are no A list actors either. This is good old fashioned story telling at it's best. It makes you sad, it makes you smile and it warms your heart.
It would get a 10 but sadly it wasnt filmed in Guernsey (it was actually filmed in Devon). If it had been, I have no doubt if would have proved to be even more enchanting.
Bravo.
Ford v Ferrari (2019)
Petrolhead Perfection
There is the age-old adage that fact is always more interesting than fiction. While a certain amount of creative licence is often necessary for plot development, a good old fashioned true story is one that leaves a lasting memory for years to come.
Le Mans '66 is one of these films, and it is superb. Yes, the storyline deviates from the actual events at times, but the essence of the movie is in keeping with this pivotal moment in motor racing history; the glorious battle between a luxury sportscar manufacturer and the mass producer of automobiles for the common man. David vs Goliath, Box Office vs Benefits Office - you choose. Either way, Le Man '66 plays out as a buddy movie between the main characters, Carroll Shelby and a highly volatile Ken Miles and it plays out in a magnificent way.
It's irritating sometimes to read reviews on IMDB, where 'self-made' geeks offer criticism which isn't fair or indeed, particularly smart. For example, I don't care if the Ford GT40 MK II doesn't sound like it has a 7.0 litre engine or the racecraft from the drivers isn't 100% historically accurate. Does it really matter in the scheme of things? The movie is an exhilarating roller coaster ride from start to finish with an exceptionally entertaining and compelling performance by Christian Bale who steps into Ken Miles's shoes with great gusto. Matt Damon plays Carrol Shelby at times for laughs and comes across as a passionate, cheeky salesman with an unwavering sense of self-belief. It's a killer combination.
Like everyone, we all draw different messages and meanings from films, and the conclusion I made was a real surprise to me. I thought the film would be about taking on the big boys and beating them at their own game (which is the actual storyline but not the underlying tone). What transpired was something different - Ford tarnished their achievement by putting their big corporate multi-billion dollar machine ahead of the glory and legend of the sport. By not letting Ken Miles win and instead, instigating a cheap and cheesy publicity stunt to sell a few more units, Ford did more damage to their reputation that day than enhancing it. The words 'no class' spring to mind with the added hammer blow of not only robbing Miles of a much-deserved win but then tragically losing his life in a fatal crash while testing the next generation GT40.
If you can ignore drivers staring at each other while driving at 200mph or the fact that Enzo Ferrari was probably not at the race (at that time of his life he rarely left his office, not even for races), then Le Man '66 is a petrolheads dream of a film. There is enough truth in the story to make it a compelling and riveting spectacle from start to finish.
While Miles is not afforded the same stellar reputation when compared to a Fangio, Senna or Clark, the film successfully raises his profile as a racing legend which is fitting to his and the Le Mans GT40's memory.
Rogue One (2016)
The best Stars Wars Film of them all - HONEST!
Oh yes - in my honest opinion, this is THE best Star Wars film of them all. Even better than The Empire Strikes Back, and that is some claim so at least I should attempt to explain myself (I may struggle!).
I stand by opinion 1000%. Up until Rogue One appeared on our screens, The Empire Strikes Back was the go-to movie. Dark, sinister and moody with spectacular set pieces, the film took the Star Wars universe to a different level, focusing on the desperate fight between good and evil (which in essence is what this franchise is all about). Nothing before or since this film has come even close; in comparison, most of the other movies are either a bit tame or just plain dreadful. So watching Rogue One was not an experience where I had the feeling of much hope (but then Rebellions, as they say, are built on hope!) After 2 hours and 13 minutes, I realised that I had not just watched a great Star Wars film - I had watched the best one of all.
Why? OK, here goes.
The Plotline
It's ingenious. How the writers managed to take a line from Mon Mothma in 'A New Hope' and turn it into a 2-hour long film is smart, to say the least. And it works too. The idea of creating a back story focusing on how the plans for the Death Star come into the hands of the Rebel Alliance is a stroke of genius. The story is compelling and introduces an entirely new cast and with one fundamental difference between all Stars Wars films. There is no hope for the main protagonists; there is no happy ending. Here lies true heroism in the face of Imperial annihilation.
