UK, 1965. Directed by John Boorman. Dave Clark, Barbara Ferris, Clive Swift, Hugh Walters, Yootha Joyce, Robin Bailey.
What a surprise this was! Back in 1964-5 the Dave Clark 5 were tremendously popular and in some quarters even touted as a threat to the Beatles themselves. This film, coming as it did after A Hard Day’s Night, was the natural next step for the band. I don’t know why I didn’t watch it at the time – possibly because I was never that keen on the Dave Clark 5 – but the moment passed and, in time, so did the band. When I did finally get to see it – 45 years after its release – I was astounded to find that this was far from being a pale rip-off of the Beatles’ film. Yes, it is a vehicle for the band in that they and their music are featured, but they are not playing themselves and the music is on the soundtrack rather than the visuals. The plot separates Clark from the rest of the band for much of the time and takes him and his model friend on a semi-surreal quest through 60s hip Britain for the meaning of life. If that sounds pretentious, well, it is, but with a young John Boorman directing and playwright Peter Nichols scripting it held my attention throughout even though much of it doesn’t make a lot of sense. Yootha Joyce and Robin Bailey, TV stars in the making, appear in some amusing scenes together as a bored but wealthy couple and Archers fans may be interested to spot Edgar Harrison, the third actor to play Dan Archer, in what I believe was his only film role.
Tuesday, November 30, 2010
Monday, November 29, 2010
Gods And Monsters
UK / USA, 1998. Directed by Bill Condon. Ian McKellan, Brendan Fraser, Lynn Redgrave, Lolita Davidovich, David Dukes, Rosalind Ayres.
Thoughtful and at times very moving film which explores the final days of British director James Whale, who went to Hollywood and became the man who made Universal’s Frankenstein and The Bride Of Frankenstein in the 1930s but was later shunned and largely forgotten by the film community. An elegant homosexual in poor health and in his 60s, he befriends the young, handsome Clayton Boone (Brendan Fraser) who has been employed to work in his garden. The attraction for Whale is complex – we understand it to be in part sexual, but in fact it is more than that. In his head we see a connection is made between Clayton and the friendless, misunderstood Monster in Whale’s famous picture. As Whale, Ian McKellan is superb in a part which could have been made for him and Brendan Fraser acquits himself well, hitting just the right note of naiivety and vulnerability. As Whale’s housekeeper, a virtually unrecognizable Lynn Redgrave almost steals the show in a brilliant supporting role performance and Rosalind Ayres is also notable for her spot-on impersonation of the Bride herself, Elsa Lanchester. A quality film.
Thoughtful and at times very moving film which explores the final days of British director James Whale, who went to Hollywood and became the man who made Universal’s Frankenstein and The Bride Of Frankenstein in the 1930s but was later shunned and largely forgotten by the film community. An elegant homosexual in poor health and in his 60s, he befriends the young, handsome Clayton Boone (Brendan Fraser) who has been employed to work in his garden. The attraction for Whale is complex – we understand it to be in part sexual, but in fact it is more than that. In his head we see a connection is made between Clayton and the friendless, misunderstood Monster in Whale’s famous picture. As Whale, Ian McKellan is superb in a part which could have been made for him and Brendan Fraser acquits himself well, hitting just the right note of naiivety and vulnerability. As Whale’s housekeeper, a virtually unrecognizable Lynn Redgrave almost steals the show in a brilliant supporting role performance and Rosalind Ayres is also notable for her spot-on impersonation of the Bride herself, Elsa Lanchester. A quality film.
Sunday, November 28, 2010
Cloverfield
USA, 2008. Directed by Matt Reeves. Michael Stahl-David, T. J. Miller, Jessica Lucas, Lizzy Caplan, Mike Vogel, Odette Yustman.
Cleverly constructed monster movie which brings something new to the genre in that the whole thing is shot in a hand-held, shaky camera style apparently depicting events as they happen. It’s a mixture of Godzilla and Blair Witch, engaging and maintaining our interest as it follows the fortunes of a small group of young people as they struggle through the streets of Manhattan in the aftermath of violent destruction caused by a scary monster and the smaller spider-like creatures (parasitic lice?) which descend from it with alarming rapidity. The protagonists are at a surprise farewell party when they are suddenly thrown into chaos as the building shakes violently. The aforementioned camera is held by one of them who has been rather amateurishly filming the celebration. Taking to the streets, it soon becomes clear to all that a major attack on the city is taking place. I found it highly effective, not only in its special effects but also in the involvement I felt with the characters. Oh, and it’s also pretty scary at times!
Cleverly constructed monster movie which brings something new to the genre in that the whole thing is shot in a hand-held, shaky camera style apparently depicting events as they happen. It’s a mixture of Godzilla and Blair Witch, engaging and maintaining our interest as it follows the fortunes of a small group of young people as they struggle through the streets of Manhattan in the aftermath of violent destruction caused by a scary monster and the smaller spider-like creatures (parasitic lice?) which descend from it with alarming rapidity. The protagonists are at a surprise farewell party when they are suddenly thrown into chaos as the building shakes violently. The aforementioned camera is held by one of them who has been rather amateurishly filming the celebration. Taking to the streets, it soon becomes clear to all that a major attack on the city is taking place. I found it highly effective, not only in its special effects but also in the involvement I felt with the characters. Oh, and it’s also pretty scary at times!
