Stardust

Tags

2000's, Adventure, Charlie Cox, Claire Danes, Fantasy, Ian McKellen, Jason Flemyng, Mark Heap, Mark Strong, Matthew Vaughn, Michelle Pfeiffer, Peter O’Toole, Ricky Gervais, Robert De Niro, Sienna Miller, Stardust

Based on the novel by Neil Gaiman, Stardust is a lavish fantasy of tongue in cheek humour, surprising darkness and a feeling of adventure that can’t be denied. Boasting a game cast and some dazzling scenery/visuals, it’s hard not to be swept up in this movie. 

A rural England town known as Wall is bordered by a giant wall that divides it from the magical kingdom of Stormhold. No one is supposed to go through the portal in the wall and it’s guarded by a man who refuses entry, though one man did and met a beautiful woman who he had a passionate romance with. Nine months later, his son is brought to his doorstep with no sign of the mother. The boy grows up into Tristan Thorn(Charlie Cox), a good-hearted but clumsy man who has a big crush on local beauty Victoria( Sienna Miller). The problem is his love for her is unrequited and Victoria is a selfish and vain woman who enjoys stringing others along. Tristan remains undaunted in his attempts to woo her and this is where things get interesting. In the Kingdom of Stormhold, the old King( Peter O’Toole) is dying and he hasn’t appointed a successor out of his sons. Usually, it’s the last man standing who takes the crown but the King decides to freshen things up a bit. He decrees that the first of his three remaining sons who retrieves his ruby will be crowned. The King throws it into the sky where it hits a falling star. The star is seen by Tristan and Victoria, and the capricious Victoria asks Tristan to retrieve the star to prove his devotion before a deadline. If he succeeds in retrieving the star, Victoria will accept his hand in marriage. Bowled over by her, Tristan naturally accepts the challenge. Little does Tristan realise how far reaching and eventful his quest will be. The biggest surpise is once he passes The Wall, he discovers that the star has taken the form of Yvaine( Claire Danes). She might be a radiant beauty but her personality is feisty and she immediately clashes with Tristan. Both begin to warm up to the other as forces of greed and desperation chase them. The remaining and power hungry princes Septimus( Mark Strong), Tertius( Mark Heap) and Primus( Jason Flemyng)are in hot pursuit, followed by an amusing Greek chorus of deceased siblings. Most evil and menacing of all are witch Lamia(Michelle Pfeiffer) and her siblings, who are fixated on gaining eternal youth of which the star can provide. Lamia in particular is a ruthless being of great power and cunning, who is not to be tricked with once she sets her sights on something. Tristan is thrust into a dangerous adventure to save and get back to The Wall before Victoria’s deadline. But in between dodging death and mischief, Tristan starts to see that maybe Victoria isn’t the girl for him as he develops feelings for Yvaine along the way. 

Matthew Vaughn is on hand for entertaining and dazzling direction, with oodles of style and adventure. He’s a director who knows how to keep a story spinning and very exciting, most evidenced once the breathtaking fantasy elements begin. The script is very successful at placing us in the fantasy adventure of the piece while retaining a certain sense of off the wall sheen. Stardust boats a sense of infectious craziness and off kilter magic that marks it out as something different in the fantasy genre. For while it’s very amusing and playfully silly, these are balanced with some rather creepy and sinister moments that are not quite what you expect but add to the overall appeal of Stardust. It is for my money, a film that will appeal across the generations of viewers that see it. With its humour, romance, darkness and thrills, it’s a true delight of a film that transports you into a zany world for two hours. Oh the humour scale, there are a lot of knowing winks to the audience and some fairly naughty jokes that grown ups watching can appreciate. The locations are breathtaking with mountains, hills and that romantic feeling of a hero’s journey on full display for the viewer. The magic is rendered with fun and panache in the effects department, ensuring a film that’s lovely to look and have a good time with. The only flaw I can find is that there is often so much going on that you can lose focus on the events happening. I mean I like when there are various parts to a story, but there are moments when Stardust overdoes it a bit. I’m grateful however that this is the only niggle I have because the rest of this fantasy make up for it. When the three stories gel, Stardust really hits great heights of intrigue and fantastical fun. The score from Ilan Eshkeri matches the heart, romance and adventure of the film and is pretty beautiful/magical in parts too. And Take That provide the irresistibly catchy “Rule the World” to Stardust, which is hard to get out of your head once your eyes have heard it.

A sensational cast is on hand and all up for a fantastic time. In the lead, Charlie Cox is ideally suited for the main hero thrust into the biggest adventure his life has experienced. Cox is fresh faced, personable and full of charm which goes a long way in playing the hero of our narrative and endearing him to us. Claire Danes has an ethereal glow that aids her in playing the personified star Yvaine, while infusing her with a temperamental personality that softens beautifully once her and Tristan get to know each other . Yvaine be the character everyone is after but she is dar from a simpering victim which is fully embodied by a radiant and bristling Danes. The pair have a very entertaining chemistry that sizzles and enthrals. Standing out and having an obvious ball is Michelle Pfeiffer, who longtime readers know is one of my favourite actresses. She’s relishing playing the lead witch hellbent on getting her youth back and doing it in despicably, delicious fashion. Pfeiffer hits the evil and seductive notes wonderfully, while embracing an eye rolling layer of comedy. It’s a great performance from Michelle Pfeiffer who proves to be a dastardly adversary for our hero but one who’s having a full on blast and savouring this opportunity to play bad to the bone. Robert De Niro has some great comic moments as a space pirate, which finds him playing against his usual image of macho and forceful tough guy. Jason Flemyng and Mark Heap are two of the greedy brothers after the star, though it’s the reliable Mark Strong, on sneering form, who stands out the most as the ruthless brother desperate to be king. I’m not the biggest fan of Ricky Gervais but he’s passable enough as a wheeler dealer. Sienna Miller is effective in her small role as the girl who knows the power of her looks and how to use them to her advantage, which inevitable sets the story in focus. Peter O’Toole contributes an entertaining cameo as the king who sets in motion the quest everyone ends up on before he dies. And on narration duties is Ian McKellen, whose iconic and distinctive voice is richly used. 