The Cast & Characters
One of the difficult hurdles that Rogue One needed to get over was creating characters that the audience could believe in, and the producers achieved this in most parts, flawlessly. It helps that, unlike in previous iterations, the cast of this film act exceptionally well. Felicity Jones (as Jyn) does a fantastic job and at times, delivers a barnstorming performance. Cassian's objectives are shrouded in mystery, and he gives a brooding, tortured performance. Baze (Wen Jiang) and Chirrut (Donnie Yen) are bickering buddies and stellar, triumphant heroes. Krennic (Ben Mendelsohn) plays the villain of the piece gloriously over the top. However, the laughs and the stand out performance all come from Alan Tudyk as K-2SO. A literal, caustic and sarcastic droid who delivers his lines with a blunted severity that has you laughing out loud. No gimmicks, no ingenious tech. It is the character aspect that makes K-2SO the best droid of all.
Set Pieces
It's easy to forget how many fabulous set-pieces there are in this film. The most expansive is the battle on and above Scarif, but there are so many more. The fight scenes and destruction of Jedha, the attack on the crystal mining colony. There is, of course, a lot of CGI going on here but it is delivered at such a pace and in such an exhilarating way that it immerses you in the Star War Universe and gives you the box seat.
Bad Bits?
Well, there are some but thankfully very few, and not enough to detract from what is an epic movie. Saw Gerrera is dissapointing which is a surprise considering Forrest Whittakers acting credentials. The film also delivers an astounding piece of CGI and then near the end, an utterly laughable one. I thought Peter Cushing had miraculously come back from the dead or there was a doppelganger in the acting world, for at least for a few seconds. The way the filmmakers did this with CGI was impressive, using a real actor and a voice that sounded very similar. However, Leia's appearance at the end was shockingly bad, totally unconvincing, and one intelligent step too far. It was unnecessary in the scheme of things. Vaders voice didn't work either which is nobody's fault since James Earl Jones is now 89, and his voice has lost that sinister grit. He could have been helped with some better dialogue to be honest. "Be careful not to choke on your aspirations, Director" seemed a bit contrived to me. Not the least bit scary.
Still, Rogue One is an unexpected gem. When compared to all that has gone before, it is better written, better produced, better acted and does one thing that all other Star Wars film failed to do apart from Empire. It makes you care. For me, there are only two Star Wars films worth watching. This one is the most fulfilling although the Battle of Hoth for me is still the standout sequence of any in the entire franchise.
Please take note Disney - originality, competent acting, real drama and not so happy endings make better films rather than the regurgitated nonsense of the Force Awakens, The Last Jedi and The Rise of Skywalker.
Today's children are intelligent enough to take it.
The Irishman (2019)
The Pensioners
Bravo to Joe Pesci for being persuaded to come out of retirement for Martin Martin Scorsese's soon to be, new classic 'The Irishman'.
Like many, I feared a bore-fest with a run time of 210 minutes and my goodness is this film long. And yet, it plays out like a good book - it's so fascinating at times that you just can't put it down. Scorsese has this unique ability to make a compelling film which could quite easily drift into a world of self-indulgence, and yet The Irishman never falls into this trap. Pesci is brilliant from the start, De Niro's star shines brightly again after several dubious outings and Pacino, as an often 'camp' Jimmy Hoffa, is a revelation.
My only criticism of the film (and it's a tiny one) is that because the three actors are all in their 70s and the film delivers a series of flashbacks, CGI was used to make them look younger. Particularly in De Niro's case, he did look rather odd to me at times. A mob hit or a beating had the look of being perpetrated by a pensioner with a youthful face. But this minor detail which to be fair, was unavoidable, should not detract from the acting masterclasses on show here. With a stellar cast including Harvey Keitel, Ray Romano and Stephen Graham, the master of the mob genre is back with a bang.
