12th Anniversary

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12 Year Blog Anniversary, Blog Anniversary

I’m late by a few days but I just saw that I’ve been blogging for 12 years now. I know my output of late hasn’t been prolific, but I’m working on changing that. I’ve had a lot of personal things to contend with lately, such as getting my room decorated. I just want to take this opportunity to say thanks to everyone who has supported me. And I’ll be back to my best soon enough.

National Velvet

Tags

1940's, Angela Lansbury, Anne Revere, Clarence Brown, Donald Crisp, Drama, Elizabeth Taylor, Jackie Butch Jenkins, Juanita Quigley, Mickey Rooney, National Velvet, Sports Drama

Often remembered as the film that put a very young Elizabeth Taylor on the map as a star, National Velvet is a heartwarming, beloved and inspiring film about dreams and one girl’s deep love for a horse. This is definitely a film for the whole family to enjoy and comes highly recommended from me .

It’s the late 1920’s in a quaint English village, the young and dreaming Velvet Brown(Elizabeth Taylor) thinks of nothing but horses. She lives with her strict father Mr. Brown( Donald Crisp) and firm but fair mother Mrs. Brown (Anne Revere) as well as siblings romantic Edwina(Angela Lansbury), fussy Malvolia( Juanita Quigley) and amusing little brother Donald( Jackie Butch Jenkins). After finishing school for the summer holidays, she comes across jaded drifter Mi Taylor(Mickey Rooney) while out on her walk. Velvet invites Mi to her home as it appears he has nowhere to go, but it appears Mi already had an idea of visiting the Brown family. Mi read in his late father’s diary about Mrs. Brown, hence why he has sought the family out. As he’s not in the best condition and is more than a little downcast by the secrets he hides, he thinks about stealing the savings the family has. He swiftly changes his mind as the spirited Velvet and her enthusiasm win him over. It’s around this time that Velvet first sees The Pie; a wild horse who everyone says can’t be tamed. Velvet is immediately struck by the beautiful creature and seems to the only person who can calm him .The farmer who owns the Pie enters the horse into a raffle, because he feels can’t control the creature. Although a number is drawn out that doesn’t belong to the passionate Velvet, it’s gifted to her after its found that the ticket was void .Velvet has big dreams of taking part and winning the Grand National. Mrs. Brown, who is supportive of her daughter’s dream, gifts her the money she won when she swam the English Channel as a young woman, for the entry fee and other costs. Although many think it’s a fool’s errand, Velvet pushes forward with determination and devotion. Mi starts to come around to the idea of it too and begins to train Velvet and Pie . With belief and a lot of hope , Velvet and Mi now make their way to the biggest event of all, The Grand National with hopes of winning with Pie.

Clarence Brown’s warm and sensitive direction is one of the best parts of National Velvet. He gets right to heart of things , especially in terms of Velvet’s fervent desire to succeed with Pie and also the family dynamic with her household. Simply put, Brown’s work is delightful throughout, creating a nostalgic picture for the ages. The biggest message I got from National Velvet was about dreams. Whatever dreams we have in life, some foolish , some realistic, this film reaffirms that dreams can come true if we put our minds to them and have belief. Some may right that off as quite the simplistic message, but I think it’s one that every audience member can in some way or part relate to. The visuals are a rich technicolour that conjures up nostalgic images of hope and loveliness, in the grand tradition of MGM. And the race scene that climaxes the film is simply terrific and thrilling throughout; you really feel like you’re a part of it as the stakes get higher and Velvet edges closer to fulfilling her dreams. A spirited and lush score courtesy of Herbert Stothart highlights the feeling of going after a dream and letting your heart feel it deeply.

National Velvet is fondly remembered for making Elizabeth Taylor a star and with good reason. She was 12 at the time of the film and shows she had star quality from the very start. Taylor is simply luminous as the determined, dreaming and heartfelt Velvet; she quite literally brightens the screen up whenever she’s on it with her authentic charm and surprising intensity. You truly feel the fervent passion and the love for the horse that Velvet has thanks to the impressive Elizabeth Taylor, who is truly delightful in this star making role. The film simply wouldn’t have worked without her in the pivotal lead role. Mickey Rooney gives a nicely shaded performance as a man who is jaded by loss, but who becomes more alive and inspired by the sunny Velvet. He works well alongside the young Elizabeth Taylor and they bring the best out in each other.  Anne Revere collected a much deserved Best Supporting Actress Oscar for her turn as the calm and loving mother of Velvet. There’s something both warm and commanding about Revere; she exudes a deep wisdom about life and never needs to raise her voice to make a point. Instead it’s her clear words and nuanced looks that make the impact . It’s a beautifully subtle piece of acting from the great Anne Revere. Donald Crisp is ideal as the often blustery, head-shaking and fussy father who is prone to flying off the handle, but often means well in what he does. He interacts excellently with Anne Revere and there is a truly delightful dynamic of him often not agreeing with her, but realising she’s often right in her sense of practicality. A young Angela Lansbury is delightful and dreamy as the romantic older sister , while Juanita Quigley and especially an amusing Jackie Butch Jenkins standout as the other siblings. 

