No Time to Die

Tags

007, 2020’s, Ana de Armas, Ben Whishaw, Billy Magnussen, Cary Joji Fukunaga, Christoph Waltz, Dali Benssalah, Daniel Craig, James Bond, Jeffrey Wright, Lashana Lynch, Léa Seydoux, Naomie Harris, No Time to Die, Ralph Fiennes, Rami Malek, Spy

James Bond finally returns to our screens after many setbacks and pushbacks on release date owing to the pandemic. In No Time to Die, we say goodbye to Daniel Craig as 007 and he signs off with a fantastic, bold and unexpectedly emotional movie.

James Bond(Daniel Craig) has left MI6 and is travelling with his lover Madeleine Swann ( Léa Seydoux )in Matera . Yet his past as a spy comes back again as he is ambushed and attacked by Spectre goons. It becomes apparent that Madeleine is hiding something that could be deadly and Bond feels betrayed by her secrecy, making him part ways with her as he suspects her of leading Spectre to him . Five years later, Bond is in Jamaica attempting retirement when old friend and C.I.A Felix Leiter(Jeffrey Wright) turns up wanting help. It appears Valdo Obruchev( David Dencik) , a scientist working on something very important and deadly has been kidnapped from a covert MI6 base. Bond is reluctant to get involved but does so anyway out of a sense of loyalty to Felix who has helped him out many a time. Along the way Bond encounters the confident agent Nomi( Lashana Lynch)who has taken up his mantle of 007 in his absence. It appears both the C.I.A and MI6 want something from the mysterious Orbruchev and both are working seemingly against each other to get it. The thing in question turns out to be a biological weapon that was secretly being developed off books with clandestine input from MI6. Eventually, following leads in Jamaica and Cuba, Bond returns to MI6 as the case leads back to Blofeld( Christoph Waltz)who he captured in Spectre . The project Obruchev was working on was powerful if harnessed by could prove deadly on a global scale. Aided by a regretful M(Ralph Fiennes), who was the one who started the questionable biological weapon project , computer/tech wizard Q(Ben Whishaw) and the ever loyal Moneypenny (Naomie Harris) Bond attempts to figure out what is happening . But it appears the real enemy actually has a bone to pick with Blofeld . This enemy by the name of Safin (Rami Malek) has his own agenda for kidnapping the scientist, who himself is rather shady in the long run .Things turn extremely personal when Bond once more encounters Madeleine, who has some link to the evil Safin and definite secrets that are waiting to be revealed with far reaching consequences . The stakes are truly raised higher as Bond hunts down this sharp enemy intent on a warped idea of world domination and destruction

Cary Joji Fukunaga provides us with a Bond movie with a difference, while retaining in his artistic vision, the things we all love about this iconic franchise . No Time to Die is extremely stylish and props must go to the gorgeous cinematography that’s by turns beautifully bright or moodily dark in accordance with the shifting settings and unravelling of story . Fukunaga’s direction is also on point in this regard and how it backs up the story of twists and turns with a human heart at its core. He’s a fantastic choice of director and his self-assured stamp is all over No Time to Die. As a huge Bond fan, I appreciate various nods to previous adventures and also how daring and how it’s one of the more emotional of the films, akin to On Her Majesty’s Secret Service and Casino Royale in that regard. This is a film that might polarise fans as it does some things in a manner not expected in a Bond film and boy is there a lot to unpack throughout. But in a way I think that adds more to the film and makes it stand out quite boldly. Time will tell what the fandom truly makes of No Time to Die, but my thoughts are that it’s a strong movie indeed . And as I’m a kind reviewer, I will not delve into major spoilers here and I’ll let movie goers go in with nothing to ruin the film. No Time to Die is also a rather haunting film with many a creepy moment . But then it also has dashes of humour and thrills you always need in a Bond flick  . It has all the ingredients you’d want from a Bond film and tinged then with moments of unexpected horror and tension, such as a spooky opening of Madeleine’s past, grisly death via biological warfare and a nail biting scene in the misty woods of Norway . And the action is still at a high level of enjoyment with the intense ambush scene involving leaping motorbikes and a well armoured car in Matera and Bond and Felix attempting to escape a sinking boat being standouts. Sometimes the exposition gets a bit full on in some stretches and lags a bit, but for a film that runs nearly three hours, it goes by relatively quickly and smoothly . A strongly stirring, thrilling and emotive score by the reliable Hans Zimmer further adds to the excellence of this film as it charts the action of the piece while keeping something personal too. We are also treated to a moody and unusually title sequence that takes us on a journey through the history of the series and features prescient imagery of time, DNA and destruction. It’s all done in artistic fashion and set to the brooding title song by the talented Billie Eilish .

In his last outing as James Bond , Daniel Craig gives a truly complete performance that has many layers. He’s still got the magnetic aggression and killer instinct that we know, but he is also extremely good at the one liners and the beating heart of emotions at the centre of Bond. He’s really owned this part and his last performance doesn’t disappoint as it’s full of feeling and delivered with commitment. Léa Seydoux provides enigmatic presence and tangible sadness as Bond’s love interest, who has her hands tied in a way that throws everything into a tailspin. Her reserved manner and chemistry with Craig are fine assets to No Time to Die and form the main backbone of it. Rami Malek, though I don’t know if I’d rank him as the best Bond villain ever, still has his moments and he does nail the creepy and insidious nature of Safin. He at least has a slithering presence about him which is saying something whenever he appears. Swagger and confidence in action and ability come in the form of Lashana Lynch as the new 00 agent on the block. Whip smart, sassy and always wanting to succeed, Lynch is a fine addition to the film and her witty banter plus prowess in combat are very much on show. The regulars of MI6 in Ralph Fiennes, Naomie Harris and Ben Whishaw are all stalwart and contribute well to the proceedings. Ralph Fiennes in particular stands out as M who is coming to rue his actions.

Making the most of small screen time but lighting it up with cheeky humour and coltish physicality is the stunning Ana de Armas . Portraying a fledgling agent who is eager to please and both funny and lethal in equal measure, she’s a delightful addition to the film and has a ball with her standout sequence in Cuba . It’s also good to see Jeffrey Wright again as who boasts a contribution of humour and realisation that bounces well of Daniel Craig. We’ve not seen them on screen together since  Casino Royale and Quantum of Solace , but the relationship established there is present once more here. David Dencik and Billy Magnussen make for a slimy duo of turncoat agent with a cheesy smile and slippery scientist  who provide a collective thorn in Bond’s side. Christoph Waltz is also used well in a brief reprisal of Blofeld; his alert eyes and calm yet eerie demeanour wonderfully used to chilling effect. And on henchman duty we have the intense Dali Benssalah, complete with a newly fitted scanning eye who isn’t afraid of a vicious dust up with Bond.