So while it is occasionally overstuffed with too many ideas and story, Stardust remains a delightfully different fantasy film with quite a bit going for it. 

Raiders of the Lost Ark

Tags

1980's, Action, Adventure, Alfred Molina, Denholm Elliott, Harrison Ford, John Rhys-Davies, Karen Allen, Paul Freeman, Raiders of the Lost Ark, Ronald Lacey, Steven Spielberg

Action/ adventure was given a new lease of life in Steven Spielberg’s Raiders of the Lost Ark ; a rollicking, entertaining tribute to old adventure serials with a classic turn by Harrison Ford and all the right ingredients for an energetic blockbuster. Raiders of the Lost Ark is truly one of those iconic films that never gets boring no matter how many times you’ve seen it. Trust me, this movie is simply irresistible.

The year is 1936 and rugged Indiana Jones(Harrison Ford), often refereed to as Dr. Jones or Indy, is an archaeologist/adventurer with a dry sense of humour, skill with a whip, fear of snakes and ability to think quickly on his feet. He works as a college professor when he’s not facing immense danger around the globe. We first meet him in the jungles of South America where he procures an artefact, faces down danger and meets his slimy rival René Belloq( Paul Freeman), who always seems to be one step ahead of him. Back at the university he teaches at, his friend Marcus Brody(Denholm Elliott) a museum creator approaches Jones with two American agents. As Indy has knowledge of ancient relics and cultures the U.S government wants his help in dealing with the growing power of the Nazis. It’s come to their attention that the Nazis are fixed on discovering the burial place of The Ark of Covenant; an ancient and innumerable chest that according to the Bible held the two stone tablets bearing The Ten Commandments. Also housed in it is immeasurable power that the Nazis wish to harness to further advance their cause. Jones worked with Abner Ravenwood, his old mentor and had a relationship with his daughter Marion(Karen Allen). Travelling to Nepal, he meets the tough talking Marion once more and learns her father is dead. She is now in possession of a headpiece that when used properly shows the whereabouts of the Ark. She isn’t too pleased to see Indy as he romanced her and then disappeared, which leaves him with a hell of a punch across the face on their reconnection. The fact that Marion has the key to discovering the Ark puts her in the firing line for trouble. This in turns leads the Nazis to her door, headed by the very creepy and sadistic Gestapo agent Arnold Toht(Ronald Lacey). Escaping and discovering the Nazi’s, along with Belloq are digging in Cairo, Indiana and Marion head there intent on stopping them. With aid from loyal digger Sallah( John Rhys-Davies), it’s up to Indy and Marion to stop the Ark falling into Nazi hands and being wielded as a devastating weapon on the world. 

Steven Spielberg directs this action adventure classic with panache, wit and a rip-roaring sense of entertainment and it ranks as one of his best films. You can clearly see the love and feeling of breathless action he infused Raiders with to make it so rightfully iconic. His infectious enthusiasm to recreate 30’s adventure serials transfers to the audience who are swept along with Indiana Jones in his quest to retrieve the eponymous artefact from the clutches of evil. Raiders of the Lost Ark bristles with excitement right from the celebrated opening and continues on with breathless action that also houses great characters and many instances that have become synonymous with pop culture. You’ve got that opening with Indy retrieving a golden idol from a cave that’s laced with booby traps( including one menacing boulder), a journey into the resting place of the Ark which is littered with snakes, Indy hilariously shooting a show off swordsman in a nonchalant manner, a scintillating truck chase sequence that puts the A in action and the unveiling of the Ark itself. It’s hard to just talk about one moment but I’ll do my best. The cinematography has a warm glow of yesteryear and just adds further to this exciting and escapist adventure that never leaves you. The visual effects still hold up and make the finale a sight to behold in both wonderment and shock. And one of the finest and most fondly remembered parts of this movie has to be the score from the maestro that is John Williams. I’ve long been a fan of his work and his score here is one of the reasons why. I mean you only need to hear a few notes of the now famous theme to feel chills on your neck and know you’re listening to greatness that embodies adventure, danger and just that giddy feeling of something magic at work.

Essaying the role of Indiana Jones is the incomparable Harrison Ford. He’s got the humour down, the intrepid feeling of adventure, plus charm and smarts to burn. Ford is compelling and it’s pretty damn impossible to imagine anyone else playing the part because he makes it his own with star quality, wit and a certain level of old school, heroic cool. It’s hard not to warm to Indiana Jones with Harrison Ford in such fine form and creating one of the most recognisable heroes of the silver screen. Aiding him is the beautiful but strong presence of Karen Allen. She portrays Marion as feisty and not afraid to rough and tumble; thankfully she has more to do that just a be a love interest. Not that her chemistry with Ford isn’t impressive( it’s extremely good), but it’s great to see that she serves a purpose here and can take charge when needed. A slimy turn from Paul Freeman makes Belloq a cultured yet rotten to the core adversary for Indy, while is creepiness personified as the Nazi agent with the most unnerving demeanour. Humour and a certain lovable nature comes courtesy of John Rhys-Davies, making the most out of his supporting role as loyal friend. The refined Denholm Elliott also stands out in a small role with his well spoken air and sense of a gentleman. Watch out for a young Alfred Molina in the opening scene as a treacherous tour guide who meets a grisly end after showing his true, deceitful colours. 

With compelling action, imagination, fine acting and a masterful director at the helm, Raiders of the Lost Ark is one of the most rip-roaring pieces of adventure entertainment you’re likely to see and trust me, you’ll never tire of it.

The Blue Lagoon

Tags

1980's, Adventure, Brooke Shields, Christopher Atkins, Drama, Leo McKern, Randal Kleiser, Romance, The Blue Lagoon

A romantic drama that is more remembered for the skin shown and hidden from young Brooke Shields and Christopher Atkins, The Blue Lagoon is hardly what you’d call intelligent viewing. It gained negative reviews on release but was a big money maker at the box office. The cinematography and music are the big highlights here, but The Blue Lagoon is the kind of movie you’d call something of a guilty pleasure though the flaws shown are noticeable.