Simply magical and truly lovely throughout, National Velvet earns its status as a classic because of beautiful visuals, inspiring message and fine acting. You won’t be able to stop smiling after viewing this wholesome and delightful movie which features Elizabeth Taylor in her star making role .

Evita

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1990's, Alan Parker, Antonio Banderas, Biopic, Evita, Jimmy Nail, Jonathan Pryce, Madonna, Musical

A musical biopic of the iconic First Lady of Argentina, Evita is a well mounted movie it must be said . It’s mixed in places and a tad choppy, but the sheer star power of Madonna and the cast , plus some terrific music, make it quite the experience. 

The film opens with the announcement of the death of Eva Perón(Madonna), leading to immense mourning throughout Argentina and a lavish funeral. We flashback to her childhood in which she is refused entry at her father’s funeral because she is illegitimate and poor. Fast forward and Eva is a late teenager with dreams of the big city. She latches onto tango singer Agustin Magaldi (Jimmy Nail) and travels to Buenos Aires. There Eva exercises her charisma and know how to attract powerful man who can help her up the ladder of success . This leads to success as a model, popular radio personality and actress. She eventually catches the eye of Colonel  Juan Perón( Jonathan Pryce), and they begin a relationship. Eva’s image helps  Perón as his popularity with most in politics rises. When he is arrested by the administration as they don’t like the idea of him in power, Eva uses her considerable popularity with the public and radio to create a groundswell of support for his release. When this happens , Perón and Eva campaign for presidency as well as tie the knot. The popularity they create leads them straight into presidency and they become a powerful couple as President and First Lady. Eva becomes a stylish champion for the poor and women’s rights, but not everyone is quite as taken with this ambitious woman as it initially seems . As her popularity rises, political turmoil, opposition from the upper class and questions over her seemingly philanthropic conduct are all raging around her. All of these events transpire to turn Eva into an international icon before and after her untimely death. The main story of Eva’s rise to the top is narrated by Che(Antonio Banderas), who pops up in various guises throughout her life and watches her with both varying levels of admiration, uncertainty and contempt.

Alan Parker provides both an energy and sadness to Evita, showing off his considerable skills . And though some parts of the overall picture don’t work , Parker sure knows how to stage a saga and make it dramatic. Once you get used to the fact that the majority of the film is sung, you get the overall picture . Many musical numbers standout thanks to the execution of them. The full throttle spirit of “Buenos Aires” is infectious, which segues into the more sombre “Another Suitcase in Another Hall” . “Goodnight and Thank You” , which is a tongue in cheek nod to climbing the ladder with whatever you have, is an amusing and sharp number. The pining and lush I’d Be Surprisingly Good For You  sets the scene as Eva seduces Perón who falls hook, line and sinker for her considerable charms. The two big ones that stand out are “Don’t Cry For Me Argentina” and the tear inducing finale of “You Must Love Me.” Both show off Madonna’s range and provide a lot of the dramatic crux of the film, from the growing triumph of the former to the mournful latter.  Even though the cohesion can be a bit confusing in terms of timeline and sometimes the depth isn’t there, Evita succeeds in term of scale and panache.  The cinematography has a certain lush sepia glow to it that fits in with the setting of this movie . And as is befitting of a film involving stylish characters, the costume design is of the highest order. Our leading lady goes through an array of dazzling costumes that are undeniably gorgeous. 

The cast is what really makes Evita it has to be said. Pop superstar Madonna may have been a controversial choice of leading lady, but this is the best she has ever been onscreen . Showing the true strength of her vocal ability( she undertook extensive training to expand her range), she shines as the shrewd and ambitious First Lady. Going from a dreamy eyed girl to charismatic climber into power, followed by tragic figure, Madonna doesn’t miss a beat and truly gets across both an energy and emotional nature that’s rather moving. If you ever had any doubts about Madonna as an actress( it has to be said she’s starred in some really bad films and often hasn’t been too good in them either), then Evita should make you reassess that idea as she’s simply sensational in her best cinematic outing. Equally as compelling and possessing a simply smouldering presence is the fantastic Antonio Banderas. Acting as our narrator, he manages to be witty, snarling, charming and engaging throughout. And he certainly has a powerful set of lungs on him too, putting them on fantastic display as our eyes and ears in Eva’s journey. Jonathan Pryce, despite having the role that doesn’t have much for him to work with, still manages to convince as the President with a sense of authority and ambition permeating every time he appears. Jimmy Nail has a brief role but makes the most it off, especially in showing off his vocals. 

So while not the most flawless musical out there, Evita still provides rousing music, fine cast (in particular Madonna and Antonio Banderas) and a glossy look at an unforgettable icon. It’s quite an experience I must say and shows that even though the pre production rambles rumbled for years, the results of the eventual film where largely successful in what they set out to do.  And it shows Madonna at her best in terms of acting and vocals , proving people wrong who doubted her casting in the first place.