A Bond film where there is a lot to unpack and with a feeling of something different, bold and creative , No Time to Dis makes sure that Daniel Craig signs off in style as 007. I shall miss him as everyone’s favourite super spy but I’m happy that No Time to Die provides him with a fantastically eventful and daring final outing.

Free Guy

Tags

2020’s, Comedy, Free Guy, Jodie Comer, Joe Keery, Lil Rel Howery, Ryan Reynolds, Science Fiction, Shawn Levy, Taika Waititi, Utkarsh Ambudkar

A funny, lively science fiction comedy with some nice depth on the nature of compliance and making a difference , Free Guy is thoroughly entertaining and leaves you with a beaming smile.

Guy( Ryan Reynolds)wakes up every day, puts on a blue shirt and heads to work at the bank with a smile on his face. He along with his best friend Buddy(Lil Rel Howery) are all happy and compliant with what they don’t see as an endless cycle. They are so used to this that the constant crime around them is just another day and event that isn’t important . That is until he meets the kick ass and confidently sexy Molotov Girl (Jodie Comer) , and something changes inside of him as he sees her as the girl of his dreams. Around this time  he realises that he is actually part of a game that he has believed is real for as long as he remembers .This sparks an unexpected change in Guy who instead of committing crime to improve his stance , uses good acts to up his levels as set out in the game . Guy is what is known as and NPC( non-player character ) who is supposed to be in the background but seems to have gained self awareness that wasn’t expected . In the real world , we see that Milly( whose avatar is Molotov Girl) and friend Keys(Joe Keery) are the creators of the game which are being used by the corrupt Antwan(Taika Waititi ). He stole a code from then that is hidden in the game, especially wants justice for this and is using her avatar to do this . is working along with best friend Mouser(Utkarsh Ambudkar), but both are slowly seeing what he’s up too. Once the group discover that Guy has some semblance of humanity and self-awareness, it’s a breakthrough but also dangerous . For the villainous Antwan has other plans for the game as he wants to shut it down and launch another one , angered by the popularity of Guy in the real world and what it will cost his business. So it’s up to Guy, plus the creators/avatars of the game  to stop this shut down before it’s too late and everything is deleted.

Shawn Levy directs with a feeling of fun that’s also infused with a winning sweetness around the outrageous and striking premise . He never loses track of the heart of what’s happening and the journey that Guy goes on.  The self-aware/meta humour is a hoot, with various sequences proving rib tickling humour that’s hard to resist. While a science fiction comedy in the main sense, Free Guy also has a lot to say about how society lives it’s life through technology and also how it’s cool to break away from the routine and mundane to sparks greatness . Free Guy reminded me a little of The Truman Show, but where that film was a brilliantly scathing attack on reality not being what it seemed, Free Guy has more heart and breezy nature in its exploration of a similar subject while retaining an unexpected level of emotional clarity.  The special effects of the video game world are pretty stellar and contribute the overall craziness of what’s going on. I’ll admit to being a little caught off guard at first as to what the film was going for, which I’m sure was what it was going for. I didn’t quite think I was following it right, but once it hit its stride, Free Guy was a very nice film that impressed me and had me involved. Music plays a key part in this film, with Mariah Carey’s jubilant “Fantasy” a particular inspired choice as is “Make Your Own Kind of Music” by Mama Cass Elliot. 

A lot of what makes Free Guy a pleasant comedy is the main assembled cast . Utilising his typical sarcasm with a feeling of growing wonder, Ryan Reynolds is a comedic delight . I find that Ryan Reynolds has quite a reassuring presence on screen; you know that he’s going to have fun and transfer that to the audience in a great performance. He just has that humour and heart that’s needed for this film and is a hero we can all relate too. Jodie Comer, who in the last few years has emerged as a big star of exceptional talent, provides alternating humour and warm depth as two characters interlinked. Comer rises to this challenge with ease and captures two contrasting characters ( a kick ass avatar with tough, sex appeal and a nerdy game creator trying to regain what’s hers) wonderfully with humour and plenty of cool attitude. Plus, I dig the burgeoning chemistry between the two and how it develops with sweetness and care. Lil Rel Howery provides a lot of the humour as Guy’s best friend who also comes around to the idea of reality not being what he envisaged. Taika  Waititi is on villain duty as the trying to be hip because he has power . And it’s quickly obvious that Waititi is having fun with the part as his manic energy and sense of crazy antics comes through loud and clear. Joe Keery and Utkarsh Ambudkar are used well as two friends experiencing the ups and downs of the corruption of industry and both trying to make headway with it as well as take down Antwan. It’s safe to say that everyone has a purpose here in the story of Free Guy .

So all in all, Free Guy is wonderful entertainment with a great message about being yourself and discovering worth. Add in the comedy and outrageous science-fiction and the cool cast, and it’s a winner in my bookFree Guy

Jungle Cruise

Tags

2020’s, Adventure, Édgar Ramírez, Disney, Dwayne Johnson, Emily Blunt, Fantasy, Jack Whitehall, Jaume Collet-Serra, Jesse Plemons, Jungle Cruise, Paul Giamatti

Inspired by the Disney ride of the same name, Jungle Cruise is a true blast and the very definition of a summer adventure fantasy. If it’s escapist summer entertainment you want, Jungle Cruise is where it’s at .

