The Shallows

Tags

2010's, Blake Lively, Horror, Jaume Collet-Serra, The Shallows, Thriller

Director

Jaume Collet-Serra

Starring

• Blake Lively as Nancy Adams

An energetic, nail-biting horror thriller, The Shallows is entertaining in many ways. Originality is checked at the door and we are vibes a fun and at times terrifying fight for survival between woman and beast. This is the first entry into my Month of Horror.

Nancy Adams is a medical student who has traveled to Mexico in the wake of her mother’s death. She goes to a beach she knows her mum loved in order to honour her memory and avoid dealing with her father, who it seems is distant from her. She takes to the surf and is relaxing in the sun. After encountering a dying whale, a monstrous Great White Shark attacks her. Nancy’s leg is injured, but she manages to clamber up onto some rocks. Being a medical student, she treats her wound the best she can as terror sets in. Being miles from land and knowing that the tide will soon wash her away and her safety, she has to embrace an inner toughness and fight back in order to live in the face of the shark. The question is, just how long can Nancy survive as the tide turns and the shark comes looming?

Building on a simple prestige of the lone female being menaced by something horrible, Jaume Collet-Serra ratchets up the tension from the start. He drip feeds smidgeons of foreshadowing that something bad is going to happen among the glorious cinematography. The Shallows deserves kudos for its visual appeal, especially in the lighting and scenery. The lush surf is rendered gorgeously as a paradise before the predator comes calling for food. Plus, the technique of showing us the time and connecting Nancy with others, in this case a videophone, leads to some wonderfully nifty shots. Added to this are frequent close-ups on her face that display her resilience and terror in the face of horror. Now The Shallows isn’t a perfect movie, some areas lag, but it isn’t trying to be the best movie out there. What it wants to do is scare and excite, which it does with ruthless efficiency. It’s a B-movie with a little bit of that something extra. And it has touches of humour in the form of a Seagull that gravitates to Nancy and earns the nickname, ‘Steven Seagull’. The score is excellent at slowly carving out scares and the perilous journey that Nancy attempts to go on in order to survive the shark that is menacing her.

One of the best things in The Shallows is Blake Lively. Getting to grips with the physicality of the part, she also displays courage, heart and fierce steel as she does battle with the shark. Lively is a beauty and often her acting gets overlooked, but she shows here that she’s definitely more than a pretty face. In the hands of someone else, the part could have been just eye candy, but that’s not the case with Lively. It’s a commendable piece of work because the film largely rests on her athletic shoulders. Luckily, she is up to the task of it.

A tense and thrilling survival horror with a fine lead performance and terror at almost every corner, The Shallows is a movie that truly entertains and scares in equal measure.

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Shadow of a Doubt

Tags

1940's, Alfred Hitchcock, Henry Travers, Hume Cronyn, Joseph Cotten, Patricia Collinge, Shadow of a Doubt, Teresa Wright, Thriller

The delightful Maddy asked me to take part in a Second Alfred Hitchcock Blogathon and I just couldn’t refuse. I had to review Shadow of a Doubt, which is one of my favourite Hitchcock movies.

Director

Alfred Hitchcock

Starring

• Teresa Wright as Charlie Newton
• Joseph Cotten as Uncle Charlie Oakley
• Henry Travers as Joseph Newton
• Patricia Collinge as Emma Newton
• Hume Cronyn as Herb

A cracking thriller pulling apart the image of picket fence America, Shadow of a Doubt has director Alfred Hitchcock on scintillating form. Working in a smaller scale, it’s a movie that features many interesting themes and wonderful performances.

Charlie Newton is a bored young girl living in the picturesque town of Santa Rosa, California. She feels she has nothing to do and that her life is dull. Her thoughts of this are quickly changed when news that her Uncle Charlie, who she was named after, is arriving in town. Her family is very happy about the incoming arrival of him as they adore him. What young Charlie doesn’t know is that her beloved Uncle is in fact the Merry Widow Murderer, who is fleeing Philadelphia. Everyone is in awe of Charlie and he lifts everyone’s spirits, particularly his niece. He is accepted right back into the bosom of the picture postcard town. But as much as young Charlie admires her uncle and fawns over him, various things start to worry her about her favourite relative. His behaviour occasionally becomes erratic and dark and two detectives, posing as journalists, also appear in town looking for the man they believe to be the killer. Soon Charlie becomes suspicious of the uncle she always adored and digs into his past. This of course puts her in danger as we aren’t sure whether Uncle Charlie will kill her because she knows too much.

Alfred Hitchcock displays his directing prowess in many ways and brings out the story with darkness and keen insight. Darkness pervades this movie and the eternal battle of good against evil is waged in circumstances that seemed comfortable but are disturbed by something sinister. Suspense builds as Young Charlie wrestles with what she feels about her Uncle Charlie and how he is far from the man she idolized. Doubt tears apart the picture perfect image of society with irony and dark humour. A cracking example is Charlie’s father and next door neighbour whose main interest is discussing mystery and murder. The delicious irony that a serial killer is under the father’s roof is excellent. Plus, I love all of the references to doubles and twins, particularly how the main characters share the same name but at are different ends of the morality spectrum. Shadow of a Doubt may not boast the big set pieces that some Hitchcock movies have, but it features a lot of his artistry and penchant for generating suspense. By being more small-scale, the story comes to the forefront and the characters are the centre. For me, it’s one of the directors finest movies as it explores deep darkness and has fine acting and writing. Hitchcock was always fascinated by the dark side of human nature and his direction and themes are aided by a screenplay that really compliments his vision. The best example is when Charlie and Uncle Charlie are in a bar and he begins to talk of the nastiness behind closed doors that so many people don’t see because of the veil of niceness. While bleak and extremely creepy, Uncle Charlie is definitely on to something that still rings true today. It’s a spine chilling scene that says so much about Uncle Charlie’s character and his view of life. Dimitri Tiomkin provides the score, that undercuts events with a beauty and idyll, while simultaneously revealing the shocking truth and evil within the character of Uncle Charlie.