Poor Things

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2020’s, Coming-of-Age, Dark Comedy, Emma Stone, Fantasy, Hanna Schygulla, Jerrod Carmichael, Kathryn Hunter, Mark Ruffalo, Poor Things, Ramy Youssef, Willem Dafoe, Yorgos Lanthimos

A bold, unusual and enthralling film from the talented Yorgos Lanthimos, Poor Things is probably his most ambitious film to date and for me one of his best. Fashioning a coming of age story about a woman’s journey of immense liberation, Lanthimos pulls you into an extraordinary world and movie filled with weirdness, heart and stellar acting, particularly from a never better Emma Stone.

In Victorian London, the scarred and eccentric  surgeon Godwin Baxter(Willem Dafoe) takes on medical student Max McCandles ( Ramy Youssef) as an apprentice. When taken to the strange house of the man, Max doesn’t know what to expect. It is here that meets Bella Baxter ( Emma Stone), a most unusual young woman in house who Godwin treats like a daughter Godwin explains that he has resurrected Bella after it transpires she ended her life via drowning. She was pregnant at the time so he used the brain of her baby to bring her back to life. Bella is a grown woman who is first presented as the result of his experimentation. She acts like a young infant in mannerism and understanding, but she advances quicker than the average person as does her thirst for knowledge. Godwin loves her like a daughter, but never really lets her out of the house as he’s worried about what might happen because she’s not accustomed to the outside world yet. He is therefore delighted when he notices affection between Bella and Max. However, Bella  is charmed by the irredeemable cad Duncan Wedderburn (Mark Ruffalo) who wants to whisk her off on an adventure , mainly for his own desires and amusement. Bella runs away with Duncan to explore the world, leaving Godwin and both longing for her return. After a trip through Lisbon in which Bella becomes difficult for him to handle , Wedderburn kidnaps her and takes her on a cruise ship. He eventually grows tired of how Bella is not as naive as she originally seemed to him and is progressing towards being her own person rapidly, particularly in the area of sexual and personal discovery. For Bella, life begins to open her eyes to things as she craves learning and defies the stifling conventions of the time, meeting many interesting characters along the way. Her sexual and literal liberation from society gallops away, leave most around her shocked, envious and baffled .It’s quite the journey as she begins to march to the beat of her own drum and become a woman in charge of her own destiny in a world that often questions it.

Over a number of years, Yorgos Lanthimos has become one of my favourite directors. I admire how he isn’t afraid to depict the strange, occasionally unexplainable yet always memorable on screen. And he most certainly doesn’t disappoint with Poor Things. Yorgos Lanthimos is on fire here , bringing his vision of self-actualisation and unusual coming of age to life with delightfully uncompromising brilliance and a mixture of unexpected depth and laugh out loud glee. Many moments of humour abound , particularly in a frantic out there dance scene and anytime Bella dares to say what we all want to say but are often to polite to utter . But underneath the surface is a depth of examination of societal pressure, discovering oneself and completely owning who you are in a world at odds with that concept of individuality. Much has been made of the film’s nudity and scenes of sex. But while they are prominent throughout Poor Things, I don’t believe that they are there for simple titillation. Bella’s sexual freedom and sense of emancipation from the role that women are supposed to play is integral to the story. So in that view the sex and nudity are important parts of Poor Things, for  they chart her growth as a person and most importantly a woman of extreme agency.

On the visual side of events, Poor Things will blow your mind with what it does with cinematography and production design . From the unusual fish eye lens and black and white in the beginning to the eye popping colours of the journey, Poor Things takes us deep into a fantastically strange place that makes your jaw drop . And the sets are simply breathtaking and brimming with a steampunk spirit; see them on the big screen because the craftsmanship is simply extraordinary and you feel transported into this strange world right from the get go. I definitely believe award nominations will be arriving think and fast for the production and visual departments and deservedly so. Special mention must also go to the costume department, who pull out all the stops for fantastically off the clothing that fits the movie like a glove with loud, ruffled fabrics and imaginative textures.  Apart from the occasional languor in pace, Poor Things is the kind of film that fires the imagination of a film reviewer like myself. The score from Jerskin Fendrix is also something completely weird and oddly fascinating. Piercing violin shrieks and rattling percussion craft a sense of childlike wonder giving way to maturity and grandiosity. Oddness is the order of the day in a score that has to be heard to be believed for its sheer volume and all encompassing grasp. 