It’s 1916 and forward thinking thrill seeker and scientist Dr. Lily Houghton( Emily Blunt)is coming up against the sexism of the era in London . Lily is determined to find the Tears of the Moon, which according to legend is a tree with petals that can cure any illness or lift any curse . She wants to do this to help the War Effort and for the good of mankind . After daringly acquiring an arrowhead which holds the key to what she seeks , she hightails to South America with her reluctant brother MacGregor(Jack Whitehall), who isn’t exactly cut out for rigorous travel but out of loyalty to his sister tags along. It’s here they encounter river cruise specialist Frank( Dwayne Johnson),  who makes money by taking visitors along the Amazon in his rickety but effective steamboat. Frank is an uncouth, wily skipper who is nonetheless not a bad man but rather a lovable rogue who knows his way along the river, can spew cheesy one liners/puns at rapid speed and how to give a good time to those visiting. After initial hesitation which is changed once he sees the arrowhead, Frank agrees to take Lily and MacGregor down the river. Relations don’t start out great between Lily and Frank owing to many factors. Over time, the initial hostility between Lily and Frank begins to thaw as they along with the foppish MacGregor brave the many dangers of the jungle. On their trail is the deranged German Prince Joachim(Jesse Plemons), who wants to find the tree for his own agenda and will do anything to get it. But Frank isn’t what he seems and Lily believes he might be hiding something just as it becomes apparent that the jungle has its own ways to defend and mystical at that, as evidenced by the cursed conquistadors who originally found the tree are now part of the jungle following a curse being put on them . It’s now a race against time to find before it falls into the wrong hands and is used as a weapon for evil

Jaume Collet-Serra, who I know from directing horror films and thrillers , gets the right tone of the piece as light and thrilling entertainment from the get go. He understands what the film is going for and helps deliver the necessary thrills of an fantasy/adventure flick. There are numerous callbacks to classic adventure movies tinged with fantasy like Raiders of the Lost Ark and adventure yarns from the 30’s and 40’s.  While it doesn’t quite reach those heights, Disney’s Jungle Cruise is a rollicking good time that’ll leave you with a smile on your face. There’s both adventure and slapstick action here, with many of the pursuit scenes blending the two things with wonderful panache. And I did appreciate how the movie wasn’t afraid to throw in a couple of curveballs at various points to surprise the audience My main gripes with the film are the running time and sometimes the CGI gets a bit overbearing. The film could have been a tad shorter and still been great, but it sadly does go on a bit longer than it needs to. I feel with a swift bit of editing it would have benefited Jungle Cruise. Visually , Jungle Cruise does impress in the setting and look. I just found that it went too far with the CGI when it could have toned it down as there are passages where it is too much for the eyes to handle. When it is brought back in however, it works very well at creating a magical ride and world to enjoy. James Newton Howard is on score duties with a rousing musical sense that percolates throughout Jungle Cruise  and envelops it in a jaunty air that’s hard to resist

Jungle Cruise boasts a fine cast, with the three principals of Dwayne Johnson, Emily Blunt and Jack Whitehall standing out. Dwayne Johnson, with his huge physique, tongue in cheek knowingness and action man persona, is ideal casting here. The part of Frank is someone who is quite mysterious and underhand but so disarming and hard not to be won over by. And all of this is played with panache by Dwayne Johnson. Also on amazing form is the always talented and watchable Emily Blunt as what can be described as an effective female take on Indiana Jones. Blunt exhibits a tough, scrappy aura but possesses a warmth , intelligence and dangerous curiosity that’s most winning as a woman who isn’t going to be restricted by society’s narrow view of women. Like Johnson, Blunt really plays to the humour and the physicality of the piece and it makes for fine, bristling chemistry . Now I’ve seen many describe the main relationship at the centre of Jungle Cruise a double act,  but I think many have missed that Jack Whitehall is just as important a part. Usually I’m not a fan of him as a comedian, but strangely enough I found him very agreeable here. Portraying Lily’s dandy of a brother who is nonetheless very loyal, he amusingly nails the snotty attitude that melts into something spirited and adventurous. Jesse Plemons hams it up spectacularly as the obsessed, deranged villain who has a lot of humour to him . A lot of this is down to the delivery of Plemons who is obviously having a completely, riotous ball with this part of main bad guy . Édgar Ramírez has the right mystique and imposing presence for the role of cursed who is desperately trying to free himself from the state of being undead And Paul Giamatti is a hoot in his small role as the gold toothed harbourmaster who has numerous run ins with Frank.

A rollicking good time that’s light and what I’d define as a crowd pleaser in the best sense of those words(apart from a few niggles), Jungle Cruise is a delight to be had at the movies and excellent viewing for the summer cinema time.

Black Widow

Tags

2020’s, Action, Black Widow, Cate Shortland, Florence Pugh, O.T. Fagbenle, Olga Kurylenko, Rachel Weisz, Ray Winstone, Scarlett Johansson, Spy, Superhero Film

A stand alone film for the Avenger character from which this flick takes its name, Black Widow is thankfully not just another in a long line of generic superhero movies. Instead it has enough action to please die hard fans and depth/story to thrill those new to the character. Plus, a stylish look and a game cast truly make Black Widow something special and definitely what I call a thrilling film.

We begin with Black Widow/Natasha Romanoff (Scarlett Johansson) from authorities for actions committed while she was an Avenger and hiding out in Norway, aided by resourceful ally Rick Mason(O.T. Fagbenle) . Out of nowhere she is sent an antidote by someone she hasn’t seen since childhood, her “sister” Yelena(Florence Pugh) . It transpires that they were raised by “parents “ in Ohio while they acquired intel as spies. Later both girls were taken for training in the Red Room, where they ended up separated but highly skilled in combat. It was controlled by the cruel and power-crazed Dreykov(Ray Winstone) who Natasha believes is dead but is in fact alive. The two women, who were raised like sisters , have animosity towards each other at first which begins to thaw once the true scope of what they are fighting comes into view. It transpires that the legion of Black Widows that are from the Red Room are controlled via sinister means like a chip in the neck that renders the wearer completely under the power of another. Yelena was exposed to the antidote which broke the control over her before she went rogue. There is also a being by the name of Taskmaster , who can mimic the movements and skills of others who is in search of the antidote to bring it back to Dreykov. After breaking their surrogate “father” Alexei( David Harbour) out of jail where he has been still trying to capture his glory days as a hero, Natasha and Yelena meet up with their “mother” Melina(Rachel Weisz), who also has important information having worked for years as a sleeper agent. It’s going to take all of their resources to take down the powerful and his brainwashed ‘Black Widows’ so it’s all hands on deck in this fight to avert global disaster courtesy of Dreykov and for Natasha to atone and learn from her past.