Leading events is Teresa Wright, who has the right mixture of youthful enthusiasm and eventual maturity as she is faced with her worst nightmare. The sweetness Wright brings is just the amount needed so as not to become cloying, but watching her grow up fast is fascinating and melancholy at the same time. Wright is simply put marvellous as the young girl learning the hard way about the evils of life. Joseph Cotten is a revelation as Uncle Charlie; balancing charm and beguiling nature with a worryingly dark intensity. He does this sometimes in the blink of an eye, making the part one that is unpredictable. Cotten commits to the part, using his usual nice guy persona to deathly, smooth effect and colouring what’s there with something extremely sinister. It is Wright and Cotten who are the big stars here and deliver the goods splendidly. Henry Travers and Patricia Collinge are well suited to their roles as parents, doting on the family and raising their kids the best they can. Travers enjoys a fine rapport with a debuting Hume Cronyn, who steals his scenes as the murder obsessed neighbour.

A wonderfully unnerving and successful thriller from one of the best directors there has been, Shadow of a Doubt is a must see.

The Day of the Jackal

Tags

1970's, Alan Badel, Cyril Cusack, Delphine Seyrig, Derek Jacobi, Edward Fox, Fred Zinnemann, Michael Lonsdale, Political Thriller, Ronald Pickup, The Day of the Jackal, Thriller

Director

Fred Zinnemann

Starring

• Edward Fox as The Jackal
• Michael Lonsdale as Claude Lebel
• Cyril Cusack as Gunsmith
• Ronald Pickup as the Forger
• Derek Jacobi as Caron
• Delphine Seyrig as Colette

A superbly crafted and tense political thriller based on the renowned novel by Frederick Forsyth , The Day of the Jackal has fine precision and the ability to make you sit up and concentrate.

It is 1963.  An underground group known as OAS in France is outraged by President Charles de Gaulle’s decision to award independence to Algeria. Various attempts are made on his life, yet none are fruitful or successful. After one such attempt, many members of the group are apprehended, arrested and the leader is executed via firing squad. In anger, the remaining members of OAS enlist the services of The Jackal. He is a mysterious assassin with no background but immense skill at his job. Around the time of hiring him to kill de Gaulle, the police learn after some interrogation of a OAS member of The Jackal and an assassination, but nothing further. The Jackal meticulously plans the assassination, getting what he needs from a number of people and often killing them when they cross him. Meanwhile, Deputy Commissioner Claude Lebel is brought in to head the investigation by the Interior Minister. He is to uncover when the assassination will take place and hopefully prevent it. Lebel is a fastidious man who doubts he is cut out for this enormous job at first, but shows his worth and sharp mind in searching for the assassin. And so begins a cat and mouse game as both head towards their goals, each with the idea for a different outcome.

Fred Zinnemann is the shining star of The Day of the Jackal; his understanding of pace  and how to sustain a high level of unease is admirable and dexterous. The film may run for two and a half hours, but it sure doesn’t feel like it due to his handsome and taut handling of the material. Which isn’t to say that the film is rushed, instead its methodical and enthralling with how painstakingly it documents The Jackal’s planning of his job and Lebel’s analytical mind. You see it’s not about the main action of the piece; it’s all about the planning of it all. By cutting between the Jackal and Lebel, immediacy is created and used to spellbinding effect . You see how carefully and fastidiously both parties go about their business and objective. There’s real efficiency and uncertainty created in the viewers mind as Lebel closes in on the Jackal, but finds him most elusive at nearly every step. The editing is the second star of Jackal for how it combines the two characters in their fields of work and the inevitable confrontation between them. Add to that voice overs that carry over to other scenes and it’s a seamless way of telling a story  This is a thriller that is about intellect and plotting rather than over the top violence and blood. Granted, there is violence but most of it is hinted at rather than show, giving it a more chilling quality. The murders committed by The Jackal are skilled and briefly brutal, much like the man doing them. He is a man who is coldly ruthless and immensely determined, which is a deadly combination.  much like Jackal is a movie that demands your undivided attention as so much goes on. It’s largely compelling and there are only a few things that may have benefited from more explanation. But the vast majority of things are coolly and compulsively rendered for us to view and appreciate. Any little languors can be ignored because of how skilfully The Day of the Jackal tell it’s story and patiently but rewardingly pulls you in.

This movie features a wide cast, but there are those who really stand out. Heading things is Edward Fox as the eponymous killer. His boyish looks are employed with ruthless charm here, making him a charismatic but very dangerous fellow. This coupled with an icy stare and cool efficiency is perfect for the part. Seriously, I can’t imagine anyone bringing the menace and suaveness to the role that Fox does. Michael Lonsdale plays his part of detective with a sense of savvy and intellect. There’s a doubting quality there, but an immense dignity and steadfastness too. All of that compliments things greatly. In support there is Alan Badel as the hassled Interior Minister and look out for Cyril Cusack and Ronald Pickup as two men who aid The Jackal. Also a young Derek Jacobi makes an appearance as Lebel’s assistant and a tragic Delphine Seyrig as a woman romanced by the Jackal are worth praising.