Friday, November 26, 2010
The Leather Boys
UK, 1964. Directed by Sidney J. Furie. Rita Tushingham, Colin Campbell, Dudley Sutton, Gladys Henson, Avice Landone, Lockwood West.
Set in the world of young bikers, The Leather Boys is part of the “new realism” of British films of the period – a period which introduced many new young actors onto the screen. Rita Tushingham, a star from her appearance in A Taste Of Honey a couple of years earlier, here is cast with Colin Campbell as a couple of working-class teenagers who marry young but find it difficult to adjust to the responsibilities of life as a couple. He has a motorbike and they are both part of the local scene, hanging out with their mates at a bikers’ café. When things get too difficult for the couple, Campbell finds himself spending time with a new biker friend (a thoughtful and convincing performance by Dudley Sutton), not realising the true nature of the other’s affection for him. This being 1964, the homosexuality is handled with subtlety and discretion, but is nevertheless very clearly stated and because of this the film has been declared groundbreaking, though of course very tame by today’s standards. The ending, typical of films of this period, is downbeat and somewhat bleak, but it’s definitely a film worth seeing and if you’re a bike fan you’ll probably enjoy the road sequences.
Set in the world of young bikers, The Leather Boys is part of the “new realism” of British films of the period – a period which introduced many new young actors onto the screen. Rita Tushingham, a star from her appearance in A Taste Of Honey a couple of years earlier, here is cast with Colin Campbell as a couple of working-class teenagers who marry young but find it difficult to adjust to the responsibilities of life as a couple. He has a motorbike and they are both part of the local scene, hanging out with their mates at a bikers’ café. When things get too difficult for the couple, Campbell finds himself spending time with a new biker friend (a thoughtful and convincing performance by Dudley Sutton), not realising the true nature of the other’s affection for him. This being 1964, the homosexuality is handled with subtlety and discretion, but is nevertheless very clearly stated and because of this the film has been declared groundbreaking, though of course very tame by today’s standards. The ending, typical of films of this period, is downbeat and somewhat bleak, but it’s definitely a film worth seeing and if you’re a bike fan you’ll probably enjoy the road sequences.
Thursday, November 25, 2010
An Alligator Named Daisy
UK, 1955. Directed by J. Lee Thompson. Donald Sinden, Jeannie Carson, James Robertson Justice, Diana Dors, Roland Culver, Stanley Holloway.
With a cast of stalwart British character actors and pleasing photography of 1950s Britain, I had hoped and expected to be more entertained by this film. Unfortunately I found myself glued to it for the wrong reasons - I couldn't quite believe how awful it was. I must have watched thousands of old films and am always ready to make allowances for them being products of their time, but this was really hard going. As others have noted, a major problem is that it doesn't seem to know what it wants to be: a gentle romantic comedy, a slapstick comedy or a musical. I was a bit gobsmacked when Jeannie Carson suddenly broke into song about 15 minutes in! It's not believable on any level, either the storyline itself or the fact that Daisy never appears to have an ounce of menace in her at any time. Other aspects which defied credibility included the casting of suave Donald Sinden as a songwriter (a songwriter for God's sake!), the fact he has Diana Dors for a fiancée and doesn't appear to have the slightest interest in her (I mean, Diana Dors! Come on!) and a ludicrous scene in a song publisher's office. The whole thing's silly in the worst possible way. If I had to pick a favourite scene it would be the one at the very beginning with that wonderful actor Wilfred Lawson - after that everything went downhill in a big way.
With a cast of stalwart British character actors and pleasing photography of 1950s Britain, I had hoped and expected to be more entertained by this film. Unfortunately I found myself glued to it for the wrong reasons - I couldn't quite believe how awful it was. I must have watched thousands of old films and am always ready to make allowances for them being products of their time, but this was really hard going. As others have noted, a major problem is that it doesn't seem to know what it wants to be: a gentle romantic comedy, a slapstick comedy or a musical. I was a bit gobsmacked when Jeannie Carson suddenly broke into song about 15 minutes in! It's not believable on any level, either the storyline itself or the fact that Daisy never appears to have an ounce of menace in her at any time. Other aspects which defied credibility included the casting of suave Donald Sinden as a songwriter (a songwriter for God's sake!), the fact he has Diana Dors for a fiancée and doesn't appear to have the slightest interest in her (I mean, Diana Dors! Come on!) and a ludicrous scene in a song publisher's office. The whole thing's silly in the worst possible way. If I had to pick a favourite scene it would be the one at the very beginning with that wonderful actor Wilfred Lawson - after that everything went downhill in a big way.
La Vie Rêvée Des Anges
France, 1998. Directed by Erick Zonca. Élodie Bouchez, Natacha Régnier, Grégoire Colin, Patrick Mercado, Jo Prestia.
An exceptional film which rightly picked up many nominations and awards for its two female leads and its director, including a shared Best Actress award for Élodie Bouchez and Natacha Régnier at the Cannes Film Festival in 1998. They play Isa and Marie, two young women who meet by chance and form a strong friendship – at first they are inseparable, with Isa moving into Marie’s borrowed apartment, but over the course of a couple of months their differences, particularly their fundamentally different philosophies of life and love, put a strain on their relationship. I’m aware that description doesn’t really do the film justice – there’s a lot more to it than that. It’s shot in a naturalistic style, which is simple but sweeps us into their world; we feel the intensity of their emotions. It’s refreshingly free of cliché and plot predictability, and its climax shockingly understated. A great piece of film-making.