I’ll admit that I’m not what you’d call the biggest fan of Marvel Movies . But I know enough about them to pass muster and have some understanding of them. I’m not opposed to the films as I find them quite entertaining, I’ve just lost count of how many there are. To be honest, while a bit of knowledge is good, Black Widow stands well enough as a stand-alone feature and you can go in uninitiated . Director Cate Shortland shows a skilful talent for blending kinetic action, snippets of humour and set pieces with a story boasting more depth that just your standard superhero movie . If anything, although definitely boasting tropes of a superhero film, it also functions as a cracking and twisty espionage thriller with more than a little sprinkling of Bondian greatness. Being a huge Bond fan, seeing various nods here had the inner geek in me thrilled and I’m sure it’ll do the same for the audience who sees this action packed movie. Keep an eye out for the sequence in which break out of a snowy prison. To say it’s epic is an understatement as it’s so outrageously entertaining . Shortland is clearly a director who has a handle on things and keeps Black Widow flowing to stunning effect. A slight sag in pace can be forgiven in a film like this that sweeps you along with action and surprising depth. Black Widow is also very stylish to look at, especially in the action sequences and a grainy, snappy title sequence of being indoctrinated into becoming set to the sound of a haunting cover of Nirvana’s “Smells Like Teen Spirit”. And speaking of music, a grandiose and thundering score of action, peppered with Russian chanting, is another highlight in a stellar production that surprised me in how much I enjoyed it.

The cast is where it’s at when it comes to Black Widow. Scarlett Johansson can play the part in her sleep, yet she still displays various facets that are new and revealing. Whether it be in the action scenes or emotional moments of attempting to reconcile her past , Johansson is nothing short of fantastic at shading her part and providing backbone to an already popular character. The always watchable Scarlett Johansson is what I’d call perfect casting having played the part for so long and continuing to impress us. Ably backing her up and burning up a storm is the ever talented Florence Pugh portraying sister figure Yelena . Pugh nails the feisty, foul mouthed and quick witted Yelena while showcasing a buried resentment and hurt at realising that her past was so controlled and not what she thought. As a result much in the same way that Johansson explores Natasha , Pugh crafts a multi-layered character in Yelena that you truly root for. It helps that both actresses convince as sister figures slowly regaining trust after being separated for so long. The chemistry between the two is evidently strong and a valuable asset to the film. David Harbour provides much in the way of laughs as the washed up superhero dad to the two leading ladies. He’s comically endearing as a character and Harbour finds the genuine feeling of pathos beneath the clownish exterior. Rachel Weisz adds layers of complexity to a woman who seems sightly cowardly yet warm in the beginning before revealing a vast intelligence and ruthless determination. The wonderful Weisz makes every moment she’s on the screen count with her performance. O.T. Fagbenle provides nice support as a loyal friend and helper to Natasha, who trades good quips and witty banter along the way. The only people who get somewhat shortchanged and not given that much to work with are Ray Winstone and Olga Kurylenko. Both do what they can with their roles, I just would have preferred a bit more of them and more material for them to work

A thrilling superhero/spy-action film of great performances, twisty story and oodles of style, Black Widow is what I’d define as high powered entertainment and a film that has something for everyone to enjoy.

Dracula: Prince of Darkness

Tags

1960's, Andrew Keir, Barbara Shelley, Charles Tingwell, Christopher Lee, Dracula: Prince of Darkness, Francis Matthews, Horror, Philip Latham, Supernatural Horror, Suzan Farmer, Terence Fisher

I was invited to right about the fantastic Christopher Lee by Barry and Gill and I was very happy to do so. 

A Hammer Horror with the iconic Christopher Lee back as the eponymous being, Dracula: Prince of Darkness is atmospheric and has a lot going for it.

A group of proper English tourists; brothers Charles(Francis Matthews) and Alan(Charles Tingwell), plus their wives Helen( Barbara Shelley) and Diana( Suzan Farmer) are visiting near the Carpathian Mountains. They are warned about not going to a certain region by Father Sandor( Andrew Keir) . Sandor isn’t your average man of the cloth as he speaks his mind and seems always on the lookout for danger in a similar way to a hunter. The group don’t pay much attention and attempt to reach a castle that doesn’t show up on a map. The worried Helen doesn’t think this is a good idea, but she is overruled by her husband and the brash Charles . After a carriage appears from nowhere following , they decide to get into it. It suddenly springs to life and transports them to the infamous castle. Not wanting to be outside as darkness approaches, much to the annoyance of Helen, the group enters the castle . There they find the castle in reasonably good condition, considering that it’s been abandoned for years . We learn that the reason for this is that it’s been taken care of by the creepy servant Klove( Philip Latham) . His dead employer told him to always make the castle welcome to those travelling through. But Klove has a more menacing plan for the guests. That night he murders Alan and strings him up over a tomb. This fresh blood resurrects the evil and powerful vampire Dracula(Christopher Lee) who then goes on to turn the strait laced Helen into a sensual creature of the night like himself. Realising the danger they are in, Charles and Diana  run from the castle before finding Father Sandor in his church. The couple now team up Sandor with in a battle against the nocturnal bloodsucker.

Terence Fisher, who was always one of the most reliable directors for Hammer Horror, is in his element here. His confident and nicely unobtrusive direction helps flow smoothly and with a genuine feeling of dark tension. The less is more approach works well in many areas here, leaving much to the imagination while not shoving it in your face.The eeriness builds before being fully unleashed in the last half when the stakes are raised and a desperate plan to slay Dracula comes into play. From the get go, you just know it’s going to be very creepy. It doesn’t just start with everything being rosy and ideal for everyone; we hear of darkness from right at the start of the film as well as a prologue of Dracula’s history(which is a flashback from the very first outing for Lee as the bloodsucking count.)That is the through line of and moves the plot along nicely with an exquisite slow burn before unleashing. Also of note is how some of the characters don’t fall victim to some of the dumb horror cliches out there. For example, Charles and Diana once sensing that something is wrong flee the castle instead of sitting and waiting to be picked off, along with other smart traits. Yes they do eventually have to go back to the castle for the climactic battle(which makes sense in the big scheme of things), it’s just nice to see characters who aren’t complete morons and at least boast some substance . Its a little thing but one I do appreciate it .Prince of Darkness has enough of a difference in terms of folklore to single it out among vampire movies, particularly the eventual way that the remaining characters try to use in order to kill Dracula. Dracula: Prince of Darkness also feels even by today’s standards rather erotic in a Gothic way. Dracula’s ability to hold people in thrall is a great example of this as is Helen’s flip from staid worrier to untamed vixen. Granted age has diminished some effects and it can come off dated in stages, the creeping aura is still there in a way only Hammer can provide . On the visual front, Prince of Darkness is gloriously done with a lot of the colour red mixing with a dark and unusual feeling of impending dread. Hammer Horror always has that special something in terms of how they look and is no exception. A swelling and rather grand score suits the movie as the action and atmosphere is cranked up to high levels as darkness falls.