One of the best areas of Poor Things is the acting from a game cast that surrenders to the delightfully bonkers story. Emma Stone turns in the performance of her career as the searching Bella Baxter and is magnetic. Clearly enjoying her second collaboration with Lanthimos( their first being the viciously dark and caustically entertaining The Favourite), Stone proves the two are a dream team of star and director In the hands of a lesser performer, this performance could have turned into overly mannered and irritating. But in Stone’s more than capable hands, it becomes something alive and kinetic. Stone embodies the very physical position of someone whose faculties, at least in the beginning, don’t match the outer appearance. As she progresses, the slightly off kilter way of speaking, her ability to say things that people wouldn’t usually say and gait becomes integral to the plot as Bella discovers herself more and more. Emma Stone is all kinds of wonderful here; devilishly funny, alert , moving, ribald, forthright, alarming and charming. She charts the progress of Bella with all of the aforementioned qualities and a true understanding of a most fascinating character. I can’t praise this performance, but to summarise, Emma Stone is the beating heart of this immense saga and is simply extraordinary throughout Poor Things. Mark Ruffalo is masterfully funny as the Bon vivant who becomes infatuated with Bella but then can’t quite handle someone he can’t control. Ruffalo gives his role gusto, slippery wit and flashy zing ; becoming a fragile goofball in the process as his pursuit of pleasure comes crumbling down around him and he morphs into a pitiful man of vengeance. Willem Dafoe, who for me is always a reliable presence, doesn’t disappoint here as the unusual but caring scientist behind Bella’s resurrection. He’s both very witty at times yet filled with a barely contained sadness that threatens to come out. Ramy Youssef provides an innocence and certain wide eyed wonder as the medical student completely struck by the unstoppable Bella. Jerrod Carmichael, Hanna Schygulla and Kathryn Hunter all make impressions as people encountered by Bella on her odyssey, with Kathryn Hunter particularly being unforgettable in her short screen time as a Madame. 

So with a wild sense of humour, striking visuals, terrific acting and directing from the ever eccentric Yorgos Lanthimos , Poor Things is a pretty unforgettable piece of cinema that definitely makes a mark on whoever views it. Expect much award notice for all involved in this movie as it’s an experience and then some.

In from the Side

Tags

2020’s, Alexander King, Alexander Lincoln, Drama, In from the Side, Matt Carter, Pearse Egan, Romance, Sports Drama, William Hearle

A romantic drama set in the world of a gay rugby team, In from the Side emerges as a strikingly done and evocative film from Matt Carter about desire, throwing caution to the wind and finding the people who care about you in whatever form it comes.

Mark Newton(Alexander Lincoln)is a relatively new B team player in the Stags, an inclusive gay rugby team in South London that is struggling financially as of late. One night after a match, his eyes meet with the handsome Warren(Alexander King). He plays for the A team and there is an immediate spark between them. After a few drinks and flirting , they fall in to bed together. This causes a problem because both are in relationships, albeit ones that they aren’t very happy in. The quiet Mark is in a long distance relationship that is allowed to be open but with rules, while the more self-assured Warren is with a member of the A team. Though they try to deny their feelings, they can’t resist each other and a full blown affair begins . While attempting to make sense of it all , relationships within the team start struggling. This is especially the case of Henry(William Hearle), who looks up to Mark and has feelings for him. Because of the distance that occurs because of Mark’s affair, Henry begins suffering with a drinking problem. With the team financially strapped and loyalties beginning to divide, both Mark and Warren struggle to hide their secret relationship which leads to much upheaval for everyone around them.

Matt Carter is on directing duty and he knocks it out of the park, clearly putting his heart and soul into the film. It’s the little moments that really stand out in this slow burning drama; the furtive glances, the chance encounters and the unspoken desire that rises that tell us all we need to know about the relationship forming at the core of the film. What Carter gets across amazingly and in a realistic manner is the atmosphere  of the rugby club. The authenticity comes through with all the teasing, camaraderie and eventual bits of rivalry between a vast array of colourful characters. Both Carter and his excellent screenwriter Adam Silver have wrote a screenplay that feels real and like you could know the characters that populate the rugby team. The feeling of the club being like a family is deeply felt, evincing a sense of real togetherness even if the toughest of times. And it has to be noted that while the main characters are all gay, it’s never really mentioned or made a big thing of. It’s presented in a realistic, matter of fact and accepting manner as it should be and it’s nice to see it done that way. The passion and intensity of the love scenes and the clinches between burn across the screen with growing ardour as the affair deepens and both start to question the outcome of their deception. I’ve heard some quarters say the film goes easy on the characters considering they are having an affair. I wouldn’t agree with that summation, if anything In from the Side depicts agony of having to hide the secret and the comeuppance that will inevitably follow if they are found out.

And credit must be given to Matt Carter because he is one talented chap. Not only is he the director/writer, he is the cinematographer, editor and musician . His command over visuals is stunning; check out the emotive use of lighting in the fairground scene as they connect amongst neon lights and also the sweeping vistas of snow covered French Alps in the extended Christmas scenes. Plus, the scenes of rugby; complete with all the sweat, mud and physicality it can muster make for compelling viewing, especially as the story deepens and loyalties are tested.  His music too underscores the sexual tension, burgeoning drama and melancholy of the situation in a way that’s simply gorgeous to listen to. There’s an ambient and building drama to the score that gives voice to the unspoken desire as it threatens to burst to the surface. If I have one criticism of the film, it’s the length of it. It feels a little overlong in a few stretches, but this minor issue shouldn’t detract from an emotional and unexpected drama that succeeds on countless levels.