An exceptional film which rightly picked up many nominations and awards for its two female leads and its director, including a shared Best Actress award for Élodie Bouchez and Natacha Régnier at the Cannes Film Festival in 1998. They play Isa and Marie, two young women who meet by chance and form a strong friendship – at first they are inseparable, with Isa moving into Marie’s borrowed apartment, but over the course of a couple of months their differences, particularly their fundamentally different philosophies of life and love, put a strain on their relationship. I’m aware that description doesn’t really do the film justice – there’s a lot more to it than that. It’s shot in a naturalistic style, which is simple but sweeps us into their world; we feel the intensity of their emotions. It’s refreshingly free of cliché and plot predictability, and its climax shockingly understated. A great piece of film-making.
Tuesday, November 23, 2010
Jeepers Creepers
Germany / USA, 2001. Directed by Victor Salva. Gina Philips, Justin Long, Patricia Belcher, Eileen Brennan, Jonathan Breck.
With Francis Ford Coppola as Executive Producer it's perhaps not surprising that this film is a little better than many in the same genre. The first half (about 45 minutes) is really very good, with director Victor Salva building up the relationship between the siblings and creating an uneasy feel where you sense something will happen but are unsure what. That said, it somewhat falls apart in the second half, as it develops into a routine monster movie which allows you time to think about the illogicalities of the plot. But overall not a bad effort, though I would certainly challenge the quote on the packaging: "the best US horror movie of the last 10 years".
With Francis Ford Coppola as Executive Producer it's perhaps not surprising that this film is a little better than many in the same genre. The first half (about 45 minutes) is really very good, with director Victor Salva building up the relationship between the siblings and creating an uneasy feel where you sense something will happen but are unsure what. That said, it somewhat falls apart in the second half, as it develops into a routine monster movie which allows you time to think about the illogicalities of the plot. But overall not a bad effort, though I would certainly challenge the quote on the packaging: "the best US horror movie of the last 10 years".
Fantastic Voyage
USA, 1966. Directed by Richard Fleischer. Stephen Boyd, Raquel Welch, Edmond O’Brien, Donald Pleasence, Arthur O’Connell, William Redfield, Arthur Kennedy.
What a hoot! A small medical team and a submarine are miniaturised and injected into the body of a leading Cold War scientist who has suffered a blood clot following his escape from east to west. The crew are in a race against time to save his life. Visually imaginative, in a psychedelic sort of way, it holds the attention as our heroes battle the alien terrain of a human body. The actors’ performances are satisfactory without being particularly noteworthy and it’s possible that some viewers may actually learn some basic biology if they pay attention. The main problem is that there’s too much dialogue, which tends to slow down the action. But this is OK if you're happy with undemanding sci-fi.
What a hoot! A small medical team and a submarine are miniaturised and injected into the body of a leading Cold War scientist who has suffered a blood clot following his escape from east to west. The crew are in a race against time to save his life. Visually imaginative, in a psychedelic sort of way, it holds the attention as our heroes battle the alien terrain of a human body. The actors’ performances are satisfactory without being particularly noteworthy and it’s possible that some viewers may actually learn some basic biology if they pay attention. The main problem is that there’s too much dialogue, which tends to slow down the action. But this is OK if you're happy with undemanding sci-fi.
In This Our Life
USA, 1942. Directed by John Huston. Bette Davis, Olivia de Havilland, George Brent, Dennis Morgan, Charles Coburn, Frank Craven, Billie Burke, Hattie McDaniel, Ernest Anderson.
John Huston’s second film as director, and an interesting one it is too. Opinions differ about whether Davis ruins it by giving an over-the-top performance – I’m inclined to say she doesn’t. Huston was quoted as saying he “let the demon go”, in a reference to her performance. She plays a spoilt young woman who ditches her own fiancé in favour of her sister’s husband – and that’s just for starters! By the end of the film it is clear her character is totally irredeemable – in fact, we are shocked by the depths to which she is prepared to sink to save herself. There is much to interest film analysts here – for example the psychological make-up of the family, with good sister de Havilland taking after her gentle father and Davis after her selfish mother. Then there’s the equally selfish and obnoxious Uncle William (Charles Coburn – brilliant) and his slightly sordid, lecherous relationship with Davis which has a whiff of incest about it – very daring for 1942. The final scene between these two is very powerful (and very unpleasant). Also notable for its time is the depiction of racism, with Ernest Anderson giving a fine performance as an intelligent young black man struggling against a system which will condemn him for a crime he didn’t commit simply by taking a white person’s word against his. The other point of interest for me was one of gender – the women are the strong characters here, and the men are mostly weak or ineffectual. Packed with interesting stuff and well worth a look.
John Huston’s second film as director, and an interesting one it is too. Opinions differ about whether Davis ruins it by giving an over-the-top performance – I’m inclined to say she doesn’t. Huston was quoted as saying he “let the demon go”, in a reference to her performance. She plays a spoilt young woman who ditches her own fiancé in favour of her sister’s husband – and that’s just for starters! By the end of the film it is clear her character is totally irredeemable – in fact, we are shocked by the depths to which she is prepared to sink to save herself. There is much to interest film analysts here – for example the psychological make-up of the family, with good sister de Havilland taking after her gentle father and Davis after her selfish mother. Then there’s the equally selfish and obnoxious Uncle William (Charles Coburn – brilliant) and his slightly sordid, lecherous relationship with Davis which has a whiff of incest about it – very daring for 1942. The final scene between these two is very powerful (and very unpleasant). Also notable for its time is the depiction of racism, with Ernest Anderson giving a fine performance as an intelligent young black man struggling against a system which will condemn him for a crime he didn’t commit simply by taking a white person’s word against his. The other point of interest for me was one of gender – the women are the strong characters here, and the men are mostly weak or ineffectual. Packed with interesting stuff and well worth a look.