A skillfully executed thriller with immense suspense and a keen eye for showing how the legwork of investigation can be, The Day of the Jackal is rightfully held in high regard.

A Quiet Place

Tags

2010's, A Quiet Place, Emily Blunt, Horror, John Krasinski, Millicent Simmonds, Noah Jupe, Thriller

Film Title

A Quiet Place

Director

John Krasinski

Starring

• John Krasinski as Lee Abbott
• Emily Blunt as Evelyn Abbott
• Millicent Simmonds as Regan Abbott
• Noah Jupe as Marcus Abbott

A horror thriller that taps into many fears and is ruthlessly tense throughout, A Quiet Place is terrifying and at times quite moving in how it examines people surviving in near silence from director/star John Krasinski.

The year is 2020 and blind creatures have overtaken most of the world. Despite having no sight, they hunt via hearing which is exceptionally advanced. Any significant noise can attract these beings to potential prey. The Abbott family( mother Evelyn, father Lee and three children, Regan, Marcus and Beau )are surviving the best they can in times of darkness and crippling fear. They communicate using sign language, which they know anyway because Regan is deaf. It appears that they are some of the last remaining humans given how abandoned and desolate everywhere around them is. Though they have survived for a long time, a tragic incident robs them of one of their children. When we pick up with the family again, they are living in a farmhouse and Evelyn is pregnant. As heads of the family, while terrified of day-to-day life, they are determined to protect their family by remaining as quiet as humanly possible. They have forged an existence for themselves, with many areas of the house insulated and cameras to observe outside. Lee is the main provider for them, going out to forage for food and attempting to fix Regan’s hearing aid. Evelyn is preparing for the birth of a child while raising her other two children, plus mourning the loss of one. Anxiety hangs in the air as Evelyn’s due date is approaching and the prospect of a baby terrifies all as it spells potential horror for all if they can’t remain quiet. And ever since the loss of one child, uncertainty has grown within the right family unit. But in this time of panic, can the family survive for much longer without becoming victims of the creatures?

Director and star John Krasinski crafts suspense and an uneasy atmosphere right from the beginning and keeps the nerves frazzled with efficiency. His direction is confident and skilled at scaring us and cranking up the tension as events continue. The pacing is just on the mark, building and building to a chilling and relentless last act that will have you gasping for breath with nervousness. I dare anyone to not feel panicked as the family are menaced by the scary creatures and they are separated. Sound and the ability to use it, which we can so often take for granted is crucial to this film as noises are both amplified and subdued. This gives the creepy effect of not being able to express things and the difficulties involved when we are robbed of this essential thing. Jolts of terror and As the family has to live in almost always silence, a lot of the story is told visually. We gain information from facial expressions, symbols and sign language, which gets us involved and has the attention from the start. The life these characters have crafted offers much in the way of intrigue, helping us realise just how precious sound and especially silence are in making sure you don’t become victims to the creatures that terrorise the characters. What surprises in A Quiet Place is that as well as being frightening, it has you emotionally invested too. If anything, the main theme is parental anxiety. It’s amplified here but nonetheless shines in presenting two parents doing whatever they can to shelter their brood from harm. Especially in the case of the mother being pregnant and the collective worry of what will happen when the child is born into this startling world. The creatures are fleetingly glimpsed at the start, but when revealed are truly alarming and well designed to be etched into the memory. Marco Beltrami is on score duty, ratcheting up the scares and overriding eeriness of the piece. And speaking of sound, the effects and design are sublime in dialing up creepiness and oodles of ambience. Every sound could possibly be the last for these characters so it’s imperative that noise is well used and the often deafening silence matters. Just like the characters, we become scared of sudden sound.

The relatively small cast all convince in this merciless horror film. John Krasinski and Emily Blunt, who are a married couple in real life, excel as the protective and resourceful parents. Using body language and facial expression, they get across the terror and will power of this mother and father who are doing whatever they can to ensure the safety of their children. The fact that they are married in real life adds to the closeness of the two and how they complement one another. Krasinski’s survivalist and Blunt’s warm, nurturing matriarch are fully realised and performed admirably. The two children in the film, Noah and Millicent Simmonds exceptionally convey the uncertainty and horror that’s thrust upon their young shoulders. Millicent Simmonds is especially marvellous as the daughter who is dealing with feelings of guilt and loss . The fact that Simmonds is also deaf in real life brings a lot of authenticity to her performance as well as her expressive face.

A nerve jangling exercise in tension, A Quiet Place sustains the interest and induces terror with its story and atmosphere. This is strong stuff from John Krasinski and marks him as a director to watch.

Half Moon Street

Tags

1980's, Bob Swaim, Drama, Half Moon Street, Keith Buckley, Michael Caine, Nadim Sawalha, Sigourney Weaver, Thriller

The quite fabulous Gill is celebrating the career of Michael Caine with a blogathon about him. Naturally, I was more than happy to take part in doing this and I have chosen Half Moon Street to review.