In the Victorian era, young cousins Emmeline and Richard are on a boat. They are journeying across the ocean but a fire onboard soon interrupts it. The children are separated from Richard’s father and end up in a rescue boat with boozy cook Paddy( Leo McKern) . After days of drifting, they come across a desert island. Exploring, it appears they aren’t alone and that a tribe resides on the other side of the island. Paddy forbids both children to visit there, while teaching them survival skills in the process. They are left to fend for themselves after Paddy has a drunken binge and drowns. Years later, the two have grown into athletic, attractive teenagers( and are now played by Brooke Shields and Christopher Atkins). They’ve learned to be self-sufficient and have fashioned a hut to live in. Richard spends most of his days hunting fish for food and exploring, while Emmeline admires the beauty of her surroundings. With both not having much education and having been marooned from civilisation for a long duration, they often don’t understand what they are feeling in any shape or form. This is most prominent in terms of attraction to each other, as they don’t know how to deal with their raging hormones and changes in their bodies. Puberty is hitting for Emmeline and Richard, though they are not really aware of what entirely it is. Yet as their feelings grow into love and they discover the joys of sex, they aren’t prepared for pregnancy or even a chance of survival from the outside world.

Randal Kleiser, of Grease fame, is the director of The Blue Lagoon. He does a decent job, though his overall approach is uneven and choppy. I feel like big parts of the story have been cut out and that the adventure which was promised in pasts wasn’t there. The main point everyone mentions is the sexual content between Brooke Shields and Christopher Atkins. Shields was 14 at the time of filming and Atkins was 18. Atkins did his own nude scenes, while Shields had a body double and had her hair stuck to her chest to cover her modesty. While the sexualisation of the two is questionable and would certainly not be allowed today, it’s the fact that film wants to be a showing of natural love but is clearly peek a boo stuff involving young people that stands out. Sex in itself is something natural but The Blue Lagoon treats it in a way that’s on a pedestal yet attempting to seem to be classy . In actuality, The Blue Lagoon is not classy because of the film not having much in the way of realism or sense and is obviously wanting box office returns with the promise of revealing content. I don’t understand how it expected to be one thing when it’s actually the other, marketing might be to blame. The Blue Lagoon wants to be sexy and somehow chases and discovers it can’t be. It’s not difficult to see why the film raised eyebrows on release and is still spoken about now. I must say while there is nudity on show, large parts of it are obscured and films nowadays definitely display more than what is shown in The Blue Lagoon. But I can understand the stir of this film back in 1980, I doubt something like this would be made today.

The script is pretty risible, trying to almost be a sexier Swiss Family Robinson while promoting itself as being a natural and free expression of burgeoning desire. It leaves the stars uttering lines that raise laughter rather than sweetness or sexiness. Plus, certain plot points like the tribe that are on the other side of the island are practically all but forgotten and blink and you’ll miss it. It’s as if someone just cut out that part and thought it would help( in reality, it doesn’t). The best things in The Blue Lagoon are the cinematography and music, which actually provide some feeling of atmosphere. Néstor Almendros is the cinematographer and his use of natural lighting is inspired at capturing the romanticism of paradise and supplying us with an array of breathtaking vistas. He breathes life into the film and shows the set location of Fiji to beautiful effect. Aiding the cinematography and the film itself is the lush music that is simply gorgeous. It has such a sweeping and intoxicating aura to it that is better than the film it belongs too. That can be said of both aspects as you do have to admire them, but obviously wish the film had more to involve us.

The acting from Brooke Shields and Christopher Atkins was lambasted on release. Yet while neither is perfect or especially earth shattering, they aren’t horrendous and have some moments to shine. It’s the writing that doesn’t give them a lot to do, often making the characters sound unconvincing. I know they are supposed to be uneducated and unaware of things, but they come off as dim witted. Thankfully, Shields especially has enough charm and presence to compensate this. Not amazing by most standards, Shields, with her prominent eyebrows and dazzling eyes, at least suggests her character’s changing mindset and unsure feelings with some semblance of conviction, As I’ve said, Shields is hardly delivering Oscar worthy work here, but is decent enough and her face is made for the camera. Christopher Atkins comes off less well, mainly seeming overly petulant or over the top . I think both where cast for their attractiveness that is hard to deny, but they are stranded with a story that doesn’t allow much for them to work with. At least they are both watchable (Shields in particular) , considering the main focus of The Blue Lagoon is on them and they are mainly required to be attractive and lounge about in tropical surroundings. Both became stars, with Shields becoming a face of the 80’s and teen idol in the process. Leo McKern, in the time he’s seen in the film, has bluster and fear but most importantly he does move the often slow movie forward.

So thanks to delightfully arresting cinematography, gorgeous music and wonderful setting, The Blue Lagoon has at least three things going for it. Despite its dopey logic and wanting to have its cake and eat it, the film is at least watchable and has the handsome pairing of Brooke Shields and Christopher Atkins.

Pete’s Dragon

Tags

1970's, Adventure, Disney, Don Chaffey, Fantasy, Helen Reddy, Jim Dale, Mickey Rooney, Musical, Pete's Dragon, Red Buttons, Sean Marshall, Shelley Winters

My second entry into the Shelley Winters blogathon is with the Disney fantasy adventure Pete’s Dragon, in which she plays a wicked supporting role. I must say thanks to both Erica and Gill for inviting me to take part

Charming and both bittersweet and funny in parts, Pete’s Dragon is undervalued as a film in my eyes. I think it should be reassessed and while some of it won’t hold up, you’ll definitely get some joy from it.

It’s the turn of the century and in Maine, young orphan Pete(Sean Marshall) runs away from his adoptive guardians. They are the vile Gogan’s, a hillbilly clan headed by the nasty Lena(Shelley Winters). They’ve treated him unfairly and made him a slave, prompting his escape. Aiding him is Elliott; a large, green dragon who can turn invisible and often is only seen by Pete. They venture into the town of Passamaquoddy hoping to start a new life. With Elliott being a clumsy creature, a string of mishaps occur. Eventually, Pete finds shelter with the kind-hearted Nora(Helen Reddy), who lives in a lighthouse with her often well meaning but drunk father Lampie(Mickey Rooney). This bliss is changed by the arrival of showy quack Dr. Terminus( Jim Dale) and his sidekick Hoagy(Red Buttons). Always on the lookout for money, when he gets wind of a dragon, he schemes to capture it. Though while both Pete and Elliott are wanted by nefarious forces, it seems that Nora and Lampie are there for them to face the evil that covers them.