The two leads of the film , Alexander Lincoln and Alexander King are well cast as the conflicted men at the centre of it all. Displaying a subtle desperation and quiet contemplation, Alexander Lincoln, with his soulful eyes, is wonderful to watch. Often without talking, he completely gets across the longing, guilt and passion of someone in a situation that’s throwing caution to the wind with possibly bad consequences. Alexander King plays the more confident and outgoing part of the relationship. He does this very well, while also deepening the sensitivity of the part as realises the implications of what’s happening and how things have gotten more intense than expected. As mentioned earlier, it’s the small moments between the men that most convince as their secret affair grows into something more that neither even expected. The two very handsome leads  share terrific  chemistry, that ignites when together and their nuances are truly wonderful to watch. You seriously would buy them as a real couple because of how convincing they both are. The other people who really stand out are William Hearle and Pearse Egan. The former is touching as the outsider of the team who starts to crumble as relationships fray and the latter provides much of the humour as the cheeky chap who says what people are thinking with great wit and impish charm. 

So all in all, In from the Side is a well directed romance drama from the very talented Matt Carter. I would highly recommend this film to people for the authentic nature of it and the superb job done by both cast and director.

Mr. Brooks

Tags

2000's, Bruce A. Evans, Dane Cook, Danielle Panabaker, Demi Moore, Kevin Costner, Marg Helgenberger, Mr. Brooks, Psychological Thriller, Thriller, William Hurt

A rather intriguing psychological thriller that begins losing bits of its promise because of some needles baggage , Mr. Brooks is a rather mixed movie. While it has some stellar and pretty interestingly dark parts to it , some of it doesn’t feel as explored as I’d like and some of it becomes too overstuffed for this viewer’s liking. But it’s still watchable and rather unsettling viewing with an array of good acting to find in it.

To everyone else, the seemingly amiable Earl Brooks(Kevin Costner) has it all. A loving wife Emma (Marg Helgenberger )and college bound daughter Jane (Danielle Panabaker) , a successful business and the respect of the  Portland community that he lives in. But Earl is hiding a horrible secret; he is addicted to killing people in a very particular way. He hasn’t killed in two years but his vicious alter ego Marshall(William Hurt) convinces him to get back into the habit. Earl has attended addiction meetings , not revealing the full nature of his habit, but hoping something to can help him to quench the thirst for blood.  He follows a particular pattern when he kills that consists of meticulous planning, staging the scene and using the blood of his victors, he places two fingerprints at the scene of murder. This in the past , has given rise to his nickname of The Thumbprint Killer. By giving in to his murderous impulses again, Earl becomes more on edge at balancing both sides of his life. Adding to this stress is the fact that a weird young man who goes by the name of Mr. Smith( Dane Cook) has pictures of Earl at the scene of his latest crime. But instead of wanting to hand him into the police, Smith forces Earl into letting him be a part of his twisted acts of killing. Being blackmailed by the edgy Mr. Smith puts strain on the hold Earl has over what starts to become a precarious position. Meanwhile Tracy Atwood(Demi Moore), a troubled detective is on the trail of Earl as she has spent years trying to find him and bring him to justice. Things begin to unravel as the dark impulses take over for Earl and his ordered existence threatens to evaporate because of his struggle to keep his true nature in check. Plus with Tracy on the case, the stakes begin to mount .

Bruce A. Evans directs the rather fascinating premise of someone being addicted to killing with a sense of creepiness that gets under your skin. Granted it’s rather morbid when you think about it , but it’s rather compelling too. There’s even snippets of every dark humour that often come courtesy of the character Marshall; who provides an acidic, vicious but sometimes startlingly funny take on life. The problem in Mr. Brooks arises that it all gets a little too bogged down with side plots , that it’s distracts from the rather unusual but interesting story amidst it all. The subplot of a criminal escaping and coming after Tracy and the possibility that Earl’s daughter has inherited her father’s murderous impulses go absolutely nowhere . If the director and screenplay had decided to jettison these parts, the film might have been a bit smoother for my liking and I’m certain the audience’s too .Mr. Brooks has a moody look to it( lots of dark and muted shading) that suits the story, as does the slightly ambient/electronic  score that is present throughout and fits pretty well as mayhem ensues.