Christopher Lee is what really makes this movie, returning after a number years following his first outing, to play the role of the indelible villain that is Dracula. Despite not speaking a single word, his imposing presence and intense, bulging eyes are all that’s needed to give us the audience and the potential victims the creeps. Lee plays the wicked but seductive Dracula with a sense of movement and hypnotising skill; brilliantly luring in the unsuspecting prey he has his designs on. He’s obviously enjoying himself and the menace he provides as the bloodsucker is second to none. Simply stated, the film wouldn’t be the same without the iconic Lee playing it. Francis Matthews is appropriately down to Earth and charming as the free living young Charles, who has to rise up and face Dracula. Barbara Shelley is wonderful playing essentially two different parts: sheltered, fearful killjoy Helen and her enticing, seductive vampiric form that is chilling and daring . Both sides are finely judged by her and stand out for how different they are and it’s down to the excellent of Shelley . Bombastic energy and portents of doom come courtesy of Andrew Keir as the unorthodox but forceful Father who isn’t going down without a fight.  A convincingly  insidious sliminess provided by Philip Latham as the ever loyal servant intent on raising his evil master from the great beyond is another effective tool used to elicit genuine uneasiness and terror to sublime effect. Suzan Farmer and Charles Tingwell have smaller roles but are nonetheless very good as the rest of the quartet happening upon terror. The cast is pretty stellar, but it’s the presence of Christopher Lee that truly lingers in the mind thanks to the talents of the legendary star.

A stylish and atmospheric horror from the iconic Hammer Homer, Dracula: Prince of Darkness is an impressively movie with an eerie and memorable Christopher Lee at the centre of it all.

Clash of the Titans

Tags

1980's, Adventure, Burgess Meredith, Claire Bloom, Clash of the Titans, Desmond Davis, Fantasy, Harry Hamlin, Judi Bowker, Laurence Olivier, Maggie Smith, Ray Harryhausen, Ursula Andress

Taking basis from Greek mythology and past fantasy/swords and sandals, Clash of the Titans is one entertaining film. Not without flaws, but glowing with a sense of adventure that can’t be denied or not enjoyed.

In Ancient Greece, King Acrisius is angered when he discovers that his daughter Danaë  had a child that was fathered by the all powerful God Zeus(Laurence Olivier). he imprisons his daughter and her son Perseus in a box and has them thrown into the sea to die . The powerful God Zeus is infuriated by this and orders the destruction of the King’s realm. Danaë and Perseus are spared and wash up on another island. Years later, Perseus( now played by Harry Hamlin) is an athletic young man who is good at horse riding and adventure. And it’s adventure that awaits him as the unpredictability of those on Mount Olympus transports him to the city of Joppa . This is done by Thetis(Maggie Smith) who is angered by the fact that Zeus has persecuted her rebellious som Calibos. Her offspring destroyed the group of legendary flying horses (leaving only the iconic Pegasus) and for his wickedness was transformed into a hideous beast. Calibos was betrothed to the beautiful Princess Andromeda(Judi Bowker) but now has fled to the swamp. Andromeda is under a curse that makes her unable to marry unless her suitor solves a magical riddle. Into this melee comes Perseus, who immediately falls in love with Andromeda. After figuring the riddle out and subduing, Perseus asks for Andromeda’s hand in marriage. In retaliation for the treatment of her now deformed son and also stinging with anger when Andromeda’s mother dares speak ill of her , Thetis decrees that Andromeda shall die at the hands of the beastly Kraken in thirty days. Realising the severity of what is happening, Perseus sets out to discover a way to save his beloved from an untimely death. Aided by some of the Gods, an elderly but comic sidekick Ammon(Burgess Meredith) , winged horse Pegasus and a golden replica of the Owl Bubo , it’s a whole new adventure for Perseus. This entails encounters with wicked, vicious two-headed dogs, the Gorgon Medusa and the legendary Kraken. It’s one hell of an adventure for Perseus as he does battle with this assortment of creatures to fulfil his destiny and save Andromeda.

Desmond Davis is on directors duties and does a commendable job of laying on the challenges for Perseus and letting it flow. Some missteps are there it has be said , but it’s definitely very watchable as a fantasy film . Events looks amazing as do the sets that transport you to Ancient Greece in all its glory. A shot of pace might have benefited the middle section that does honestly drag things out a bit. But Clash of the Titans recovers in the finale as a glorious throwback to the old school adventure movies that where popular in decades gone by. And I frankly love it for that. Clash of the Titans is an imperfect film, but the nostalgia and feeling of adventure truly sweeps me as well as the audience along. Clash of the Titans is all about the work from special effects and stop motion wizard Ray Harryhausen. This was to be his last hurrah before retirement and he doesn’t disappoint with the array of creatures he crafts for the big screen for Perseus to face . The best among these are Medusa and the Kraken . The scaly and slithering Medusa is a terrifying creation that is part of one of the finest sequences here. Suspense abounds as Perseus attempts to slay Medusa while avoiding being turned to stone by the beast. And the last part with the Kraken is high on adventure and tension as Perseus swoops into the rescue. Both creatures on display make the movie that something special. It’s Harryhausen who is running the show here and whenever his touch is felt, it’s something to behold .The pace may get leaden in areas and the story is not exactly what you’d call the most cohesive, but as sheer entertainment it scores very high points. And the rousing score is another excellent addition to this action packed movie. 