Don Chaffey keeps events ticking over with humour and heart. You’re guaranteed to have a smile when watching a lot of this movie as Pete and experience thrills, adventure and danger. While Pete’s Dragon isn’t held in as high a rank as other Disney films, I think it’s unfairly overlooked. Sure it’s far from faultless and there are various issues with it, such as the length of the film, but the infectious energy and spirited heart can’t be ignored or resisted. Plus, it’s surprising how dark some parts of Pete’s Dragon are, like the singing of ‘The Happiest Home in these Hills”, in which the Gogan’s detail the horrible fate that Pete will meet if they get their hands on him. Though the overall tone is hopeful and cheery, the darkness and occasional bittersweet pang underneath in areas is a welcome addition as it doesn’t allow the film to overdose on sugary sentiment. Speaking of music, Pete’s Dragon has some lovely songs, with ‘Candle on the Water’ sung by Helen Reddy a great highlight and the sweet Boo Bop Bop Bop Bop a real gem. I’ve always liked this movie and may be a tad biased when reviewing it, but it really holds a certain place of nostalgia for me. I adore the blending of animation and live action, with Elliott being a wonderfully funny and endearing vision. Yes it’s not as slick as today’s effects, but damn if it isn’t darn effective at bringing to vivid life. The theme of wanting to belong resonates deeply with the viewer as it’s explored in numerous ways, not of least the eponymous orphan who is on his way to luck, if nothing bad befalls him first.

Sean Marshall takes the role of Pete and gives us a protagonist to root for, due to his honest face and general decency. He could have become annoying, but thankfully, Sean Marshall is a good child actor who doesn’t grate on the nerves. Helen Reddy is winsome and feisty when called for, plus using her gorgeous singing voice wonderfully. Mickey Rooney, all bluster and expressive eyes, is great as the initially terrified Lampie, who eventually comes around and takes Pete under his wing. Jim Dale is a hoot as the nasty but often hilarious showman Dr. Terminus, while Red Buttons is effective as his not above goodness sidekick. And now we come to the woman of the hour and her name is Shelley Winters. Dirtied up, spouting nastiness and generally being one evil villain, Winters is obviously having a blast playing such a vile character. Villains are in good order with the Gogan’s, but it’s Winters who stands out the most as the queen of mean. The villains are over the top and yet that’s what makes them good. They are just so nasty and often cartoonish that we want their plans to fail.

While flawed and a bit over long , Pete’s Dragon is very underrated and deserves a bit more love from people for its magic, music and story.

Jurassic Park

Tags

1990's, Adventure, Ariana Richards, Bob Peck, Jeff Goldblum, Joseph Mazzello, Jurassic Park, Laura Dern, Richard Attenborough, Sam Neill, Samuel L. Jackson, Steven Spielberg, Wayne Knight

The delightful duo of Gill and Emma invited me to take part in a tribute to the excellent Jeff Goldblum. I’ve always been a fan of his and enjoy whenever he graces the screen. I decided to review the adventure blockbuster that is Jurassic Park.

A full on thrill ride with eye popping effects and Steven Spielberg at some of his best, Jurassic Park is an ageless spectacle with the power to shock, scare and entrance from start to finish.

Dr Alan Grant( Sam Neill), who specialises in Paleontology and Dr Ellie Sattler(Laura Dern), whose field is Paleobotany are romantically linked and currently working on another dig of dinosaur fossils .One day to their Montana dog comes eccentric billionaire John Hammond( Richard Attenborough) who has a proposition for them. He has created a theme park off the coast of Costa Rica which is inhabited by cloned dinosaurs, which his team of scientists managed to create after extensive DNA testing and sampling. Hammond is worried because there have been doubts about the safety of the park and he wants Alan and Ellie to view it and give their opinions. Naturally, they accept the offer and are joined by mathematician and chaos theory nut Ian Malcolm( Jeff Goldblum). Also visiting are Hammond’s grandchildren, Lex( Ariana Richards) and Tim( Joseph Mazzello), who are more than curious about the park. Upon arrival, Alan, Ellie, Ian and the kids are bowled over by the cloned dinosaurs that have been brought to life and in the flesh. And though some of the group have their doubts about how ethical it all is, Hammond’s enthusiasm remains undimmed. Yet all of this will change as danger lurks right around the corner. A disgruntled worker by the name of Dennis(Wayne Knight) has accepted a shady offer to smuggle out dinosaur embryos to a competitor. To do this, he sneakily shuts down the security of the park in order to disguise his theft and leave undetected . The shutdown causes all power to go out but more dangerously, the electric fences that guard the dinosaurs open, setting the scene for chaos as the many carnivorous creatures go on the hunt with humans as their prized dinner. Alan ends up sheltering the terrified kids, while Ellie, Ian, Hammond, plus game warden Robert Muldoon( Bob Peck) and chief engineer Ray Arnold( Samuel L. Jackson) , attempt to restart the power and avert more horror. It’s up to the survivors to make it through the park and to safety before they end up on the menu.