Film Title

Half Moon Street

Director

Bob Swaim

Starring

• Sigourney Weaver as Dr. Lauren Slaughter
• Michael Caine as Lord Bulbeck
• Nadim Sawalha as Karim Hatami
• Keith Buckley as Hugo Van Arkady

It may be a mixed bag in various aspects, but the dramatic thriller that is Half Moon Street is very watchable and has its moments. It most benefits from the work of Weaver and Caine and what transpires between them more than anything else.

Dr. Lauren Slaughter is an American research fellow residing in London and working at the Arab-Anglo Institute. Slaughter has a PhD from Harvard and has spent a number of years doing field work in China. She is smart, driven and completely frustrated with her job at the moment. Partly, this is due to the ingrained attitudes of men being superior within many in the workplace. Though the job is something she is immensely skilled at, it doesn’t pay well enough and she is struggling with her low wages and is living in a bed sit, that leaves a lot to be desired. Lauren doesn’t know how she’s going to feel at all comfortable in both work and personal life. Her annoyance at events continues as something she wrote is plagiarised by a higher up colleague and she isn’t considered for a prestigious study in Kuwait. One day, she receives a video in the post. It details the Jasmine Agency; an escort agency for wealthy clients, many from the Middle East. Lauren decides to moonlight as an escort for money so she can live without worry and have some semblance of power. In the escorting work, she finds more control over men and independence than she does at her job at the Institute. Her attitude towards things is one of cool confidences, but one particular date makes an impact on her. She meets Lord Bulbeck, a diplomat who is involved with Middle Eastern affairs. The two hit it off and soon a genuine relationship that is more than just sex is developing for them. They are compatible in viewpoints and humour, plus both are somewhat outsiders in one way or another. But it was no accident that Lauren was set up with Lord Bulbeck. A hidden group is monitoring events between the couple and is using both as pawns in an effort to stop Bulbeck in his attempts to forge a peace deal between Arabs and Israelis. Both are not aware of what is bubbling underneath their budding romance.

Bob Swaim is a good director and his sense of style is on display in Half Moon Street can be viewed. But he often over complicates things by trying to say too much with the story and needlessly dragging out parts of it. On the negative side, the film itself takes too long to bring the thriller element out into the open. There is suspense that it manages when the danger hits, but the attempts at mystery feel flat and tacked on. If the thriller areas had been addressed earlier on and given more footing in Half Moon Street, it may have been a different story for the movie. Onto the positive notices and Half Moon Street does have a good few. The script, while requiring several leaps of faith, does have something to say about the workplace and why someone like Lauren Slaughter would turn to an escort job to keep afloat. The most impressive aspect is the relationship between Slaughter and Bulbeck; they have a great affinity with each other and you do buy into their attraction to the other. I liked watching two fine actors create this relationship with each other on screen and do it justice. The material is lifted thanks to the script but mostly the stars. An exotic flourish in the music score, that gets romantic as the characters become closer is exemplary in doing the job of crafting atmosphere in a movie like Half Moon Street.

Whatever faults Half Moon Street has, the performances by Sigourney Weaver and Michael Caine are just right. Weaver has this cool and detached attitude, partnered with a quick wit and a bemused yet sly smile. She really plays the role of Lauren Slaughter very well, balancing the independence and sexiness of a woman getting some control in her life and scoffing at chauvinistic behaviour. Matching her is Michael Caine with a lot of charm and intelligence. There’s a real twinkle in the eyes here and his work as Lord Bulbeck reflects a man of great influence and down to Earth affinity. It helps that both Weaver and Caine share an immediate chemistry with each other as love blooms for the characters. You really believe them together as a couple and that’s really down to the actors and what they accomplish, even if the movie lets them down in many ways. In supporting parts there is Nadim Sawalha and Keith Buckley as possibly shifty men who surround Lauren in their own ways. Both don’t have much to work with however, with the lion’s share of things going to Caine and Weaver.

A movie that can be both tedious and extremely gripping depending on which way it’s going, Half Moon Street elicits fine work from the two main stars and has some atmosphere of which it can be proud of.

The Hitch-Hiker

Tags

1950's, Edmond O'Brien, Film Noir, Frank Lovejoy, Ida Lupino, The Hitch-Hiker, Thriller, William Talman

To kick off the female filmmakers series I am doing this February, we have The Hitch-Hiker. Be sure to tune into more female directed movies this month and see if any catch your interest.

Film Title

The Hitch-Hiker

Director

Ida Lupino

Starring

• William Talman as Emmett Myers
• Frank Lovejoy as Gilbert Bowen
• Edmond O’Brien as Roy Collins

A taut and very tense noirish thriller from Ida Lupino, The Hitch-Hiker, thanks to her sure hand keeps events ticking over with a real sense of suspense and possible terror. Taking basis from a real-life serial killer and his reign of terror, The Hitch-Hiker keeps you constantly invested and intrigued as events go on.

Friends Gilbert Bowen and Roy Collins are on their way to a fishing trip in Mexico with nothing in the way of eventfulness planned. Little do they realise that their planned fishing trip is about to take a possibly deadly detour. For they come across one Emmett Myers, who they think has just broken down and needs a ride. Offering him a lift, they soon discover he is a wanted criminal who has murdered a number of people who he has hitched a ride off. At gunpoint, Myers forces Gilbert and Roy to take him into Mexico and into the desert filled areas. He is attempting to evade the authorities and wishes to get to the town of Santa Rosalia in hopes of escape. Myers constantly toys with both men, tormenting them with his disregard and hatred for humanity. Both men try to think of ways to escape from the clutches of Myers, but it proves difficult. Chief among the struggle is the fact that Myers has one eye that never closes, making it incredibly hard for Roy and Gilbert to flee. Can both men manage to not be worn down and discover a way to survive what promises to be deadly if they don’t cooperate?