Kevin Costner heads proceedings as the eponymous killer; effectively playing both to his usual charming type and playing against it with unnerving results. Costner makes Earl far from just a murderous monster, instead he’s a conflicted man akin to an addict. His compulsion to kill is what drives him and causes his perfect existence to come undone. And it has to be said that Costner turns in a  compelling performance that’s both oddly tragic and bone chilling. William Hurt steals the show as the murderous devil in the shoulder who only Earl can see. Viciously cruel and darkly funny, Hurt is having a whale of a time creating the central conflict of the film. The scenes with him and Costner are often the best parts in this rather uneven movie and keep you watching. Demi Moore impresses as a tough as nails detective on a mission. While the writing of the character is rather up and down , Moore at least gets across the determination and often headstrong attitude of someone going through a lot but soldiering through it best she can. Though it would have been nice to have had more focus and depth in the part, Moore definitely does what she can and rises above the limitations of the dialogue she’s saddled with to show a gritty cop refusing to back down . A surprising performance comes courtesy of Dane Cook , who I usually know from his starring roles in comedic work. Cook is unusually convincing as a creepy young man with too much time on his hands that leads to dark and violent wants. He plays the perils of amorality, nihilism and voyeurism with unexpected delight, resulting in a fine and rather unsettling performance that is hard to ignore. Unfortunately talented performers like Marg Helgenberger and Danielle Panabaker are left stranded and with nothing in terms of interest to work with, playing the wife oblivious to her husband’s horrifying secret and the daughter who comes back home to stay after flunking college .

So all in all, Mr. Brooks is mixed in how it turns out. For all the intrigue of the premise, it squanders some of the promise by needlessly overstuffing the film with subplots that don’t go anywhere. Still I recommend it for the performances within it and a few nifty twists and turns along the way.

Saw II

Tags

2000's, Beverley Mitchell, Darren Lynn Bousman, Dina Meyer, Donnie Wahlberg, Emmanuelle Vaugier, Erik Knudsen, Franky G, Glenn Plummer, Horror, Saw II, Shawnee Smith, Timothy Burd, Tobin Bell, Tony Nappo

It was inevitable that a film that was a big success like Saw would get a sequel, and we got one and many more. Today I’m focusing on Saw II, a pretty decent sequel to the smash hit first film. While it doesn’t reach the same impactful level as its predecessor, it still has its moments of surprise and tension to recommend it.

Detective Eric Matthews( Donnie Wahlberg) is a cop on the edge . Once a respected officer, he’s gone downhill of late with the relationship with his young son Daniel(Erik Knudsen) deteriorating and his reputation suffering. He is called onto a case of horror by former partner in both work and personal ways Kerry(Dina Meyer) . The victim , who it turns out is an informant, was put through a horrifying test of his will to live. It’s clear to all that the infamous Jigsaw(Tobin Bell) us behind this grisly scene . What links to this is that his name is scrawled on the crime scene, involving him for an unknown reason. After deducing where Jigsaw is, they come upon a warehouse in which he is residing. Dying from cancer yet still switched on and plotting, Jigsaw( also known as his real name of John Kramer) asks to speak with Matthews. The detective is more interested in bringing him to justice, but Jigsaw gets his attention when he reveals that Eric’s estranged son is one of a group they have been kidnapped and placed in a decrepit house with many traps that could be deadly. The group consists of Daniel, Xavier(Franky G), Jonas(Glenn Plummer), Laura(Beverley Mitchell), Addison(Emmanuelle Vaugier), Obi(Timothy Burd), Gus(Tony Nappo) and surprisingly Amanda(Shawnee Smith) , who is one of the only people to have completed and survived a test from Jigsaw . All have some past time in prison or criminal behaviour to their name.  They must all play the games of Jigsaw in order to survive the horror around them. Adding to the terror is the fact that a nerve gas is percolating through the house and will kill the kidnap victims in two hours if they fail to retrieve the antidotes, which are in the house but less than ideal to get without almost certain death. The dying man knows that Matthews has a chequered past and is more than happy to bring it up , which plays  into events more than it first appears. It becomes a race against time for the captives and Detective Matthews as the game gets more twisted and unexpected, courtesy of the dying but still crafty Jigsaw.  

Darren Lynn Bousman does well on director duties by keeping both stories moving effectively and with a sense of dread in parts.  It may not quite have the shocking punch of the original, Saw II still knows how to surprise and deliver some of the horrifying goods. There are more traps here( one involving hypodermic needles is a stomach churner) and the gore is certainly upped in this entry, resulting in some rather stomach churning sequences. And the grimy looking visuals certainly add to proceedings, as do the back and forth between the police/detective thriller and grisly horror parts.  Where Saw II falls down is in the character department. Except for Detective Matthews, Jigsaw and Amanda , the rest of the characters aren’t really up to much and most are mainly there to be put through the torturous games of Jigsaw. The fact we don’t really learn many of their names until later on (or in some cases not until the credits) doesn’t help things either .However I did appreciate seeing more of Jigsaw and his scenes with are big highlights and provide some fleshing out of Jigsaw and his modus operandi. The score is a nifty little gem that blends shredded, distorted strings to a thumping bass with unnerving results .