The Old Maid
USA, 1939. Directed by Edmund Goulding. Bette Davis, Miriam Hopkins, George Brent, Donald Crisp, Jane Bryan, Louise Fazenda.
Civil war melodrama based on a Pulitzer Prize-winning play by Zoe Akins from a novel by Edith Wharton. Davis and Hopkins are cousins whose love-lives become interwined, resulting in the birth of an illegitimate daughter for Davis. Such are the twists and turns of the plot that many years later the daughter regards Hopkins as her mother and Davis as an embittered old maid. It’s not my favourite Bette Davis film, but the two leads give powerhouse performances and the storyline gives a fascinating insight into a time when illegitimacy was socially unacceptable and faced outright discrimination from the wealthy classes.
Civil war melodrama based on a Pulitzer Prize-winning play by Zoe Akins from a novel by Edith Wharton. Davis and Hopkins are cousins whose love-lives become interwined, resulting in the birth of an illegitimate daughter for Davis. Such are the twists and turns of the plot that many years later the daughter regards Hopkins as her mother and Davis as an embittered old maid. It’s not my favourite Bette Davis film, but the two leads give powerhouse performances and the storyline gives a fascinating insight into a time when illegitimacy was socially unacceptable and faced outright discrimination from the wealthy classes.
Monday, November 22, 2010
The Smallest Show On Earth
UK, 1957. Directed by Basil Dearden. Virginia McKenna, Bill Travers, Margaret Rutherford, Peter Sellers, Bernard Miles, Francis De Wolff, Leslie Phillips.
A young couple (Virginia McKenna and Bill Travers, pre-Born Free) are initially excited to hear they’ve inherited a cinema, only to discover it’s a “fleapit”. This is a charming British comedy which, while not up to the standard of the better Ealing comedies, is nevertheless an amusing and entertaining film with a quality cast. Because of his later international stardom much is often made of Peter Sellers' presence, and he is as good as ever, but here he is flanked by two of the greatest actors in British films of the post-war era - Margaret Rutherford and Bernard Miles. Together they make up the trio of oddball staff who have been running the cinema for many years. My favourite moment: Margaret Rutherford walking grimly down the centre aisle offering ice creams for sale. Hard to think it's now over 50 years old!
A young couple (Virginia McKenna and Bill Travers, pre-Born Free) are initially excited to hear they’ve inherited a cinema, only to discover it’s a “fleapit”. This is a charming British comedy which, while not up to the standard of the better Ealing comedies, is nevertheless an amusing and entertaining film with a quality cast. Because of his later international stardom much is often made of Peter Sellers' presence, and he is as good as ever, but here he is flanked by two of the greatest actors in British films of the post-war era - Margaret Rutherford and Bernard Miles. Together they make up the trio of oddball staff who have been running the cinema for many years. My favourite moment: Margaret Rutherford walking grimly down the centre aisle offering ice creams for sale. Hard to think it's now over 50 years old!
Rio Bravo
USA, 1959. Directed by Howard Hawks. John Wayne, Dean Martin, Ricky Nelson, Angie Dickinson, Walter Brennan, Ward Bond.
I've lost count of the number of times I've seen this film and watching it again recently I was aware I had mixed feelings about it; apart from anything else it feels like an old person's movie, full of corn and characters you can rely on to do what you'd expect them to do, and the pace of the action is somewhat leisurely. It’s very much Wayne and Hawks winding down after their respective lengthy careers. On the other hand, I could watch this film almost any time - the dialogue's witty and enjoyable, the whole cast is excellent with Dean Martin especially a joy to watch, it's easy on the eye and brain and the good guys win (naturally). A great Sunday afternoon film.
I've lost count of the number of times I've seen this film and watching it again recently I was aware I had mixed feelings about it; apart from anything else it feels like an old person's movie, full of corn and characters you can rely on to do what you'd expect them to do, and the pace of the action is somewhat leisurely. It’s very much Wayne and Hawks winding down after their respective lengthy careers. On the other hand, I could watch this film almost any time - the dialogue's witty and enjoyable, the whole cast is excellent with Dean Martin especially a joy to watch, it's easy on the eye and brain and the good guys win (naturally). A great Sunday afternoon film.
Sunday, November 21, 2010
Kinsey
USA / Germany, 2004. Directed by Bill Condon. Liam Neeson, Laura Linney, Chris O’Donnell, Peter Sarsgaard, Timothy Hutton, John Lithgow, Tim Curry.
Intelligent, thoughtful biopic of one of recent history's most fascinating and complex characters. Because it's refreshingly underplayed by all, the significance of the research work into sexuality is made all the more startling. Laura Linney is particularly good, and has the best line in the movie: "I think I might enjoy that, yes." At turns funny, poignant, thoughtful and fascinating, this delights from start to finish and has a determinedly non-dramatic ending. One other highlight worth mentioning: a rather wonderful cameo from Lynn Redgrave.