Jurassic Park finds Steven Spielberg at some of his most fun and skilled. He displays sense of wonder at seeing these prehistoric beasts and then cranks the tension up when all hell breaks loose. He knows how to entertain and keep you on the edge of your seat throughout this adventure with sequences of immense excitement and haunting terror existing right after the other. Simply put, it’s one of his best movies which is saying something considering the excellence in his filmography over the years. Memorable scenes abound like the first glimpse of the towering , the terrifying encounter with a Tyrannosaurus Rex and the nasty Velociraptors menacing Ellie in the maintenance shed as she switches the circuit breakers on and the children in the kitchen narrowly escaping being attacked. Many of these moments hold that balance between scary and exhilarating. I like the look at how playing God never ends up well, but it sure can be extremely entertaining to watch. There’s the greedy Dennis getting his comeuppance when attacked by an initially friendly dinosaur reveals itself to be bloodthirsty, Hammond’s growing realisation of what he has created and the chaos that ensues once the prehistoric creatures are let loose. One can’t speak about this movie without mentioning the influential special effects in it. They make the dinosaurs feel so real as if you could reach out and touch them. I mean, we all remember the first time we, like an awe-struck Ellie, witnessed the Brachiosaurus in all its glory, right? Or the first attack of the enormous Tyrannosaurus Rex on the visitors at nighttime? The blend of the then new CGI and animatronics is seamless in execution and so thoroughly convincing at bringing these ancient creatures to jaw-dropping. John Williams is on hand with one of his most suspenseful and alive scores; charting the wonder of the park then plunging us into the terror of fighting for survival against hungry dinosaurs.

Sam Neill has the laconic attitude right for his role, while shading it with a winning curiosity and eventual mellowing of his character’s occasional dour and solemn nature. In fact, he’s  one of the main heroes of the piece as he’s entrusted with two young children to protect against creatures he knows a lot about. Laura Dern backs him up with intelligence and when it’s called for action; her run to the shed and ordeal inside leave you on the edge of your seat as you watch an ordinary woman fighting against a terrifying situation. And of course the man of the hour and resident scene stealer is here by the name of Jeff Goldblum. Portraying the know it all mathematician who drops sarcastic yet ethical  questions, Goldblum is a hoot. And considering for a big chunk of the film he’s incapacitated, he’s still dispensing entertaining one liners among the terror and excitement. It’s the definition of a star supporting turn. In a fine showcase, Richard Attenborough subtly shows the dreams of an eccentric man of money and his realisation that it isn’t the most ideal or safe thing to do. Although his actions are questionable, he just boasts a certain geniality that is hard to fault. Ariana Richards and Joseph Mazzello are thankfully talented child actors who you feel for on this journey. Fine work also comes from Samuel L. Jackson, Bob Peck and Wayne Knight in this adventure, particularly from Jackson as the gruff chief engineer who is never seen without a cigarette.

A simply phenomenal adventure with stellar effects, fine cast, wonderful music and the masterful Spielberg at the helm, Jurassic Park is a film you can never grow tired of.

The Black Stallion

Tags

1970's, Adventure, Carroll Ballard, Hoyt Axton, Kelly Reno, Mickey Rooney, Teri Garr, The Black Stallion

A captivating story of a boy and his horse, The Black Stallion is a delight for the whole family. Blessed with a sublime cinematography, love for nature and understated performance, it’s simply irresistible to all the family.

It’s 1946 and young Alec Ramsey(Kelly Reno) is sailing with his father on a boat off the East Coast of Africa. While onboard, Alec discovers an black Arabian Stallion that he becomes intrigued by. Though warned to stay away by the fearsome owner, Alec refuses to. Later that night, a violent storm hits the ship, throwing Alec and the horse overboard. They are the only survivors from the storm as Alec manages to pull on the ropes around the horse. When he awakens, he is on a deserted island. Armed with the penknife his later father gave him and resourcefulness, he learns to survive. The horse also made it to the island at first, both keep a distance from each other. Over time, however Alec wins the horse over gives the horse the name The Black. They become inseparable from that moment on as a bond is solidified. Eventually, Alec is rescued and makes sure The Black comes with him. Back home, Alec’s mother( Teri Garr) is overjoyed to see him but doesn’t quite understand the bond between her son and his horse. Alec comes across old horse trainer Henry Dailey( Mickey Rooney) accidentally when The Black runs away. Henry hasn’t raced in years but you can sense he feels a bit of regret and nostalgia creeping his way once he finds The Black. Following a bit of hostility between them, Alec and Henry become friends and Henry rekindles his love of horses with a dream of racing The Black. After a few mishaps and hurdles,  Alec and Henry enter to the horse into the race and hope for success with what they truly believe is not just a horse, but a supremely special one.

Director Carroll Ballard is the perfect choice to direct this heartwarming adventure. His love for nature and the relationships humans share with the animal kingdom are splendidly evoked. Some could write the movie off as as sickly as too much sugar, yet Ballard knows how to keep us invested without resorting to overt sentimentality. Aided by the arresting cinematography of Caleb Deschanel and vivid camerawork, the friendship at the core of The Black Stallion comes to life. The main sections on the island are largely wordless and though that might sound boring to some viewers, it certainly isn’t the case. The unspoken bond between Alec and the horse is observed with nuance and eventual trust; much like a friendship between humans. We watch as Alec wins the horse over and the horse comes to respect him and it’s very beautifully portrayed. The childlike sense of wonder and excitement is imbued within the DNA of The Black Stallion and it definitely pleases the crowd with this touch. And though many may see where the story is heading when he returns to land, they will no doubt be impressed by the eventual outcome and how things play out to a rousing and joyous finale. It’s a movie with a heart that’s sole goal is to be inspiring and for the whole family, and on that score alone it’s a winner. Carmine Coppola contributes an eclectic score that mixes Middle Eastern percussion and a soaring orchestral feel that is truly a thing of beauty. It imprints itself on your mind and is just beautifully orchestrated with obvious craftsmanship and phenomenal skill at arousing emotion.

Young Kelly Reno is full of life and wonder as the freckle-faced Alec. He’s ideal casting for the role and a genuinely convincing child actor that isn’t cloying or prone to overly annoying child acting. Mickey Rooney has fun as the slightly grouchy but brought back to life horse trainer, discovering what he’s missed for so long. Rooney is subtle yet sparkling with revived energy; both are exactly the notes he needs to star here. Just like the horse, he splendidly compliments Reno as the two things that mean the most to him. Teri Garr makes the most of her small part as Alec’s mother who doesn’t quite understand his link to the horse but comes around to the idea in a way only a mother could. Hoyt Axton is here in a brief role of father and given that he’s not on screen for long, he nails the part of adventurous dad that we miss when he’s gone. The two biggest stars however are Kelly Reno and the horse; they form the beating heart of The Black Stallion.