Donnie Wahlberg makes an impression as the troubled detective at the heart of the case. He’s flawed as hell and crumbling, but Wahlberg also sells the hot headed nature and desperation underneath the growling exterior. It’s good to see more of Tobin Bell as Jigsaw and he delivers a compellingly creepy performance. There’s an unnerving calm about him that gets under your skin; his voice rarely rises above a whisper, but it’s super commanding and eerie.  The scenes between him and Wahlberg’s Detective Matthews really stand out he draws the him into his twisted game. We glimpsed the character of Amanda in the first instalment and this time we get more of her . The talented Shawnee Smith captures the fear and resourcefulness of Amanda, while also making us question various things about her and if she is all that she seems. Dina Meyer appears again, following her too short appearance in the first film . She’s a no nonsense character and plays that well; plus it was nice have a bit more for her to do than before. And while I stated before that the main characters trapped in the house don’t have much substance, the acting from some of them is still rather good. Franky G is appropriately hotheaded and intense and the alpha male who becomes more unhinged the more he attempts to survive the house of horrors. Erik Knudsen has the bratty thing down as the son of the main detective who doesn’t quite realise what kind of man his father is. Unfortunately the other cast members fail to inject much into their parts and they come off as dull and boring in the process. In particular, Beverley Mitchell just becomes a whining , miserable and annoying presence throughout.

So while not as impactful as the first movie, Saw II still delivers twists , turns and an increased gore factor aplenty to impress horror fans

The Wild Geese

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1970's, Action, Adventure, Andrew V. McLaglen, Hardy Krüger, Jack Watson, Richard Burton, Richard Harris, Roger Moore, Stewart Granger, The Wild Geese, War, Winston Ntshona

An action- adventure / war movie with a stellar cast of acting veterans, The Wild Geese has something of a grown up Boy’s Own feel to it. While it has the action going for it, it also surprisingly has a bit more depth than one would expect from this kind of film.

Mercenary and former British Army Colonel Allen Faulkner( Richard Burton) is contacted by secretive merchant banker in England, Sir Edward Matheson (Stewart Granger). He wants Faulkner’s expertise in dangerous missions and this one is definitely that. The mission is to rescue Julius Limbani(Winston Ntshona) ; the deposed popular leader of an African who is currently imprisoned by the current and ruthless Prime Minister.  Limbani is being held in a secure prison in Zembala, and Matheson wants Faulkner and others to spring him from impending execution. Faulkner agrees, settling fee and sets about getting a team ready for this undertaking . He assembles fifty mercenaries to undertake this dangerous mission, many who he has worked with in the past. Among these are  Rafer Janders(Richard Harris), who is considering stopping his line of work to settle down and care for his young son, plane expert Shawn Fynn (Roger Moore), weapons supplier and crack shot Pieter Coetzee( Hardy Krüger) and former Regimental Sergeant Major Sandy Young( Jack Watson) . After a bit of training, the men are slowly getting more into the grip of things . Yet the date for the operation is moved to a closer time than originally planned, throwing things into a bit of a spin. Despite the fact the unit hasn’t had nearly enough training and the day of the operation moved forward, it goes reasonably well for them at first . That is until then group are supposed to be collected by plane. The plane in question takes off without the regiment . It transpires that the sly, underhand Matheson did a deal with the enemy to further his investment in the country’s copper produce . This leaves Faulkner and the men stranded in dangerous terrain. Now without backup, Faulkner must lead the men and injured president to some form of safety. Trouble is the enemy is closing in and with great numbers that outweigh the group.

Andrew V. McLaglen is an ace choice of director for how he stages the action sequences. Plus, he doesn’t let the action just become the main focus; he gets into the various dramas at play in a dangerous time. Standout sequences include the crew jumping from the plane into enemy terrain as night falls and the trek through the jungles, not to mention the climactic race to escape. As previously stated, The Wild Geese had a bit more depth than I initially expected from an action film. I had expectations of it just being action-adventure/war, but was pleasantly surprised that it had a bit more going for it than just those ingredients. Plus the build up to the action is well played and at least gives us a chance to connect with the characters. It has to be said, like with any movie of a certain age, various parts have dated badly particularly in some attitudes and dialogue. Though saying this the subplot of the racist Boer Coatzee learning to understand and gradually respect the injured President Limbani he is carrying through danger , is handled with more gravitas than I expected. The score has some very nice flourishes, especially during the tense and nail-biting sequences. Other times it goes a little overboard, but is largely acceptable and has a rousing quality when it needs to. Special mention must go to the moving Flight of the Wild Geese (performed with soul by Joan Armatrading) which is displayed over a striking title sequence of social unrest and clashes by Bond alumni Maurice Binder.

Richard Burton is on commanding form as the smart, shrewd and leader of the operation. Authoritative wit and quick thinking are the main ingredients for Burton as a man who may be a mercenary, but still has morals underneath his stoic nature. And he certainly delivers . Richard Harris is also extremely memorable as the tactician; investing the part with a palpable world-weariness , toughness and underlying vulnerability. Roger Moore has charm to burn as usual, but it’s a blast to see him be more ruthless than we are used to witnessing him. Take for instance his introduction in which he confronts a contact of his who didn’t tell him he was pushing heroin. He then makes the man eat his whole supply as poetic justice for a girl who died from overdosing. He’s not messing about and Moore sells both the skills and principals of this man. Hardy Krüger gets probably the most interesting arc as a bigoted weapons expert who wants the job over so he can return home. Along the way, his world view is changed as he’s forced to confront his racist attitudes and learn to understand the man they are rescuing. Krüger does a great job of playing a character who is often tough and rugged, but wounded and misguided in attitude underneath all of it. Jack Watson provides both humour and gravity as the Sergeant Major brought out of retirement as he believes being a mercenary is the only job he’s good at. He manages to make a strong impression throughout and is highly likeable, especially when training the past their prime crew. Considering that for most of The Wild Geese he’s injured and in very real danger, Winston Ntshona manages to bring out dignity as he makes very pertinent points about how mankind will always look for an enemy, often unexpectedly. Portraying upper class sleaze and underhand tactics, Stewart Granger excels at making you really despise the slippery character he’s playing.