Intelligent, thoughtful biopic of one of recent history's most fascinating and complex characters. Because it's refreshingly underplayed by all, the significance of the research work into sexuality is made all the more startling. Laura Linney is particularly good, and has the best line in the movie: "I think I might enjoy that, yes." At turns funny, poignant, thoughtful and fascinating, this delights from start to finish and has a determinedly non-dramatic ending. One other highlight worth mentioning: a rather wonderful cameo from Lynn Redgrave.
Keeping Mum
UK, 2005. Directed by Niall Johnson. Rowan Atkinson, Kristin Scott Thomas, Maggie Smith, Patrick Swayze, Tamsin Egerton, Liz Smith, Emilia Fox.
Amusing dark comedy which has its moments but ultimately fails to deliver satisfactorily. Rowan Atkinson, vicar of a tiny parish in Cornwall, is married to sexually frustrated Kristin Scott Thomas, who is half-heartedly embarking on an affair with her golf instructor (Patrick Swayze). Their daughter is sexually promiscuous and their son is being bullied at school. Into their household comes Maggie Smith, a sort of murderous Mary Poppins with a dark secret. Each of the family is helped by their new housekeeper, although her methods of bringing harmony to the household are unconventional to say the least. Well acted by all, but predictably it’s Maggie Smith who steals the film. Watching this I was reminded of some of the classic Ealing films (as I suspect I was meant to), but overall it’s a bit of a disappointment – the script feels a little too tentative, as if the director and writers aren’t too sure how far they can go. Nevertheless, an undemanding and occasionally funny film which is easy to watch.
Amusing dark comedy which has its moments but ultimately fails to deliver satisfactorily. Rowan Atkinson, vicar of a tiny parish in Cornwall, is married to sexually frustrated Kristin Scott Thomas, who is half-heartedly embarking on an affair with her golf instructor (Patrick Swayze). Their daughter is sexually promiscuous and their son is being bullied at school. Into their household comes Maggie Smith, a sort of murderous Mary Poppins with a dark secret. Each of the family is helped by their new housekeeper, although her methods of bringing harmony to the household are unconventional to say the least. Well acted by all, but predictably it’s Maggie Smith who steals the film. Watching this I was reminded of some of the classic Ealing films (as I suspect I was meant to), but overall it’s a bit of a disappointment – the script feels a little too tentative, as if the director and writers aren’t too sure how far they can go. Nevertheless, an undemanding and occasionally funny film which is easy to watch.
Saturday, November 20, 2010
The Specialist
USA / Peru, 1994. Directed by Luis Llosa. Sylvester Stallone, Sharon Stone, James Woods, Rod Steiger, Eric Roberts.
Well, I liked the John Barry score. Stallone is, well, Stallone. Sharon Stone goes through the motions. James Woods gives yet another over-the-top performance. Eric Roberts is given god-awful lines to say. Rod Steiger looks mournful most of the time, perhaps wondering how he got involved in this film. The script is awful, the story lacks any real credibility and it's not even exciting.
Well, I liked the John Barry score. Stallone is, well, Stallone. Sharon Stone goes through the motions. James Woods gives yet another over-the-top performance. Eric Roberts is given god-awful lines to say. Rod Steiger looks mournful most of the time, perhaps wondering how he got involved in this film. The script is awful, the story lacks any real credibility and it's not even exciting.
Friday, November 19, 2010
Van Helsing
USA / Czech Republic, 2004. Directed by Stephen Sommers. Hugh Jackman, Kate Beckinsale, Richard Roxburgh, David Wenham, Will Kemp, Shuler Hensley.
This begins promisingly, with the familiar Universal Pictures globe logo dissolving into a firebrand held by one of the angry villagers, marching to storm Victor Frankenstein's castle in a high-resolution monochrome scene with more than a nod to Universal's original Frankenstein. The whole of the opening action sequence is gripping and done with some flair, but sadly things fall apart rapidly after that.
They've thrown everything in but the kitchen-sink here - Dracula, the Wolf Man, Frankenstein and his monster, even Mr Hyde - or is it Quasimodo? - pops up briefly in the form of Robbie Coltrane. And then of course there's Van Helsing himself.
I was part of that generation who grew up with Hammer's Peter Cushing as the good vampire slayer, so this hunky, leather-clad, testosterone-fuelled assassin was a bit of an assault on the senses, much like the film itself. Kate Beckinsale struts about sexily in tight leather as well, but listening to her extraordinary accent I would suggest she doesn't draw too much attention to her appearance in this movie on her CV. The CGI is relentless throughout and, while it's all very clever and breath-taking, I found it curiously alienating. None of it really made me care about the characters or what happens to them. Finally, the plot! Hammer Pictures could have made about 15 films out of all the different plot threads here. Whatever would dear old Peter Cushing have made of it all?
This begins promisingly, with the familiar Universal Pictures globe logo dissolving into a firebrand held by one of the angry villagers, marching to storm Victor Frankenstein's castle in a high-resolution monochrome scene with more than a nod to Universal's original Frankenstein. The whole of the opening action sequence is gripping and done with some flair, but sadly things fall apart rapidly after that.
They've thrown everything in but the kitchen-sink here - Dracula, the Wolf Man, Frankenstein and his monster, even Mr Hyde - or is it Quasimodo? - pops up briefly in the form of Robbie Coltrane. And then of course there's Van Helsing himself.