An outstanding, life-affirming and gentle film that knows how to touch the heart with its story, acting and cinematography, The Black Stallion is a champion.

Watership Down

Tags

1970's, Adventure, Animated, Denholm Elliott, Drama, Harry Andrews, John Hurt, Martin Rosen, Michael Graham Cox, Richard Briers, Watership Down, Zero Mostel

Director

Martin Rosen

Voice Cast

• John Hurt
• Richard Briers
• Michael Graham Cox
• Harry Andrews
• Denholm Elliott
• Zero Mostel

An animated tale of survival in nature that is surprisingly mature( and many would say traumatising), Watership Down is often referred to as a film that terrified a generation of kids who thought they were seeing a film about cute bunnies. Yet while brutality is certainly not shied away from here, it’s the soul and message of Watership Down that shines the brightest.

In a warren in the English countryside, a group of rabbits live with their own beliefs on creation and how life is supposed to be. It seems so peaceful, but it is about to be shaken to the core. One rabbit by the name of Fiver has a strange vision of the destruction of their warren and warns everyone to get out. His brother Hazel believes him but they are shunned by the chief rabbit. Along with a small band of other rabbits, they stealthily leave the warren at night, joined by one of the Owsla( or in human terms, person of authority and order) Bigwig, who was originally skeptical of Fiver’s vision. They encounter all manner of danger in their search for a new home, including vicious predators, the human world and the only doe being picked off by a bird. Now without a woman among their number, they have to find some in order to continue their species. Aided by a crazed but helpful gull named Kehaar, they may just find it. It’s when the group encounters the tyrannical General Woundwort , who rules over his warren of rabbits with supreme brutality, that things turn very dark and tense for everyone. For Woundwort is a brute who will kill anything as soon as look at them, if they disobey his regime. With Hazel at the helm, he mounts an attempt to free the does from the harsh control of Woundwort. But it definitely isn’t going to be easy to create this dream paradise for them all to live in once everything is over.

Martin Rosen beautifully captures the poignant emotion and red and tooth in claw depiction of nature in the Richard Adams’s novel. Though a bit more on the running time might have been in order, Watership Down is really hard to find fault with. The animation, which boasts the feeling of landscape, watercolour painting and a naturalistic colour palette, is second to none and partnered with some unusual dreamlike sequences that stand out for their terror and vision. I mean, when we see what became of the original warren it is some skin crawling stuff. The claustrophobia of rabbits squashed on top of each other, their red eyes glowing as they are gassed is freaky and nightmare inducing. And people thought this was a movie simply for young kids? Now sometimes it is hard to tell the difference between certain rabbits, but this is a minor hitch in what is otherwise an immensely moving and startlingly honest look at how nature works. The morals of sticking together and the dangers of oppressive tyranny are well observed, with obvious parallels to the Second World War. The thematic value of Watership Down is what has made it endure for so long. It doesn’t pander to the audience or patronise, and while there are those who criticise the violence and horror, they should remember that the overall message of the film is one of finding peace, even though life is a hard journey. But as violence and shock are big parts of the movie, they can’t be ignored. I must admit to still being surprised how visceral many of the scenes are that are featured here, they still hold up on gruesome and unflinching score. The fighting, blood and bleakly brutal vision of nature is never far from view and many scenes have a lot of palpable tension. But in a way, featuring genuine violence( albeit involving anthropomorphic bunnies), it presents something different in an animated movie. Many times we go in expecting something squarely aimed at children, but I’m certain many were surprised when they discovered the bleak overtones and poignancy of Watership Down. I have massive amounts of respect for Watership Down in retaining the novel’s unflinching examination of survival and not dumbing it Down one ounce for audience satisfaction. Sometimes films try to be just a little bit too kid friendly, to the point that the film is ridiculously cheery. Believe me when I say, that is most definitely not the case when it comes to Watership Down. And I can’t review this movie without mentioning the haunting addition of ‘Bright Eyes’ sung with conviction by Art Garfunkel. It’s bound to bring a tear to the eyes.

The talented voice cast, featuring John Hurt, Richard Briers and Michael Graham Cox are exemplary at giving life to their characters and finding heart there. With such a wide breadth of voice work( also including Harry Andrews as the terrifying Woundwort, Denholm Elliott as a rabbit whose as enigmatic as he is creepy and the comedy stylings of Zero Mostel as a bird that helps the main rabbits out), it’s hard to not appreciate the ability and skill that each of them brings to the table.

Visceral yet beautifully rendered and vividly thematic, Watership Down is a film to treasure, no matter how graphic some of it is. After all, you’ll probably never forget this movie once you’ve viewed it.

Paddington

Tags

2010's, Adventure, Ben Whishaw, Comedy, Hugh Bonneville, Imelda Staunton, Jim Broadbent, Julie Walters, Madeleine Harris, Michael Gambon, Nicole Kidman, Paddington, Paul King, Peter Capaldi, Sally Hawkins, Samuel Joslin

Film Title

Paddington

Director

Paul King

Starring

• Ben Whishaw as Paddington Bear
• Hugh Bonneville as Henry Brown
• Sally Hawkins as Mary Brown
• Julie Walters as Mrs. Bird
• Nicole Kidman as Millicent
• Madeleine Harris as Judy Brown
• Samuel Joslin as Jonathan Brown
• Peter Capaldi as Mr. Curry
• Jim Broadbent as Mr. Gruber
• Michael Gambon as Uncle Pastuzo
• Imelda Staunton as Aunt Lucy

A sprightly, adventure-filled and heartwarming take on the classic stories of Michael Bond’s marmalade loving, eponymous bear, Paddington is one of those movies that it’s hard to find fault with. Primarily, this stems from the fact it’s so much fun and an utter delight of comedy, heart and wonder.