Ida Lupino, who was at the time of the film’s making one of the only female directors in the business, acquits herself well with this unnerving thriller by taking a simple premise and making it gritty and appropriately grim. She taps into the shared fear of strangers and what they could possibly hide or bring to you in unexpected circumstances. As well as this, we get the uneasiness of how events that take place in The Hitch-Hiker could very well happen in real life. Being stopped by someone you don’t know in a place you are unfamiliar with is a very real terror that I’m certain everyone has thought of in their lifetime, enabling The Hitch-Hiker to be all that more successful at the taut vision it is going for. And speaking of real life, The Hitch-Hiker takes influence from a case of murders committed by Billy Cook. He was the man behind a 22 day spree of murder before he was captured and sent to the gas chamber. Knowing that this has influenced the movie itself, we watch as Lupino fashions a claustrophobic noir that instead of featuring a big city, uses the vast deserts of Mexico for its setting. Taking place in the mountainous regions and for the most part in the car that is hijacked, we feel like we’re in just as much of a jam as Gilbert and Roy find themselves in. And even though noir was often seen as a masculine genre, Ida Lupino shows herself to be just as good as her male counterparts in directing. It’s truly great to see a pioneering lady in action behind the camera. And the pace of the film, which clocks in at just 71 minutes, is economical and straight to the point of things in terms of the suspense. The climax may lack that bit of oomph, but everything else is right on the money and very taut. On the visual front, the looming surroundings and the tightness of the car provide ample opportunities for style in the noir fashion. A suitably tense score highlights the uneasiness of both men as they are nearly broke down by Myers and his evil.

Sweaty, sleazy and nasty evil is exuded by William Talman as the eponymous killer. Talman just has something sinister about him right from the first moment we clap eyes on him. This pays dividends as his performance is extremely mercurial and sly; watching him attempt to break the friendship between is genuinely creepy viewing. Frank Lovejoy and Edmond O’Brien underplay things nicely, with a realistic terror and sense of hopelessness, tinged with the possibility for both to save the day if they can. Both actors are stalwart performers who you really believe as regular Joe’s caught in a most alarming and dark situation.

A grim, dark and well-paced movie, The Hitch-Hiker displays the talents of Ida Lupino as a director to be reckoned with.

To Catch a Thief

Tags

1950's, Alfred Hitchcock, Cary Grant, Grace Kelly, Jessie Royce Landis, John Williams, Romance, Thriller, To Catch a Thief

Film Title

To Catch a Thief

Director

Alfred Hitchcock

Starring

• Cary Grant as John Robie
• Grace Kelly as Frances Stevens
• Jessie Royce Landis as Jessie Stevens
• John Williams as Hughson

A witty, scintillating romantic thriller from the iconic Alfred Hitchcock, To Catch a Thief finds the master at his most playful and arch. This lush gem of a movie is super gorgeous to look at and soars to greatness thanks to the star pairing of Cary Grant and Grace Kelly.

John Robie is a retired jewel thief who lives in a villa just off the French Riviera. Once dubbed ‘The Cat’ and the best in the field of burglary, he has now turned his back on his old stomping ground. But he’s about to be dragged into it again thanks to a spate of high-profile thefts along the coast. All the cases involved the gorgeous and very expensive jewelry of the rich and well-known. Wanted by the police and with only a handful of old contacts trusting him, he attempts to evade capture and arrest for something he hasn’t done. Thanks to an insurance man Hughson, who has the knowledge of who owns the best gems, he comes into contact with the very beautiful Frances Stevens and her flouncy mother Jessie. Frances is a seemingly icy girl with boredom to contend with, but John discovers she lusts after something thrilling and even dangerous. Both begin a flirtation that ignites her curiosity over who he really is and what to do about it. Meanwhile, John sees the opportunity to bait the real thief with jewels belonging to the wealthy widow Jessie. But it’s not as easy to prove his innocence as thief is gearing up again and the dalliance with Frances is growing deeper.

To Catch a Thief has Alfred Hitchcock in relaxed and bubbly mode; teasing the audience in just who the real thief could be and whether John and France’s will become a couple. Hitchcock is having a whale of a time with the sexy interplay and mystery of the piece; utilising his bag of exceptional tricks to marvellously entertaining effect amid gorgeous scenery and attractive stars. His elegant hands are all over To Catch a Thief and it’s all the better for us that we have the master movie maker delivering the goods with customary high quality. Some may dismiss it as lightweight Hitchcock, but even if that is the case, it’s darn entertaining. I might not put it up there as one of Hitchcock’s classics, but any Hitchcock is better than most and that is something I stand by cinematically. A cracker of a script blends elements of caper, humour, seductiveness and thriller into a pretty and polished product that presents a lighter side to Hitch. And it’s amazing how much innuendo To Catch a Thief manages to pack into its frames. From Frances asking John whether he’d like a (chicken) breast or a leg to the memorable deduction that is inter cut with fireworks wildly exploding to signify passion, this movie is definitely not short on suggested naughtiness. This cheeky approach greatly benefits the movie and is impressive, especially considering how movies back when this was released where often at the mercy of the censors. Lush cinematography that deservedly garnered an Oscar and splendidly detailed costumes are a cherry on top of a finely made cake. And of course, the sweeping and romantic music is a big plus throughout To Catch a Thief’s running time.