I was part of that generation who grew up with Hammer's Peter Cushing as the good vampire slayer, so this hunky, leather-clad, testosterone-fuelled assassin was a bit of an assault on the senses, much like the film itself. Kate Beckinsale struts about sexily in tight leather as well, but listening to her extraordinary accent I would suggest she doesn't draw too much attention to her appearance in this movie on her CV. The CGI is relentless throughout and, while it's all very clever and breath-taking, I found it curiously alienating. None of it really made me care about the characters or what happens to them. Finally, the plot! Hammer Pictures could have made about 15 films out of all the different plot threads here. Whatever would dear old Peter Cushing have made of it all?
The Huggetts Abroad
UK, 1949. Directed by Ken Annakin. Jack Warner, Kathleen Harrison, Susan Shaw, Petula Clark, Dinah Sheridan, Jimmy Hanley, Peter Hammond, Hugh McDermott.
The final film in the Huggett saga sees the family escaping the austerity of post-war Britain for an overland trip to South Africa. To help fund it they take on a paying companion who, it turns out, has his own shady reasons for wishing to join them. As a plot it’s wafer-thin and highly predictable, but reasonably enjoyable in its way. It’s cheerfully politically incorrect (funny/sinister foreigners), in the way that many films of this era are – how times have changed! Notable for the cameo appearance of legendary British theatre actor/director Frith Banbury – in a long career he only made just five films. Dinah Sheridan joins the cast to take on the role of eldest daughter Jane, playing alongside her real-life husband Jimmy Hanley. Hugh McDermott appears as the dubious companion. And Petula Clark sings another naff song. Brilliant!
The final film in the Huggett saga sees the family escaping the austerity of post-war Britain for an overland trip to South Africa. To help fund it they take on a paying companion who, it turns out, has his own shady reasons for wishing to join them. As a plot it’s wafer-thin and highly predictable, but reasonably enjoyable in its way. It’s cheerfully politically incorrect (funny/sinister foreigners), in the way that many films of this era are – how times have changed! Notable for the cameo appearance of legendary British theatre actor/director Frith Banbury – in a long career he only made just five films. Dinah Sheridan joins the cast to take on the role of eldest daughter Jane, playing alongside her real-life husband Jimmy Hanley. Hugh McDermott appears as the dubious companion. And Petula Clark sings another naff song. Brilliant!
Vote For Huggett
UK, 1949. Directed by Ken Annakin. Jack Warner, Kathleen Harrison, Susan Shaw, Petula Clark, Peter Hammond, David Tomlinson, Diana Dors.
Third of the four Huggett films, this one is centred around the murky world of local politics, with Joe Huggett unwittingly becoming the pawn of rival business interests. Once again the cast is filled with familiar British character actors, several reprising their roles from the second film in the series. Petula Clark’s role is more prominent than previously and the eldest daughter and her husband don’t appear. Warner and Harrison are as dependable as ever and the latter’s malapropisms are a scream. Now over sixty years old, like the other films in the series it depicts a British way of life which is long gone.
Third of the four Huggett films, this one is centred around the murky world of local politics, with Joe Huggett unwittingly becoming the pawn of rival business interests. Once again the cast is filled with familiar British character actors, several reprising their roles from the second film in the series. Petula Clark’s role is more prominent than previously and the eldest daughter and her husband don’t appear. Warner and Harrison are as dependable as ever and the latter’s malapropisms are a scream. Now over sixty years old, like the other films in the series it depicts a British way of life which is long gone.
Thursday, November 18, 2010
The Tailor Of Panama
USA / Ireland, 2001. Directed by John Boorman. Pierce Brosnan, Geoffrey Rush, Jamie Lee Curtis, Brendan Gleeson, Leonor Varela, Harold Pinter.
Interesting thriller laced with satire and some wryly amusing moments from John Boorman and John Le Carre. With more than a passing resemblance to Graham Greene's Our Man In Havana (filmed by Carol Reed in 1959), this well-scripted film plays on many cinematic conventions regarding the shady world of espionage. In this it is helped enormously by the imaginative casting of Brosnan as the foul-mouthed, over-sexed Osnard, a kind of bastard son of James Bond. Brosnan looks as if he's enjoying himself enormously and must have relished the role. Equally Geoffrey Rush is terrific too, skillfully conveying the decency of his character behind the ex-con's bullshit. Footnote: Daniel Radcliffe's film debut, just prior to winning the Harry Potter role.
Interesting thriller laced with satire and some wryly amusing moments from John Boorman and John Le Carre. With more than a passing resemblance to Graham Greene's Our Man In Havana (filmed by Carol Reed in 1959), this well-scripted film plays on many cinematic conventions regarding the shady world of espionage. In this it is helped enormously by the imaginative casting of Brosnan as the foul-mouthed, over-sexed Osnard, a kind of bastard son of James Bond. Brosnan looks as if he's enjoying himself enormously and must have relished the role. Equally Geoffrey Rush is terrific too, skillfully conveying the decency of his character behind the ex-con's bullshit. Footnote: Daniel Radcliffe's film debut, just prior to winning the Harry Potter role.
Wild Bill
USA, 1995. Directed by Walter Hill. Jeff Bridges, Ellen Barkin, John Hurt, Diane Lane, David Arquette, Keith Carradine.