A big thank you to Netflix too - the big picture studios didn't fancy this one as it was considered a risk. It is apparent that an appetite for risk-taking is now being adopted by the new kids on the block and thank god they did.
I look forward to Pesci receiving his Oscar for best, supporting actor next time around. He delivered a masterclass and his regular presence on the silver screen is sadly missed.
Blade Runner 2049 (2017)
Moments lost in time, like tears in rain...
I'm really sad posting this. I so wanted to love this film, I really did. But it didn't quite happen.
There is much to admire about Bladerunner 2049. For starters, the cinematography is breathtaking. There are so many shots in this film that are staggering. As a viewing spectacle it is up there with the very best; it is a consumate work of art at times.
Then there is the soundtrack. Some find it too loud and overbearing. I disagree with that view. The soundtrack pays fitting homage to Vangelis and adopts original and variations on his original themes. It could never match the Vangelis soundtrack but it comes mighty close. Unfortunately in the digital age there is a lack of quirkiness, rawness and bravado which made the analog original so timeless. It's a bit too clean, too well produced in comparison. But to be honest, as a standalone work it is superb. Sea Wall is a particularly good.
However this is where my positive critique sadly ends. This film fails for me on a number of levels. Firstly, it doesn't move you like the original nor does it thought provoke either. When Roy Batty dies in the original film it is truly moving - the villain of the film ultimately values life to such an extent that he dies without taking out revenge on his persuer and nemesis. In this film, there just isn't that same depth or level of connection. When Joe dies at the end he goes out with a tame, almost pathetic whimper.
The other main issue is that the plot takes so long to unravel over nearly 3 hrs. What started as intrigue soon turns into tedium. Gosling does a fine job in the lead role but this film is a good 40 minutes too long.
Rightly of wrongly it's a sequel and therefore will be compared to the original. For all the gorgeous sets, camera shots and atmospherics, Bladerunner 2049 is no match for the groundbreaking original.
Joi is an interesting character and was well acted but Wallace's henchwoman, whilst vicious, never reaches the unpredictable menace and ruthlessness of Roy Batty. Jared Leto as Wallace was intriguing but under used. And the CGI version of Sean Young's Rachel was clever but in my opinion, her addition smacked of desperation in the end. Deckard's introduction was so late and so brief that it became almost insignificant. Yet he is so pivotal to the storyline.
Personally, I think the filmakers did a solid but underwhelming job with what proved to be an impossible task and they should at least be applauded for even attempting it. But to sum up, if the studio have designs on making another Bladerunner film, then I will quote the wise words of the late and rather great Rutger Hauer...
Time to die.
The film is a genuine work of art for sure, but is let down by a seriously tedious, slow plot line and a total lack of emotional depth.
Rush (2013)
An F1 Feast whether you like the sport or not
I like my motor racing and was old enough to remember the Lauda / Hunt season of 1976 which captivated the sporting public. I was dubious about the epic battle coming to the silver screen and yet after watching it, concluded that I'd just seen the best motor racing film of all time.
We have been in this territory before. Both Steve McQueen and Jack Lemmon have had a go and in recent years we've seen NASCAR as well. But none have come close in captivating the sense of romance, danger and sheer bravery of the two protagonists in question.
So why does it work so well? For a start, watching Daniel Brühl as Nikki Lauda was like watching the great man himself. A dead ringer who portrays the great man impeccably and who is the very antithesis of Hunt, the flamboyant, heavy drinking womaniser and maverick. Hemsworth looks great - not a dead ringer for Hunt but good enough and his accent is perfect.
Of course, anyone who knows their motor racing knows what happens in the end. But it is the journey that is taken, from Lord Hesketh privateering a young James Hunt in Formula Two where he first comes to race with his Austrian counterpart, to the 1976 F1 Season and the tragedy of that day at the Nurburgring.
It would be easy to focus on the climax of the film with Hunt being the winner, after nearly losing the title with a double puncture. But it is Lauda who is quite rightly the hero. The crash, the horrendous rehabilitation, the shocking press conference, the fear at his return at Monza, and then retirement in the final race. To come back from those injuries in only 6 weeks and to come so close to another World Championship is testament to the bravery of the man who went on to become a racing legend.