Cary Grant, the King of suave, is on solid and fine ground as the former jewel thief trying to clear his name. His lightness of touch and twinkle in his eyes is just right for this movie and showcase him at his most charismatic. Complimenting Grant is the gorgeous Grace Kelly, who never looked more lovely or sensual as she did here. She spars nicely and seductively with Grant, by exhibiting a kittenish and sly demeanor that is very becoming as she plays with his feelings in a bid for thrills. And you can’t miss the sizzling chemistry shared between both stars that practically radiates whenever they’re in proximity of each other. It’s the kind of sexual tension you’d want to bottle up it’s that impressively shown. Jessie Royce Landis and John Williams both lend some fine support to proceedings too.

A gorgeous romance and thriller with oodles of style and sexy moments, To Catch a Thief presents Hitchcock at his most cheeky and in the mood to entertain. A breezy quality is very apparent, plus his numerous directorial stamps blending with sublime sights of the French Riviera.

Red Eye

Tags

2000's, Brian Cox, Cillian Murphy, Rachel McAdams, Red Eye, Thriller, Wes Craven

Film Title

Red Eye

Director

Wes Craven

Starring

• Rachel McAdams as Lisa Reisert
• Cillian Murphy as Jackson Ripper
• Brian Cox as Joe Reisert

Wes Craven takes to the air for this suspenseful little thriller that is lean, mean and nail-biting stuff. Red Eye, with many a Hitchcockian element to it, doesn’t aspire to be something brand spanking new; its main objective is to thrill and that’s what it does.

Lisa Reisert is a hotel manager whose life is all about dealing with tough customers and complaints. We pick up with her in Dallas, where she has just attended the funeral of her Grandmother. She’s not the biggest fan of flying, but is going to catch the red-eye flight back to Miami. Unfortunately, her flight is delayed and she has to wait around for a little while. It’s here that she meets the polite and handsome Jackson Ripper, who engages in friendly talk with her. When the flight is ready, they are happy and bemused to see that they are sitting next to each other on the plane. Though he keeps Lisa calm, there’s something not quite right about Jackson which becomes abundantly clear to us and her. What started as flirting and charming conversation soon turns to something very sinister as the plane takes off. Jackson admits to being part of a terrorist organisation that needs Lisa’s expertise in a deadly plan. You see the Deputy Secretary of Homeland Security is staying in the hotel Lisa works in and the people Jackson works for are planning an elaborate assassination for him. They just need Lisa to switch his room for it to be successful. As leverage to ensure she takes part, Jackson informs the terrified Lisa that her father will be killed if his demands aren’t met. Faced with precious time that is ticking away, Lisa digs into her resolve in order to not buckle under the shock that befalls her. But just how long can she hold the evil and ruthless Jackson off before death begins to occur?

Red Eye benefits from the sure hand of Wes Craven in the directing chair. Having been one of the kings of the horror genre, his skills at inducing tension and terror are utilized here in this tightly compact suspense thriller. He gets over a real claustrophobia and paranoia that seeps into every frame, especially the main chunk that is airborne and the most unnerving. Red Eye isn’t aiming for immense originality or to be a game changing suspense movie; its most concerned with offering up something nail-biting and with more than a couple of jolts of unpredictability. economical running time makes sure that we are on the edge of our seats and no flab is seen leaking in Red Eye. The last half hour goes a bit overboard, but the build up and the tightness of most of it makes it easy to ignore and still a well constructed thriller with excitement and a whole lot of tension. The pacing is mainly where the movie is at, cleverly getting to the point after a short but bracing warm up before a white-knuckle intensity covers it splendidly. The mid-air game of sinister cat and mouse is sustained through effectively up close camerawork and  Marco Beltrami, who previously scored the haunting music for Craven’s Scream, is ace at filtering an electronic pulse into Red Eye. He starts with little drops of suspense, before cranking up the action and drama for something quickening and growing in volume.

Rachel McAdams and Cillian Murphy are the main players in this movie and they are talented performers. McAdams is a kind of actress who keeps things grounded and her part sympathetic and resourceful. She’s no screaming victim and though under duress, she makes her part one of both believable smarts and vulnerability. Cillian Murphy, with his intense stare and icy blue eyes, is superbly cast as the seemingly charming man who is anything but. Nastiness is his middle name but you can also sense some form of desperation to get his job done no matter what from the always watchable Murphy. Together, both are engaged in a deadly hunter and prey routine that is extremely entertaining. Although his appearance is rather sporadic, it’s always good to see Brian Cox in a movie and he is worth the watch no matter how small the role.

A tense and efficient thriller, Red Eye shows Wes Craven directing with great economy and style to give us a cracking suspense thriller.

The Manchurian Candidate

Tags

1960's, Angela Lansbury, Frank Sinatra, James Gregory, Janet Leigh, John Frankenheimer, Laurence Harvey, The Manchurian Candidate, Thriller

Film Title

The Manchurian Candidate

Director

John Frankenheimer

Starring

• Frank Sinatra as Major Bennett Marco
• Laurence Harvey as Raymond Shaw
• Angela Lansbury as Mrs. Eleanor Iselin
• Janet Leigh as Eugenie Rose Chaney
• James Gregory as Senator John Iselin

A most unusual and highly compelling slice of Cold War paranoia and trickery, The Manchurian Candidate still holds intense power today, for its winding plot, direction and acting. With various switches in tone and much food for thought, it’s a movie that definitely burns into the brain with its intricate plot and terrifying notions.