Downbeat biopic of the final days of Wild Bill Hickcock, made by the estimable Walter Hill. At the centre of the film Jeff Bridges turns in another thoughtful performance, offering us clues as to what the man was all about, without giving any answers. Unfortunately as a movie it drags its feet, possibly due to it being partly based on a play - there's a long, drawn-out, will-he-won't-he scenario with Bill's young assassin which feels like it goes on forever. I always think that films which start with the audience knowing the eventual outcome have to work harder to sustain their attention, and in this regard the movie fails. A shame, because it's a film of quality which might have fared better with a less introspective approach.
Downbeat biopic of the final days of Wild Bill Hickcock, made by the estimable Walter Hill. At the centre of the film Jeff Bridges turns in another thoughtful performance, offering us clues as to what the man was all about, without giving any answers. Unfortunately as a movie it drags its feet, possibly due to it being partly based on a play - there's a long, drawn-out, will-he-won't-he scenario with Bill's young assassin which feels like it goes on forever. I always think that films which start with the audience knowing the eventual outcome have to work harder to sustain their attention, and in this regard the movie fails. A shame, because it's a film of quality which might have fared better with a less introspective approach.
Wednesday, November 17, 2010
Here Come The Huggetts
UK, 1948. Directed by Ken Annakin. Jack Warner, Kathleen Harrison, Jane Hylton, Susan Shaw, Petula Clark, Jimmy Hanley, Peter Hammond, David Tomlinson, Diana Dors.
Having featured in the previous year’s Holiday Camp, the Huggetts take centre stage in this feature, the second of four big-screen outings for them. This one features them in their home and work environments and is again filled with familiar faces in the supporting roles, including John Blythe, Amy Veness, Clive Morton, Maurice Denham, Doris Hare, Esma Cannon and Dandy Nichols. Amusing now to watch Kathleen Harrison’s deep suspicion of the newly installed telephone in her home! As with the first film, this gives us a slice of British life as it was then in those postwar years – there’s a sense of the old order changing, with elements like the aforementioned telephone. For newcomers trying to follow the series the changing family structure can be a bit confusing – here Petula Clark joins the cast as the youngest daughter, the oldest daughter has lost her baby and Peter Hammond is now the middle daughter’s boyfriend instead of the Huggett’s son. Don’t let it worry you – just sit back and enjoy!
Having featured in the previous year’s Holiday Camp, the Huggetts take centre stage in this feature, the second of four big-screen outings for them. This one features them in their home and work environments and is again filled with familiar faces in the supporting roles, including John Blythe, Amy Veness, Clive Morton, Maurice Denham, Doris Hare, Esma Cannon and Dandy Nichols. Amusing now to watch Kathleen Harrison’s deep suspicion of the newly installed telephone in her home! As with the first film, this gives us a slice of British life as it was then in those postwar years – there’s a sense of the old order changing, with elements like the aforementioned telephone. For newcomers trying to follow the series the changing family structure can be a bit confusing – here Petula Clark joins the cast as the youngest daughter, the oldest daughter has lost her baby and Peter Hammond is now the middle daughter’s boyfriend instead of the Huggett’s son. Don’t let it worry you – just sit back and enjoy!
Holiday Camp
UK, 1947. Directed by Ken Annakin. Flora Robson, Dennis Price, Jack Warner, Kathleen Harrison, Hazel Court, Jimmy Hanley, Peter Hammond.
The first film to feature the Huggett family, later to become a household name in the movies and on radio in Britain in the late 1940s and 1950s. Here they are one element of a portmanteau film set in a holiday camp, with various characters cutting across a number of different storylines. There is Flora Robson as a intelligent but reserved spinster who finds a purpose in “adopting” a pair of young people who are in trouble with an unplanned pregnancy. Dennis Price is in caddish mode, a smarmy con-man with a sideline in strangling young women. Then there’s the Huggetts themselves, led by Jack Warner and Kathleen Harrison – a “salt-of-the-earth” working-class family determined to enjoy themselves on holiday. Some of the dialogue is very funny, although there’s an uneven feel to some of it, probably due to there being five different writers involved. It really gives a taste of the British at play in the immediate post-war years. The cast is filled with stalwart British character actors, plus watch out for a brief, uncredited appearance by Diana Dors demonstrating her dancing skills.
The first film to feature the Huggett family, later to become a household name in the movies and on radio in Britain in the late 1940s and 1950s. Here they are one element of a portmanteau film set in a holiday camp, with various characters cutting across a number of different storylines. There is Flora Robson as a intelligent but reserved spinster who finds a purpose in “adopting” a pair of young people who are in trouble with an unplanned pregnancy. Dennis Price is in caddish mode, a smarmy con-man with a sideline in strangling young women. Then there’s the Huggetts themselves, led by Jack Warner and Kathleen Harrison – a “salt-of-the-earth” working-class family determined to enjoy themselves on holiday. Some of the dialogue is very funny, although there’s an uneven feel to some of it, probably due to there being five different writers involved. It really gives a taste of the British at play in the immediate post-war years. The cast is filled with stalwart British character actors, plus watch out for a brief, uncredited appearance by Diana Dors demonstrating her dancing skills.
Tuesday, November 16, 2010
The Avengers
USA, 1998. Directed by Jeremiah S. Chechik. Ralph Fiennes, Uma Thurman, Sean Connery, Patrick Macnee, Jim Broadbent, Fiona Shaw.