The film also pays a great tribute to Hunt, who whilst affectionately known as 'the Shunt', was far more than just the stereotypical playboy. By Lauda's own admission, Hunt was a highly skilled driver who was incredibly quick. He lived his life on the edge both professionally and privately. To lose the great man at the age of 45 from a heart attack was a tragedy in itself, especially as he had been sober for four years.
Whether you like F1 or not is irrelevant. Rush is a brilliant true life story which is expertly crafted by Ron Howard. The race scenes are fantastically reproduced and the sound is epic. You are left under no illusion that these guys put their lives on the line every time they turned up at the track.
Rush has been tipped for the Oscars and quite rightly so. You will not see a better acting performance than from Daniel Brühl and I hope that he receives the coveted golden statue as it will be well deserved.
If you haven't seen the film give it a go. Its a fabulous story, has some truly comic moments at times (the broken down car scene is a belter!) but also drama, heartbreak and triumph. And it is the fastest two hours I've experienced at the movies for many years.
Senna (2010)
Brilliant!! ...but with one major flaw...
As a big motor racing fan, my expectations were high and Senna certainly does not disappoint.
Whether you are a fan of the man or not (I most certainly am), this documentary serves as a fitting testament to a racing god, who was flawed but never the less a genius behind the wheel. The documentary explores all aspects of Senna's life including his frailties leading up to his tragic death at Imola.
Certainly Senna made many mistakes and many errors of judgement in his illustrious Formula 1 career. But the film rightly focuses on the man's inner spirit, his relentless will to win, his genius behind the steering wheel. But there is one downside to the documentary which I feel compelled to comment on - the famous relationship (or should I say non- relationship) with Alain Prost.
In many ways, the documentary is good in the sense that with real footage, it ramps up the tension of their hateful relationship culminating in outlandish statements, especially by Prost who would 'like to punch him in the face'. These things are all true.
But there is one big omission in the documentary, which makes Prost's portrayal as the master villain quite scandalous. In Prost's last race before retirement, Senna wins the race. He then gives a fitting tribute to his pal over the radio, wishing him a happy retirement. This was honest, not a sarcastic or tongue in cheek statement. The two had finally begrudgingly become friends, certainly out of mutual respect for their skills. But this part was never featured in the film.
To be fair to the film makers, the audio on this broadcast is low quality but it could have been included with sub titles. It puts a very different spin on things, especially as we only realise in the documentary at the end of the film that Prost is a patron of Senna's charity in Brazil. This is portrayed as more an act of guilt but in fact they had finally become friends.
By all accounts, Prost was horrified at the way he was portrayed in the documentary and quite rightly so. I have never been a Prost fan - I always looked for the flamboyant skills of Senna over the smooth, calculated driving of the French Professor. But Prost did not deserve this portrayal, and the films editing does little to dispel the myth that they hated each other until Senna tragic demise. It simply isn't true.
This major flaw aside, the documentary is in the most part wonderfully pieced together with great interviews including Dr Sid Watkins who became a personal friend of the Brazilian legend.
It is a tragic story but a warts and all celebration of the life of a racing genius who with Fangio, has to go down as one of the best drivers ever.
Band of Brothers (2001)
A Glorious Tribute to the memory of Easy Company
Is this the best WWII mini-series ever produced?
Quite simply...no - it's THE best mini series ever produced. I came to the phenomenon that is known as Band of Brothers quite late, I've watched it countless times and find something new every time I revisit it.
The reason this mini series is so good is due to three primary factors.
Firstly, the series does not have a TV feel about it at all, more like a big budget war movie epic throughout. The production is influenced heavily by Saving Private Ryan and it shows. The production is superb, the acting performances are superb, the pace is superb. And it's better than SPR for the simple reason that you are following the characters of a close knit team and the subject matter is that much more intriguing for it. We watch the characters evolve from training camp right through to D-Day.