Clash of the Titans isn’t exactly what you’d call an actors movie, but the cast is pretty good. Harry Hamlin is hardly the most expressive star out there, but he is nonetheless suitable and physically impressive in the part of the heroic Perseus. Judi Bowker is also hardly winning any awards but her stunning beauty makes it convincing that a man would risk life and limb for her. Burgess Meredith clearly has fun as the loyal best friend of our main hero, with a mischievous glint in his eyes. Laurence Olivier, with his Shakespearean training and sense of indomitable majesty is ideally cast as Zeus. Intimidating yet charismatic, it’s a blast seeing Olivier bring his theatrical talents to the screen in this fantasy yarn. The always excellent Maggie Smith has a ball as the vengeance seeking and silver tongued Thetis, whose meddling sets in motion a lot of events. Smith brings with her a sense of commanding power and playfulness, which she lends well to the film at hand. Sadly, Claire Bloom and Ursula Andress as goddesses are relegated to the sidelines as and don’t particularly register as a result. 

So while not quite up there in the echelon of fantasy films of yesteryear, Clash of the Titans is very close and boasts an immense amount of charm and nostalgia. Plus it’s a fine showcase for the Ray Harryhausen and a great final flourish for him. 

Master and Commander: The Far Side of the World

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2000's, Adventure, James D’Arcy, Lee Ingleby, Master and Commander: The Far Side of the World, Max Pirkis, Paul Bettany, Peter Weir, Russell Crowe

A sensational adventure drama with a great attention to detail, fine direction and two sterling central performances, Master and Commander: The Far Side of the World is hugely entertaining while still holding inside a depth that you wouldn’t expect.

It’s 1805 and the Napoleonic Wars are in full swing. The experienced and charming Jack Aubrey( Russell Crowe)is captain of the HMS Surprise. At the orders of the British Admiralty he is taking his ship off the North coast of Brazil to intercept a French ship by the name of the Acheron. It’s feared that if the Acheron continues its journey , the wars will spread further and last longer . Aubrey and his crew are surprised when fog rolls in and the Acheron ambushes them, severely damaging the Surprise. It’s a much bigger ship that is more heavily armed and stronger than the Surprise. The crew have to fix the ship while at sea, which poses a challenge for them. For Aubrey, the mission becomes personal as he begins to push the crew harder and starts to display questionable tactics and a foolhardy attitude while in pursuit of the Acheron . He has the crew attempt to track the much bigger and elusive ship against the seemingly insurmountable odds. This puts him at sixes and sevens with everyone, most prominently the ship’s surgeon/ naturalist and confidante Stephen Maturin( Paul Bettany) who argues that his good friend is risking the lives of the crew and not following the code of conduct by which he usually governs by. The journey around South America and the Pacific Ocean to find the continues as much in the way of bad luck befalls those present aboard the and Aubrey’s single mindedness elevates. Once the Acheron comes into view again, but with the crew paranoid and the Captain’s ways beginning to challenge those in his care, it’s not going to be plain sailing for anyone involved

The talented Peter Weir is on fine fettle directing this adventure on the high seas thats both thrilling and engaging. He combines the epic scope of an adventure film with the sense of intimacy you think of with drama. While the whole exercise is beautifully mounted, it’s the little moments that really matter here. And we do bear witness to a compelling literal and figurative journey of morality and leadership, beautifully brought to life by Peter Weir. Master and Commander was filmed on two replica shops, one that was actually used on the sea while filming. Both add a further authenticity to events and truly place us at the heart of this journey. Plus, they truly convince as a living vessel of cramped conditions, doubts and thundering action. Once again, Weir and his exceptional crew of production designers really went for painstakingly true to the time period details that are sublimely realised . There’s a revealing side that displays the frictions, rivalries and bloodshed( though most of it is discreetly shot). As most of the film takes place in the ship, it becomes alive with all the emotions running through it from the characters. When one thinks of Master and Commander, there are two main action sequences in it, which might surprise many. But the sequences are stunningly orchestrated and full of danger, while not sugarcoating the often brutal reality of war and how damn unpredictable it can be. The opening out of the blue attack hits hard and unexpectedly while the ingenious final battle is a full on thrusting sequence of action and tactical one upmanship.A few parts in the middle sag but is largely a very involving movie, particularly pertaining to the characters and visuals . The sound editing which is thunderous and immersive and the cinematography that gets across the conditions aboard a ship and the natural beauty of the sea both received deserved Oscar wins. The sound design in particular is truly marvellous; every crack and shot of a canon rings with energy and fire The scenes in the are breathtakingly beautiful and a feast for the eyes so all lovers of stunning imagery should take note during these sequences, and the cinematography from Russell Boyd is gorgeous. The score from Iva Davies, Christopher Gordon and Richard Tognetti is an adventurous one that really suits the story and has the same amount of energy and drama that is depicted on screen.

Russel Crowe heads the cast of the seafaring adventure with an absolutely entertaining performance. The dashing leadership, cheeky grin and then the realisation and sense of shock that comes with making big, life threatening decisions are all there and embodied by Crowe. It’s a full blooded portrayal of a rash but dedicated man serving his country and running into a questionable quagmire of which some is his own making. A delightfully subdued, dependable and cynical performance from Paul Bettany as the surgeon/naturalist Stephen is also of note for how effectively he slips into the part. Maturin is the more practical, rational one of the two but also boasts a deep sense of questioning curiosity that can’t be harnessed. Bettany brilliantly conveys all of these parts and really makes the character his own. It helps that Crowe and Bettany work so well together and boast a great chalk and cheese chemistry that lends an extra string to its bow. The friendship between the characters is one of the best parts of Master and Commander it has to be said. James D’Arcy makes for a stalwart supporting character playing the loyal first lieutenant, while Lee Ingleby is sensational as the tragic Midshipman who is unliked by the rest for his lack of nerve and suffers deeply because of his treatment. Young and spirited Max Pirkis stands out as the pint sized midshipman who loses an arm early on, but has enough tenacity to overcome this obstacle. Pirkis has a maturity that belies his young years and he more than holds his own against most experienced costars. The overall cast of the film is of a good standard, but it’s Crowe and Bettany that you’ll remember the most.

A surprisingly human adventure with questions of morality and order in at as well as spectacle, Master and Commander: The Far Side of the World is a fine achievement in filmmaking.

The Devil Rides Out

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1960's, Charles Gray, Christopher Lee, Horror, Leon Greene, Niké Arrighi, Patrick Mower, Paul Eddington, Sarah Lawson, Supernatural Horror, Terence Fisher, The Devil Rides Out

A thrilling and very creepy film from Hammer Horror, The Devil Rides Out stands as one of their finest films. It’s the whole atmosphere and compelling story, aided by a pacy running time, The Devil Rides Out is a must see. 