We begin in the jungles of Darkest Peru, where we discover an English explorer happening upon two very intelligent bears with a love of marmalade. In time, he teaches them about modern life and even gets them to talk. Before heading back to civilisation he promises them a home in London if they should ever need it. The two bears, named Pastuzo and Lucy, have a nephew with them many years later; a curious and fun-loving bear who shares their taste for marmalade. But their harmony is shattered when an earthquake hits and kills Uncle Pastuzo. Aunt Lucy is getting older and can’t take care of Paddington as she once could. she remembers the explorer’s words of promise about there always being a home in London. Stowing her nephew into a cargo ship, she bids him farewell in the hope he will find a happy, new home. Upon arrival in London, he is met with hostility and all hope for a lovely, caring family to take care of him seems lost. That is until he encounters the Brown Family at Paddington Station. The mother, Mary, gives him the name Paddington and being a kind, considerate person, she offers to house him in her home. Her fussy and killjoy husband Henry, who is obsessed with keeping things risk-free, is completely against the idea of Paddington living with them. The children Judy and Jonathan, are thrilled to have Paddington with them, despite their father’s trepidation. Paddington is most curious to know more about the professor who visited Darkest Peru all those years ago and roping the family into things, he gets them into a whirl of unintentional mischief and laughs. But there is an evil taxidermist by the name of Millicent who has discovered Paddington and will stop at nothing to make him part of her sinister collection, now on his tail. Cue much mayhem, thrills and adventure for the bear and the Brown Family.

Paul King directs with an enormous amount of heart, humour and deeply felt love that explodes from almost every frame. It will take someone with a real damp view of life to not smile or have fun with a movie such as this. King just pushes all the right buttons of raucous humour, heartfelt sentiment and just plain adventure in a way that is spellbinding and an utter delight throughout. sense of magic and feel good factor it has going for it. It’s adventure of the highest level that proves totally sprightly and accessible to all ages. The blending of CGI in the title character and the real-life surroundings, that are continuously colourful, is seamlessly done. On a visual level, Paddington scores major points. The bright as a button colour scheme and adventurous ways of showcasing this zany fable are here in a glorious pot of love. And speaking of love, the film truly gets across the message of accepting people and loving one another beautifully and with clarity. The humour covers a wide spectrum from the mischievous and playful(Paddington accidentally flooding the Brown’s bathroom for starters) to nods and winks to older members of the audience, without missing a beat or getting overstuffed. It’s rare to come across a film such as Paddington that can be a ball for everyone watching. It has a style and care to it that many movies that aim for every age can sometimes miss in the long run. The high-reaching and upbeat score are on full duty; bringing out the simply amazing story and film that it accompanies. Put quite simply, you couldn’t ask for a more enchanting movie than Paddington.

Ben Whishaw beautifully voices the title bear with a childlike adventure and sense of mischief. His relaxing tones and enthusiasm can be heard so well that it’s really difficult to imagine another person voicing Paddington with the same skill as Whishaw has. Hugh Bonneville and Sally Hawkins play well off one another as total opposite mum and dad. Bonneville is staid, careful and unwilling to entertain fancy notions, Hawkins is imaginative, lovely and slightly zany. Both consummate actors invest a lot into their respective roles(which also goes for pretty much the entire cast, who are finely assembled). The ever-dependable Julie Walters has a whole bundle of fun as the elderly relative of the Brown’s, whose quick wit and precision with cleaning ensures things are up to her tidy standards. Nicole Kidman is a dark delight as the villain of the piece; a Cruella like woman who wants to add Paddington to her collection. Kidman is both menacing and tongue in cheek funny, while also embodying something seductively devious too. It’s obvious that she had a really fun time playing this type of character just from the looks on her face. Child actors Madeleine Harris and Samuel Joslin are ideal for the roles of the Brown children who take the bear under their wing. Peter Capaldi is very amusing and slimy as the local nosy neighbour getting in trouble with the evil taxidermist, while Jim Broadbent provides sage as a man who helps point Paddington in the direction of what he seeks. Briefly found voicing Paddington’s relatives in Darkest Peru are Michael Gambon and Imelda Staunton, whose pathos and warmth are felt from the get go, despite only being on the screen for a short duration.

Hilarious, riotously entertaining and aimed at all ages, Paddington takes its place as a firm favourite that will pull you in with its message of family and its massive beating centre that is the lovable bear.

The Seventh Voyage of Sinbad

Tags

1950's, Adventure, Alfred Brown, Fantasy, Kathryn Grant, Kerwin Mathews, Nathan Juran, Ray Harryhausen, Richard Eyer, The Seventh Voyage of Sinbad, Torin Thatcher

Film Title

The Seventh Voyage of Sinbad

Director

Nathan Juran

Starring

• Kerwin Mathews as Sinbad
• Kathryn Grant as Princess Parisa
• Torin Thatcher as Sokurah
• Richard Eyer as the Genie
• Alfred Brown as Harufa

Boasting a whole lot of excitement and the amazing stop motion skills of Ray, The Seventh Voyage of Sinbad is fun with a capital F that retains a magical quality to it that never dims. So sit down and be transported into a daring time of quests and magic that is hard to resist.

Legendary adventurer and captain Sinbad is travelling back to Baghdad when his ship is driven towards a strange island known as Colossa. Going ashore with his crew,  Sinbad encounters Sokurah, a magician fleeing from a Cyclops and grasping a magic lamp. Managing to escape the large beast through the use of the lamp and the genie inside, Sokurah comes aboard with Sinbad. He explains that he needs the lamp, which was lost when running away, but Sinbad is reluctant to return to the island. Sinbad is to be married to the beautiful Princess Parisa, who has journeyed with him on his voyage. Their marriage will unite two countries in peace and love, benefiting from the fact they are so very much in love with each other. On their return to Baghdad, things take a turn. Sokurah, angry that he’s been refused , secretly uses his magic powers to shrink Parisa to miniature height. This plays into his plans as Sinbad is desperate to regain his soon to be wife and potentially stop any violence between the two nations. Sokurah tells them that if they want to reverse her shortage of stature they must travel back to Colossa and acquire the egg of a giant bird to make a potion that will reverse the magic. What Sokurah really wants is to get his dirty hands on the magic lamp and use it for his own greed. Sailing back to Colossa with a doubtful crew, Sinbad knows that this journey isn’t going to be easy as he must battle against an array of marvellous creatures if he wants any chance of Parisa getting back to normal again and preventing any animosity between two kingdoms.