During the Korean War, a platoon of U.S. soldiers, headed by the distant Raymond Shaw and included Captain Bennett Marco, their group is ambushed. After the war, they return to life in America, but something is amiss. For starters, Raymond is given the Medal of Honor, though we later see that he was a loner in his company and that while the men all say that “Raymond Shaw is the kindest, bravest, warmest, most wonderful human being I’ve ever known in my life”, there is something not right about it. The main person who it impacts is Marco, now a captain, who experiences a recurring nightmare of his dazed platoon being observed by Chinese and Russian agents, as a cold Raymond murders two of their members. Delving deeper, Marco comes to realise that the platoon was brainwashed while in captivity, with particular attention lavished upon Raymond. Yet while he has these parts of what looks like an elaborate Communist conspiracy, it’s getting it into some semblance of reality and reason that proves difficult for him to understand. At first not helped by Army Intelligence, when a fellow member of the squad speaks of the same thing, he receives some backing. Marco isn’t going down without a fight, as he rushes to uncover sinister machinations that continue to grow more complex. Meanwhile, Raymond’s mother Eleanor Iselin begins to use her pernicious influence to further her zealous and easily led husband John Iselin’s campaign. She is linked to something dark, but to explain it would be to spoil it. With memories eventually slotting into place, Marco knows that Raymond is unwittingly being commanded and primed to do something terrible. But can Marco put the pieces together before something truly horrifying can take place?

John Frankenheimer crafts this political thriller with a considerable amount of unusual tension, layering events through a dreamlike haze, yet still making it in the realms of reality when it comes to the underhand tactics of power angle. His off kilter approach to such dynamite material is rapid and complex, trusting the audience to pay attention and follow the labyrinthine plot at play. It’s a daring high wire act keeping all the contradicting parts of irony and terror going, but Frankenheimer is up to the task and does it with intelligence. The Manchurian Candidate is a film filled with political manipulations, dastardly ploys for power and the things people are willing to do to gain a foothold in government. While it’s all shot through the eyes of the Cold War, the atmosphere of it is still very apparent and topical today. This suggests that The Manchurian Candidate was a film ahead of its time in what it depicted and how it visualized it. And talking of visuals, the surreal touches and how it bleeds into reality are strikingly evoked. Repeating motifs of Queen of Hearts playing cards, rhyming phrases and unusual tricks are all in there to tease us. A prime example of the effectiveness of The Manchurian Candidate is the dream/flashback of Marco. In it, the camera starts turning and we witness his troops sitting and listening to what seems to be a lecture on plants given by a posh lady. As the camera continues its journey, it cunningly reveals that it is a brainwashing exercise by Communist agents. Such sly precision and the overlapping cuts between the two extremes are marvellously structured and disquieting. Much can also be said about the unnerving close-ups and deep focus, which in black and white, really stay with you. This is a movie that is genuinely unpredictable from scene to scene with its ever-changing tonality. From surreal to hard-hitting, baffling to cynically up front, The Manchurian Candidate keeps you on your toes with its intricacies and corkscrew plot. Twisting and turning away is the order of the day and with unusual and intentionally mysterious parts that are scattered in there, it is a brain teaser of the highest order. One can definitely say that this is a movie that is rewarding on repeat viewings, as you’re bound to discover something you hadn’t thought of the first time. Certain areas like the unusual scene between Marco and a mysterious woman named Eugenie where they communicate almost in code, are kept ambiguous and esoteric, ensuring your rapt attention and providing the overall feeling of a complex puzzle box that the film greatly projects. If ever there was a movie that provoked thoughts, it was The Manchurian Candidate. As for the music, it has a slowly percolating menace to it that strums away in the background and uses haunting repetition to enhance the feeling of hypnosis.

A simply marvellous cast of actors flesh out this shocking and impactful movie. Frank Sinatra leads the way, projecting a tormented yet determined manner as the crusading Major. Playing against his usual persona of cool and suave, Sinatra finds an exemplary change of pace that shows of his dramatic muscles. Often times, we are perplexed as he is in all this conspiracy and web-spinning, but his unwavering desire and desperation is what truly makes Sinatra ideal in this role. Laurence Harvey’s detached and remote demeanor fit perfectly with his character of Raymond, who is brainwashed into a remorseless killer for sinister purposes. Yet Harvey finds real moments of pathos and sympathy beneath the aloofness, contributing a tragic layer to the character. Yet it’s Angela Lansbury who is the person you remember most for her startling performance as the mother from hell. At first seeming to be just overly smothering, slowly and subtly her power crazed motives and single-minded persistence come through in chilling effect. Mrs. Eleanor Iselin is a master manipulator who pulls the strings of everyone, delivered with gusto and alarming coldness by the great Lansbury. Angela Lansbury formidably plays this woman as a shocking, monstrous and calculating harridan, insistent on getting what she wants and doing everything it takes to get it. For those who mainly think of Lansbury for her motherly and sweet roles, her performance here should make you re-asses that due to its jaw dropping impact and delicious evil. Janet Leigh appears as a most enigmatic lady, who you aren’t sure what to make of. Her scenes with Sinatra have a most unusual and eerie feeling as they raise so many questions, which is part of the beauty of it. James Gregory aces it as the buffoon and bombastic Senator, manipulated like a marionette by his wife for her own gain.