It’s the 1920’s in the English countryside and the cultured, well-respected Duc De Richleau(Christopher Lee) has become concerned about a friend. This friend is the young and often irresponsible Simon Aron(Patrick Mower) ; De Richleau knew his father and since that friend’s death he has looked out for Simon along with fellow chum Red Van Ryn(Leon Greene). The concern regarding comes from Simon seemingly cutting contact off with those closest and disappearing for long periods of time. Aided by loyal best friend Rex, the two men soon unearth that the reckless has fallen in with a secretive society of devil worshippers who wish to baptise him once more as a follower of darkness. The sect is headed by the powerful and dangerously charismatic Mocata (Charles Gray), who is known to be ruthless and extremely gifted in getting people . After knocking Simon out and whisking him away, De Richleau and Rex must contend with the knowledge that they are marked for something dark by the evil Mocata  . They also help rescue a female follower Tanith( Niké Arrighi )who hasn’t been initiated into the bit is struggling with the pull of it. He shelters both Simon and Tanith with his niece Marie( Sarah Lawson) and her husband Richard(Paul Eddington) , who live in a large house in the country. Protecting the potential victims isn’t going to be a cakewalk for as the wicked Mocata can use mind control and hypnosis to make unsuspecting victims do his bidding.  Now De Richleau must fight to save Simon and from the clutches of Mocata , who has set his sights on the rest of De Richleau’s family in a cruel blow that will require a lot of faith to overcome. Let battle between good and evil commence in entertainingly spooky fashion. 

Terence Fisher adopts a restrained, low key approach here that allows for the story to become front and centre, while moving it along at an acceptable pace of mounting chills and unnerving mystery. That doesn’t mean that is without set pieces, it simply means that they are done in a way that isn’t too razzmatazz and more slithering menace. The scene of Mocata intensely putting Marie under hypnosis is gloriously creepy and stands out as a piece of dark filmmaking as the psychology of the situation and overall ambience is cranked up higher in a battle of wills. The other big standout is the protection circle scene where the group have to face off against the dark forces that don’t let up. It knows how to up the ante excellently in the best possible way. Hammer was known for its villains in the guise of Dracula and Frankenstein’s Monster, but the fact that the main enemy in The Devil Rides Out is actually people who believe in a dark purpose makes a very unnerving prospect. Supernatural events occur throughout in the form of dark sorcery and satanism but the battle between good and evil feels more rooted in some semblance of reality while still retaining the magic of Hammer that you’d expect. The lack of bloodshed is also a stroke of genius; it allows us to focus more on the story than just parts that are possibly grisly. As mentioned earlier, the approach of a bit more subtlety adds immensely to the atmosphere of the piece as it unfolds deliberately but in a manner that is very fascinating. The film also has a dazzling colour scheme within in that highlights the richness of red and purple, plus there’s some great camerawork that employs intense close ups of eyes to startling by effect. A few special effects don’t measure up to modern eyes, but the main focus of the spooky story is the true crux of things that outweighs niggle. The score by James Bernard( himself a Hammer Horror regular) is one of great tension and action, which is exactly what you’d want in a film like this. 

Christopher Lee heads a very good cast in a role that is a change of pace for him; the hero. But Lee quickly displays how adept he is at surprising us with a passionate turn as a knowledgable man fighting to save a friend with a sense of great dignity to his core. Lee acquits himself well with force and gravity it must be said and provides the centre of this film. Charles Gray is his counterpart and he relishes being very evil throughout. For Gray, it’s all in the eyes as he uses them to such creepy effect as the character he plays manipulates those around him unsettling skill. Even before we’ve seen Mocata, we get an impression of the man and Charles Gray plays to that spectacularly. loyal friend who is supremely tested by the ordeal and along the way develops romantic feelings for the beautiful Tanith. And speaking of Tanith, she is played with the right amount of sex appeal by the enticing Niké Arrighi. There’s something a little otherworldly quality to her and it’s utilised nicely in The Devil Rides Out. Patrick Mower has the role of the reckless and foolhardy man caught in something he is starting to regret. The part isn’t the biggest stretch for the actor, but he puts in a very good performance nonetheless. Really standing out from the moment she’s introduced is the role of Marie, played by Sarah Lawson. She starts out as seemingly immensely vulnerable, but Lawson shows that the character is actually more switched on and important than people think. In fact, later becomes quite integral to the plot and a lot of this is down to Sarah Lawson. Paul Eddington rounds out the cast as the sceptic among everyone who soon comes to believe in the darkness about to surface.

A creepy and very enthralling Hammer Horror, The Devil Rides Out stands at least in my book as one of their finest. This owes much to a great cast, somewhat low key approach and feeling of elevating tension.

Crawl

Tags

2010's, Alexandre Aja, Barry Pepper, Crawl, Horror, Kaya Scodelario

A simple premise of two people against a vicious pack of creatures, locked in a fight for survival, Crawl does what it says on the tin and is all the better for that. Well acted and suspenseful, it’s a decent little horror flick.

In Florida, Haley(Kaya Scodelario) is an aspiring young swimmer, who nevertheless feels like a letdown as she hasn’t had much success. A lot of this stems from her father Dave(Barry Pepper), who coached her and pushed her very hard as a child. Haley has never felt good enough and is not dealing with her parents divorce very well. While she is estranged from him, she still gets a call from her out of town sister who is worried. Dave hasn’t responded to any of her calls, even though Florida has been warned of an approaching Category 5 Hurricane. Haley decides to check in on her father, despite the warnings of others and the harrowing weather conditions. When she arrives at his place, she can’t find him at first. With the guidance of his dog Sugar, Haley discovers her father in the crawl space, where he lies injured from a vicious bite that has broken his leg. While attempting to move her incapacitated father, Haley is menaced by an alligator that forces her to find what she can of safety in the crawl space. When her father comes around, Haley must work with him in an attempt to escape. It becomes apparent that there is more than just one alligator with them, as they got through via the storm drain . Trapped in the house that is beginning to flood and being terrorised by the vicious predators that are patient but can spring out at any minute , it’ll take all of Haley and Dave’s strength to make it out of this. But with flooding becoming more rapid, hopes of help dashed when looters meet a violent end and the alligators gaining momentum, surviving this hellish ordeal is not going to be so easy for Haley and David.