Nathan Juran contributes pleasing direction that allows events to be one entertaining adventure by being unobtrusive and letting the effects and magic take deep hold over the audience. The main thing that The Seventh Voyage of Sinbad is rightly remembered for is the quite wonderful stop motion animation of Ray Harryhausen. His personal stamp is there whenever any of the succession of beasts appears; his craftsmanship is something to be greatly admired and marveled at for the sheer dedication and thought gone into it. Harryhausen was a master of spectacle and extraordinary sights and it is for all to see in this excellent fantasy film. From the angry Cyclops to the two-headed bird known as the Roc, the mind of Harryhausen conjured up such greatness and a feeling of otherworldly possibility. At the time of release, his creations must have been revolutionary and met with amazement. The same can still be said now as without his guidance and talent, modern animation and visual advancements may not have been crafted in order to emulate some thing of his greatness. Swashbuckling adventure and fantasy are at the forefront of this flick, starting from the beginning and never letting up. This is a movie the whole family can enjoy as it has something for everyone. It provides pure escapism into a magical tale of heroic deeds and unusual creatures that is rollicking and bracing in almost every aspect. We never seem to see movies such as this anymore, but it’s probably for the best as modern movies may miss out on that special something these fantasy/adventures had. The exotic flourishes of the score from the majestic Bernard Herrmann only heighten this gloriously magical fantasy extravaganza.

Kerwin Mathews is handsome choice for Sinbad and while not the world’s greatest actor, his physicality and masculinity are extremely appropriate for the part of the legendary adventurer. Kathryn Grant is beautiful and sweet as the Princess whose plight is what brings the story into action. The two make a very attractive couple in this magical tale of heroism and danger. Torin Thatcher is made for playing villainy and he plays to that with relish. Just looking at his intense and often alarming eyes, he exudes a slimy sense of power and nastiness. In support there is the young Richard Eyer starring as the boy Genie who can grant any wish and Alfred Brown as Sinbad’s loyal friend Harufa.

The Seventh Voyage of Sinbad is good old-fashioned adventure at its height with imagination and thrills galore. For a movie that the whole family can love and for an adventurous time, you can’t go wrong with The Seventh Voyage of Sinbad.

Sea Wife

Tags

1950's, Adventure, Basil Sydney, Bob McNaught, Cy Grant, Drama, Joan Collins, Richard Burton, Sea Wife

The wonderful Gill and Cat invited me to take part in their Then and Now blogathon. I decided to review two movies, twenty years a part to fit in with the theme. As Joan Collins featured on one of the banners, it seemed only right to review two movies starring the great lady. The first up is Sea Wife.

Film Title

Sea Wife

Director

Bob McNaught

Starring

• Joan Collins as Sea Wife
• Richard Burton as Biscuit
• Basil Sydney as Bulldog
• Cy Grant as Number Four

An adventure drama from the 50’s that may not be high art and a tad disjointed, Sea Wife is nonetheless a worthwhile enough movie that holds the attention for its relatively short running time.

In 1942, a cargo ship in Singapore is boarding people before the Japanese Army arrives. They are however soon under attack, causing everyone to evacuate the boat. One a lifeboat, four disparate people end up escaping and separated from everyone else. None of them are really referred to by their real names, instead we get to know them through the nicknames they assign each other. There is military Officer Biscuit, beautiful Sea Wife( who is secretly a nun), bigoted businessman Bulldog and black purser Number Four. Frictions and tensions quickly rise as Bulldog and his prejudiced views belittle Number Four. Also, Biscuit begins to fall in love with Sea Wife, unaware that she is really a nun and is bound by her vows to God. Following being nearly thrown overboard in a storm, near starvation and desperation, they eventually end up washed onto an island. And while they all attempt to think of ways to make it back to civilisation, events take a tragic turn.

Bob McNaught and his direction are passable and do the job, yet can feel rather labored and in need of a fixer upper. The opening stretches of Sea Wife are the best areas of the film, with the attack of the ship and the subsequent introductions to the characters ending up quite fascinating. Sea Wife, while dated, is quite surprising since good doesn’t always triumph over bad here. In most old movies, good often prevails but in Sea Wife there is a definite melancholy to it that marks it out as something different. Plus, the topic of racism is approached with depth and a sensitivity rarely seen in a 50’s movie. Yet there are definitely some parts of the overall product that could have been improved. The sentimental nature is laid on a bit too thick in stretches and I think my biggest gripe was that events, especially when concerning the latter stages, feel rushed in comparison with the parts where we get to know the characters. A tad more expansion and some more back story for all of them would have been a blessing to this film. The flashback device is pretty nifty and well employed, while lending a bit more depth than what the script often gives us. Focusing on the attempts of Biscuit to find Sea Wife after the tumultuous events on the island, it gives more nuance to the film than it really should have. The music score for the film has a real sweeping quality to it, that I really enjoyed and found beautiful to listen to.

As the eponymous character, Joan Collins is the main focal point of the film. Although known primarily for playing super bitches and glamour goddesses, it’s somewhat refreshing to see a very young Joan Collins in a serene and sincere role. There’s a real sweetness to her here and her beautiful face often speaks volumes in terms of feeling. If you’ve only ever thought of Joan Collins as the aforementioned diva, please check out Sea Wife to see another side to her. You may be surprised to see her play a nun, but it actually works. The ever intense Richard Burton is on hand too, with his customary seriousness and brooding, ideal for his part of the pining man. Basil Sydney really gets into character as the horrible racist, whose prejudices and nastiness, are rendered in full villainous form. Finally, we have Cy Grant as the abused yet useful man, who suffers at the hands of Bulldog simply because of his skin colour. It is with the cast that Sea Wife rises above its many flaws. And while their roles are not what you’d call the best written, they all make them work.

No classic of adventure by means, but still owning enough moments and good acting to tide us over, Sea Wife is an interesting movie to be sure.