Secondly, the film does not glorify war, in fact in great part, it focuses on the futility of it at times. It is a 'warts and all' documentary where we see poor leadership, breaks in chain of command and unnecessary loss of life. But on the flip side we see the power of human spirit and the ability to survive insurmountable odds.
But the final masterstroke is the inclusion of the actual Veterans themselves (seen at the beginning and the end of each episode). And we have to wait until the final instalment before we realise that these Veterans are actually depicted in the films. Their inclusion adds a certain poignancy and realism to the piece.
The 10 part series is knitted around Major Richard Winters (played by the magnificent Damien Lewis) which follows him through training and a series of promotions to actually leading the company. The cast of B of B is impressive throughout - starting with David Schwimmer who against complete type, plays an arrogant, bumbling CO at the training school. Donnie Wahlberg is another stand out performer in the acting stakes as Sgt. Carwood Lipton. Other notable characters include Don Mullarkey, Wild Bill Guarnare, Shifty Powers and Joe Toye.
Whilst the stories are mainly focused around Winters, my favourite stand out character though is the mysterious Ronald Spiers who was the subject of constant rumours which he never acknowledged or denied (the rumours include supposed atrocities committed to German POW's). The moment when he took over command from Lieutenant Dyke at the town of Foy and ran through the German occupied lines to link up with the mortar team (and then ran back again)was the stand out moment of the series for me. What makes this more amazing is that it actually happened (Spiers had a glittering Army career and ended up in charge of Spandau Prison).
The production was a joint venture between HBO and the BBC which is probably why a number of British actors appear (most notably Lewis). And yet this does not detract from the piece at all (Lewis's American accent is impeccable).
Since Band of Brothers, HBO have released 'The Pacific' and to be honest I can't watch it - not because it won't be any good, but because I will measure it against Band of Brothers and Band of Brothers will win hands down every time.
The best mini series every produced - a triumphant and compelling work which pays a wonderful tribute to the brave men of Easy Company.
North by Northwest (1959)
War is hell, Mr. Thornhill, even when it's a cold one....
The best 'mistaken identity' movie of them all, Hitchcock's masterpiece North By Northwest is a roller coaster ride from start to finish.
Hitchcock originally wanted James Stewart to play Roger Thornhill and I'm convinced that with Hitchcock's direction we would have got much the same result.
But Cary Grant is absolutely superb as the office exec who gets mistaken for George Caplan (who doesn't actually exist), and subsequently gets embroiled in a cold war plot where he has to fight to survive without having a clue what is happening around him.
Grant plays his role with aplomb offering a mixture of anxiety, humour, sarcasm and disbelief. James Mason (Vandamme) is the man who wants Caplan dead and with his main henchman (an ice cold Martin Landau), they think they've achieved this by loading Thornhill up with Bourbon before getting him behind the wheel of a speeding car on a cliff top road.
If only it were that easy. But Thornhill is a resilient man and after being framed for murder, looks to clear his name by discovering the truth
Now Miss Kendall appears in the film, (Vandamme's mistress played by the excellent Eva Marie Saint) who leads you to believe that she has it in for Mr Thornhill but all is not what it seems.
The plot twists and turns at relentless pace with a number of wonderful set pieces including crop dusting, Mount Rushmore and a hilarious confrontation in an auction room.
But the crop dusting scene is the stand out moment and is where Hitchcock shows off his directorial genius. He makes great use of the landscape and the power of silence (intertwined with the odd car or bus noise) to leave you in no doubt that Thornhill is on his own. Then, in the distance, the faint, insignificant hum of a crop dusting plane emerges without giving the audience any realisation that this is actually the weapon Vandamme has chosen to rid him of his supposed adversary for good.
Further twists include a fake shooting and the film culminates in the battle for survival on Mount Rushmore - epic stuff.
North By Northwest is escapism at its very best and Grant plays the role in part for laughs which adds to the the movie's charm. His sarcastic sparring with Vandamme and Leonard, and his unashamed flirting with Eve all conspire to make a top notch thriller which you will want to watch again and again.