Alexandre Aja is well known for his films in the horror genre and Crawl fits in nicely with his capabilities. It’s not going for revolutionary horror, but Aja constructs immense suspense throughout, with the dual threats of catastrophic weather and killer alligators proving both a terrifying prospect for the main characters . Setting the film in predominately one location, mainly the crawl space and flooded interior of a house, was a very deft move that lends something claustrophobic to Crawl. Sometimes a simple premise can be successful through entertaining execution. Crawl certainly does that with some added bite, from the direction of Aja and an unexpectedly effective script. It has moments that do make you scratch your head and suspend your sense of logic,  but is largely a tense exercise in thrilling horror that is purely there to give you a thrill. The bleak visual style conveys the terror of a hurricane and the damage, added to with a slimy green and moody blue in the crawl space moments that are mightily impressive. Point of view shots crank up the feeling of dread as Haley has to make her way through the crawl space in hope of escaping and saving her father. The effects for the alligators are rather good too, never becoming overly reliant on obvious CGI to create these brutal creatures that feast with ferocious glee, particularly on a group of unsuspecting looters nearby. The running time of just under an hour and a half benefits Crawl as it leaves no space for any excesses or superfluous ideas. It’s a lean, mean horror that boasts good suspense and scenes of bloody terror. Added in is the underlying drama of family that thankfully doesn’t overstay its welcome; rather it allows for something grounded to emerge between who are more alike than they’d care to admit. The fact that Crawl isn’t traversing anything newfangled doesn’t matter because it proves intense and is done with a level of style. A score laden with pervading doom and bubbling atmosphere lends itself well to Crawl; soaking events in a dark and menacing sphere of growing panic, while also putting forth music that has an unusual emotional depth to it for a horror flick.

In what is essentially a two hander , save for other fleeting characters who are mainly there to be food for the alligators, Kaya Scodelario and Barry Pepper give it their best as the fractured daughter and father. Kaya Scodelario is especially good at navigating a character who isn’t the easiest to warm to at first but who earns our sympathy as she refuses to give up in the horrific situation she finds herself stuck in. Scodelario exhibits a troubled and spiky demeanour that’s tempered by ingenuity and depth that you don’t expect. is required to be both emotional and immensely physical, which she roses to with great energy . Barry Pepper is also a reliable presence as an injured, cranky man who is nevertheless someone who when out to the test, can rise above it. Pepper plays the part greatly, showing a man desperate to survive and eventually reconcile with the daughter from whom he is estranged. The characters aren’t given the biggest arcs ever, but what we have proves good enough as we watch their relationship starting to heal amid the carnage before them.

Entertaining, thrilling and filled with tension, Crawl is a suspenseful horror movie that takes advantage of a limited setting and good cast to craft an exhilarating film with snap.

Kidnap

Tags

2010's, Chris McGinn, Halle Berry, Kidnap, Lew Temple, Luis Prieto, Sage Correa, Thriller

An intense but often ridiculous thriller about a mother attempting to get her son back after he is taken, Kidnap at least has Halle Berry doing her best with what she’s given and some good action

Karla Dyson(Halle Berry) is a hard-working single mother who makes ends meet by working as a waitress in a New Orleans diner. She deeply cares for her young son Frankie( Sage Correa) , but is currently going through a custody battle with her soon to be ex husband. One day after finishing a shift, she takes Frankie to the park. After taking a call from solicitors speaking about her estranged husband wanting custody, she can’t find Frankie anywhere. Scared out of her mind, she begins frantically searching for him. Then she sees a man and woman( Lew Temple and Chris McGinn)bundling her son into their car. She attempts to stop the car but falls and loses her phone. With adrenaline kicking in as well as panic, Karla jumps in her Minivan and tails the kidnappers across the highway. Without access to a phone, Karla attempts to get the attention of people passing by, but this doesn’t register much so she’s seemingly in a desperate chase on her own. After an altercation with the kidnappers who try to mislead her and them switching cars, Karla attempts to get some help from authorities that she finally passes. But when this takes too long and seems fruitless, she gets back in her minivan and vows to get her son back, no matter how long or how desperate her search could be. Because Karla’s not giving up on her mission and nothing is going to stand in her way as the determination and fire within her starts to rise.

Director Luis Prieto starts well enough with brief exposition before going headlong into the action, which is done rather effectively. It all just falls apart afterwards as it tries to be and surely knows that it can’t be that, stranding Kidnap as not exactly stellar work from Luis Prieto. There are some intense sequences to be found in Kidnap amid the often boneheaded events happening(such as Karla causing just as much destruction as she can in her chase to find her son and the fact that we have no real mystery of who the kidnappers are). The short running time at least makes things move along quickly and a little tension can be gleaned in fast moving sequences of pursuit that have something to praise. It’s the execution that renders quite a lot of Kidnap to be incomprehensible and laughable. The camerawork and visuals try to be arty but it comes off as headache inducing and jarring. I’m all for quick cuts and some polish, but not when it happens all the time and at the expense of my eyes. Kidnap is definitely a B-movie/exploitation movie on the road with the attempted gloss of a higher effort. It could have been a trashy little schlock fest of the guilty pleasure kind, but it can’t even sustain or manage that as it aims for status of an unreachable kind. The music score is all over the place which seems in keeping with the diminishing results of the movie.

The main thing that Kidnap has going for it is Halle Berry. She turns in a committed turn with force and verve . The character she plays makes some bad decisions, but Berry makes the part still have its moments of greatness as she plays both the terror and the sheer will to continue of the part. Berry previously starred in another film about a kidnapping , The Call, which while nothing brand spanking new, was miles better than this. Still Halle Berry throws herself into the part and at least remains watchable as a crusading mother discovering her inner fury and maternal strength. It’s not her finest work, but her star quality and acting chops sure elevate a pretty lacklustre movie. It’s just sad to see someone of her talent in such a bad movie but at least she represent some of the glue that holds it precariously together. Lew Temple and Chris McGinn don’t fare especially well as the kidnappers, primarily because they don’t have anything to work with. There’s no sense of depth, or suspense with either because the characterisation is so lazy. Sage Correa plays the kidnapped son and is mainly required to be scared, which he does as effectively as he can. 

Preposterous and as it may be as a thriller, Kidnap has Halle Berry at the centre that counts for something and makes Kidnap watchable.