So all in all, The Wild Geese is an entertaining action adventure film with a cracking cast. With unexpected depth at times, a good run of tension and action,  This review is in memory of my late grandfather. He always told me it was a favourite of his. I watched it to honour him and his memory. Here’s to you Grandad.

Alien Vs Predator

Tags

2000's, Action, Alien Vs Predator, Colin Salmon, Ewen Bremner, Horror, Lance Henriksen, Paul W. S. Anderson, Raoul Bova, Sanaa Lathan, Science Fiction

A lazy and standard attempt to bring two iconic franchises together, Alien Vs Predator just feels uninspired. Apart from a few good parts, it’s largely forgettable and boring. A truly uninspired movie that does barely anything right.

A satellite detects unusual heat off the coast of Antarctica. Using thermal imaging, wealthy but frail industrialist Charles Bishop Weyland (Lance Henriksen) discovers  that an ancient pyramid resides deep under the ice. He assembles a team of experts for this excavation into what lies beneath. There is the leader and experienced guide Lex Woods(Sanaa Lathan) , archaeologist Sebastian De Rosa(Raoul Bova), scientist Graeme Miller(Ewen Bremner) , soldier Maxwell Stafford( Colin Salmon) and a few others who journey to the remote area to uncover the ancient pyramid. The group are amazed by the pyramid and the secrets to civilisation it could hold. Once they venture the pyramid and someone messes with the order of it , things start going wrong. The pyramid is on a mechanism that shifts at varying intervals. This leaves many of the group separated or trapped. The group find themselves in more danger shortly after. They are in the middle of a battle between two ancient races, the Aliens and the Predators. To make matters worse, Aliens are birthed by the Alien Queen, sparked back to life by the shifting pyramid mechanisms. Facehuggers pick off members of the crew, allowing Aliens to spawn from them very quickly and become fully grown. It transpires that every hundred years, the Predators would come to Earth to do battle with the Aliens. Humans would be sacrificed via being hosts for Aliens , allowing many of the vicious features to be able to fight the Predators. If beaten , the Predators would activate a self destruct device that would wipe out the Aliens. Now with time lining up, three Predators have landed ready for there rites of passage . As battle commences and death surrounds all, it’s down to eventually Lex to figure out a way to survive the conflict .

Paul W. S. Anderson is a competent enough director, who I mainly know from Resident Evil and Event Horizon , but he isn’t at a good level here . The aforementioned films occasionally a rep that isn’t great, but they look like masterpieces next to this sorry excuse of a film. Alien Vs Predator feels squandered , especially in it’s pandering to get a lower rating certificate. What could be tense or scary is completely bypassed and the film becomes a true mess. I wasn’t expecting high art from a film like this, but I did at least expect something of interest and something to entertain. Apart from a few flashes of it, the action here is dead on arrival. The movie feels like an afterthought during its duration, with dodgy effects and awful dialogue . One bit of credit is that the sets are pretty good and well mounted. It’s such a shame that they belong in such a weak movie . The music is pretty generic and gives nothing of note or atmosphere to proceedings.

The cast assembled is largely wasted with this paper thin and joyless material. Sanaa Lathan is probably the best served here. Her part isn’t written with the most depth, but she brings a strength, resourcefulness and sense of intelligence amidst the idiocy of the film.  Raoul Bova and Ewen Bremner , while both likeable presences, are poorly used here as archaeologist and scientist. They are basically there for exposition and nary a thing else. Colin Salmon, who I often find reliable, is lumbered with an unmemorable part which is a damn shame. Bringing Lance Henriksen to the film might have seemed like a good idea , given that he famously played Bishop in Aliens . But his talents are like many of the people here, completely wasted. 

So what emerges in Alien Vs Predator is a tired, uninspired and joyless film. Pitting two legendary characters might have seemed like a novel idea, but the execution is poor and just not worth viewing.

Hi Everyone

Hello everyone, I hope everyone is well. I just wanted to check in and see how everyone was doing. If I’m honest, I’ve been pretty up and down lately with my mental health. But I’m taking steps to improve it. I just didn’t want anyone to think I’d forgotten them, because I care about you all a lot. It must seem like I always say I’ll be back to my best soon, but I do truly mean. I’d hate to let anyone down because I’ve made some amazing friends here. I’m definitely working on getting back to my blogging best again. Just wanted to check and say I love you guys.