It may not have the shocks as Psycho, the terror of the Birds, the taught tension and hopelessness of Rear Window. But as a thriller and piece of entertainment, this is one of Hitchcock's triumphs and gets a worthy 10 stars from me.
Léon (1994)
A French Cleaner with a difference...
On paper, the plot line for this film is an absolute nightmare – controversial and even sick if handled by the wrong director. And yet Luc Besson conjures up an intricate, touching and taught thriller which ranks as a landmark piece of cinema.
Leon is essentially a love story between a French hit-man (referred to as a 'cleaner') and a 12 year old girl whose family are brutally murdered by a monstrous DEA official come drug dealer (Gary Oldman).
Leon (Jean Reno) is a meticulous assassin carrying out $5000 hits for the Italian underworld. He never actually gets paid as his boss Tony looks after his money for him (safer than a bank) though the reality is that he is being fleeced. He is socially and emotionally like a child – his simple life consists of drinking milk, watching Gene Kelly films, caring for a plant and sleeping upright in a chair with a gun by his side. He can't read and lives a solitary existence.
His life changes when one day, a 12 year girl called Matilda (Natalie Portman) returns to the apartment building with some cartons of milk for him. As she walks past her own apartment to knock on Leon's door she sees that her family have been brutally murdered. In tears, she pleads with Leon to open the door, starting a relationship which ultimately ends in tragedy.
Leon reluctantly takes Matilda under his wing and teaches her the skills of the expert hit-man because it's all he knows and over time they form an unbreakable bond.
The film works for two simple reasons – Portman's pre-adolescent character means that she is too young to truly understand the implications of what she saying i.e. about love and sex. In Leon's case, he is in some ways even more of a child and therefore incapable of taking any sinister advantage of the situation. The result is a touching love story without any hint of perversity - their love is genuine but there is no hint of it crossing the lines of common decency. The controversial scene where Matilda asks to sleep with him was cut in the American screening and yet it is clear that Matilda doesn't really understand what she is saying nor does Leon have any intention of entertaining the prospect. The way in which they say goodbye to each other in what turns out to be the very last time is very much in the father daughter mould.
Besson came up with Leon's character from a bit part Reno played in a previous film, La Femme Nikita , and the way Reno portrays Leon quite rightly turned him into an international movie star. His understated performance in direct contrast to the brashness of Matilda, is perfectly judged and the empathy you feel for his character is almost immediate.
Gary Oldman's role is brutal, terrifying and wonderfully sinister. A glorious, over the top, drug fuelled nutcase with a passion for Beethoven.
But it is Portman who steals the film and quite rightly so. When Luc Besson casted for the part of Matilda, he wanted someone young – somebody who did not understand the meaning of love. In her screen test, Portman was told the scene – that she is walking towards Leon's apartment when she discovers that her family including her 4 year old brother have been brutally murdered. She started to cry immediately – Besson had found her Matilda.
It is amazing that Natalie Portman appeared in the awful Star Wars Prequels after a giving such a wonderful performance in Leon. There are very few child actors who could have delivered an acting master class like this – the only comparison I can think of is Jodie Foster in Taxi Driver. Even more remarkable, Portman had received little in actor training or experience before this film. During the making of the movie, the first time she had to be tearful, the crew used methanol to help her appear to be crying. She only used this once, as she was able to generate the emotion and tears by herself - quite a feat for an 11 year old girl.
Fortunately, Natalie had very good parents who had certain control over the way she was used in the film. You never see Matilda draw on a cigarette and she gives up smoking later in the film. A planned shower scene where Matilda prances around naked was thankfully scrapped.
Leon is a film of many complexities and one of the best thrillers I have seen personally. Whether you see it in the normal or Directors Cut version (the long version as Reno calls it), it's a must have. We must also hope that Besson writes a script for a new film, Matilda, so we can all see what happens to her character in the future. Portman has already stated she would do this at the drop of a hat, relishing the chance to work with Besson again – here's hoping.
It is a magnificent piece of cinema.