Menacingly suspenseful, darkly cynical and still timely after all these years, The Manchurian Candidate is a classic piece of mounting psychological tension and political satire That triumphs, complete with supreme direction and excellent acting.

Sorry, Wrong Number

Tags

1940's, Anatole Litvak, Ann Richards, Barbara Stanwyck, Burt Lancaster, Ed Begley, Film Noir, Harold Vermilyea, Sorry Wrong Number, Thriller, Wendell Corey, William Conrad

Film Title

Sorry, Wrong Number

Director

Anatole Litvak

Starring

• Barbara Stanwyck as Leona Stevenson
• Burt Lancaster as Henry Stevenson
• Ann Richards as Sally Hunt Lord
• Wendell Corey as Dr. Alexander
• Harold Vermilyea as Waldo Evans
• Ed Begley as James Cotterell
• William Conrad as Morano

A well paced and inventively structured film noir thriller, Sorry, Wrong Number makes fantastic use of its setting and unfolding of dark mystery to form a tight and tense movie. Expanding on a famous radio play yet keeping a certain flair for drama in a limited setting, plus a fine cast headed by Barbara Stanwyck and Burt Lancaster, Sorry, Wrong Number is recommended viewing for noir and thriller fans who will no doubt find it very satisfying.

Leona Stevenson is a demanding, selfish heiress who is largely bed-ridden and when we meet her, alone in her Manhattan apartment. She gets more than she bargained for when she accidentally overhears a phone conversation(thanks to a telephone glitch) between two men, plotting and arranging a woman’s murder that very night. Leona has been trying to reach her husband Henry, who works for her father’s pharmaceutical chain, but hasn’t been able to locate. Panicking over the horrible plot she overhears, she becomes desperate to stop it happening. The fact that she only caught little bits of the conversation doesn’t help when she calls the police, due to a lack of clear evidence. Calling whoever she can think of for attempted help or news on Henry, through various flashbacks, revealing events and machinations fall into place regarding everyone it covers. We see Sally Hunt Lord, who was once romantically linked with Henry, Leona’s Doctor Alexander who holds important information about her, her controlling father James, a chemist named Waldo Evans, a mysterious gangster Morano and of course Henry himself, who we glimpse as feeling emasculated and weak thanks to his overbearing spouse. An underhand and malevolent scheme is also found here, but just how does it link to Leona and the planned murder? Growing more anxious and distressed as pieces slowly come into fruition but still remain confusing, Leona is left to decipher them before it is too late.

Anatole Litvak dials up the suspense with skill, letting the film play out largely in real-time and lets us discover many alarming things without spoon-feeding them to us. His control over ambience is also evident in how the mystery is gradually evinced and how it turns out differently than one might have wondered. Often times in some movies, flashbacks can often feel more than a bit redundant and overused. The same can’t be said of Sorry, Wrong Number, as the dips into the past are crucial to our understanding of the characters and their reasons for actions that may come back in some dark form. Sorry, Wrong Number provides a great exercise in visual style with panoramic and gliding camera shots that take in important details that tell parts of the story in a teasing but imperative way. The characters have a sense of change in them from the flashbacks to present, further giving a level of both distrust and curiosity. There is a heightened paranoia and isolation as Leona is prone to overreacting but thus time is telling the truth and all alone in her apartment. The home is often somewhere we consider safe which is reversed here. Then again, the nefarious and murky atmosphere of outside as the various facets of the puzzle come together is equally as dark. There is no real place of safety, which plays beautifully into the sinister heart of film noir and allows the film to have the feelings of a pitch-black noir. The twists are complex and unexpected, yet only sometimes confusing, thankfully the shocking nature of it all is intact and on display. Drama and genuine menace can be heard in the fine score by the amazing Franz Waxman, who really knew how to ramp up tension and suspense with his music.

Barbara Stanwyck impressively heads the cast as the pampered heiress Leona, whose night is turned into waking hours of terror once she hears the murder plot. Stanwyck strongly gets across the various mood swings and changes from past to present of the character, that are very intriguing to watch. Moving from self-absorbed and entitled to terrified and near mental collapse as everything unravels, Stanwyck covers it all with the assurance of the great pro she was. Her biggest achievement is that she telegraphs that Leona is not just some innocent victim in all of this, but a manipulative and petulant woman who we still feel some form of sympathy for in her time of horror. Burt Lancaster plays with his somewhat tough guy image to find something spineless and tired within husband Henry. While there is darkness to him, we aren’t quite sure to what extent it will emerge, mainly due to the excellence of Lancaster in the part. He may just be misunderstood or possibly to easily lead into something fishy , Lancaster suggests a mixture of both. There is a good ensemble of supporting characters played by great actors, who somehow or another slot into this mystery. Ann Richards is quietly convincing as a former flame of Henry’s, while Wendell Corey supplies us with much knowledge as the doctor. Probably the most sympathetic character is the chemist who is somehow sucked into the dark web of dealings, and played with understated gravitas by Harold Vermilyea. Ed Begley and William Conrad flesh out the other two people who have bearing on the complex story.

A tense and efficient noir, Sorry, Wrong Number is just the ticket for when you want some murky thriller of complex motives, nice performances and atmosphere to watch.