Big screen re-makes of old TV series always run the risk of being despised by fans of the original, but even making the usual allowances I have to say The Avengers is about the worst I've seen. I think they attempted to capture the quirky, surreal world of the series, but missed it by a mile. Fiennes and Thurman are all at sea, and even Connery, an actor who generally acquits himself well whatever the film, gives an embarrassing performance. The interplay and dialogue between Steed and Mrs Peel lacks any kind of subtlety, wit or charm and here is cruder - some of the exchanges feel like they belong in a Carry On film. As for continuity, it's virtually non-existent. Patrick Macnee's brief "appearance" as an invisible agent hidden in the bowels of the ministry building seems strangely appropriate - almost as if he couldn't bring himself to actually show his face. In short, it's a mess. While they're all still alive, why doesn't someone get Brian Clemens to write a "reunion" screenplay for Macnee, Honor Blackman, Diana Rigg, Linda Thorson and Joanna Lumley? I can see it now - they all meet up in Steed's nursing home (a home for retired agents), where someone's bumping off the residents....
Big screen re-makes of old TV series always run the risk of being despised by fans of the original, but even making the usual allowances I have to say The Avengers is about the worst I've seen. I think they attempted to capture the quirky, surreal world of the series, but missed it by a mile. Fiennes and Thurman are all at sea, and even Connery, an actor who generally acquits himself well whatever the film, gives an embarrassing performance. The interplay and dialogue between Steed and Mrs Peel lacks any kind of subtlety, wit or charm and here is cruder - some of the exchanges feel like they belong in a Carry On film. As for continuity, it's virtually non-existent. Patrick Macnee's brief "appearance" as an invisible agent hidden in the bowels of the ministry building seems strangely appropriate - almost as if he couldn't bring himself to actually show his face. In short, it's a mess. While they're all still alive, why doesn't someone get Brian Clemens to write a "reunion" screenplay for Macnee, Honor Blackman, Diana Rigg, Linda Thorson and Joanna Lumley? I can see it now - they all meet up in Steed's nursing home (a home for retired agents), where someone's bumping off the residents....
Sunday, November 14, 2010
Small Time Crooks
USA, 2000. Directed by Woody Allen. Woody Allen, Tracey Ullman, Hugh Grant, Elaine May, Elaine Stritch, Michael Rapaport.
A typically moral and wryly amusing tale from Allen, here appearing as Tracey Ullman’s dumb husband. He’s a small-time crook whose plan to rob a bank with a bunch of fellow misfits fails but in so doing inadvertently brings riches (legally) to the couple by launching Ullman’s home-baked cookie business. As one might expect, there’s plenty of laughs along the way and Allen’s writing once again generously gives some of the funniest lines to others than himself. It’s worthy of note that this film features three great performers rarely seen these days – Ullman (who steals the film) and those two great Elaines, May and Stritch. Not the funniest film he’s ever made, but there’s a lot here to keep you amused.
A typically moral and wryly amusing tale from Allen, here appearing as Tracey Ullman’s dumb husband. He’s a small-time crook whose plan to rob a bank with a bunch of fellow misfits fails but in so doing inadvertently brings riches (legally) to the couple by launching Ullman’s home-baked cookie business. As one might expect, there’s plenty of laughs along the way and Allen’s writing once again generously gives some of the funniest lines to others than himself. It’s worthy of note that this film features three great performers rarely seen these days – Ullman (who steals the film) and those two great Elaines, May and Stritch. Not the funniest film he’s ever made, but there’s a lot here to keep you amused.
Inside Man
USA, 2006. Directed by Spike Lee. Denzel Washington, Clive Owen, Jodie Foster, Christopher Plummer, Willem Dafoe, Chiwetel Ejiofor.
Heist movie featuring bank robber Owen in a cat-and-mouse confrontation with cop Washington. What starts out as an apparent Dog Day Afternoon situation soon develops into something rather more complex. The twists in the plot, the humour, some quirkiness in the supporting characters and the solid performances from all the leading players kept me attentive throughout. However, having said that I also felt it suffered from a lack of clarity in its script – there were too many loose ends. The plot seemed unnecessarily complicated – for example, the Jodie Foster character appeared to be superfluous to the story, but maybe I felt that because I didn’t entirely understand what she was supposed to be doing. Entertaining without being unmissable.
Heist movie featuring bank robber Owen in a cat-and-mouse confrontation with cop Washington. What starts out as an apparent Dog Day Afternoon situation soon develops into something rather more complex. The twists in the plot, the humour, some quirkiness in the supporting characters and the solid performances from all the leading players kept me attentive throughout. However, having said that I also felt it suffered from a lack of clarity in its script – there were too many loose ends. The plot seemed unnecessarily complicated – for example, the Jodie Foster character appeared to be superfluous to the story, but maybe I felt that because I didn’t entirely understand what she was supposed to be doing. Entertaining without being unmissable.
Hostage
USA / Germany, 2005. Directed by Florent Emilio Siri. Bruce Willis, Kevin Pollak, Ben Foster, Jonathan Tucker, Marshall Allman, Serena Scott Thomas.
Gripping thriller which sees hostage negotiator Willis achieving redemption for an earlier failure through dealing with a similar but more complex situation a year later. This is actually a very clever film – time and again you think you know where it’s going, but then the twists and turns of the plot take it into less familiar territory. Director Siri is said to have a love of noir classics of the 40s and 50s and it’s very apparent here, especially with his skilled use of light and shadow. All the main characters have an element of psychological depth, and there’s a strong use of symbolism throughout – I especially liked the motif of blood on the hands of various characters at different points. Don’t take the movie at face value – “Bruce Willis in hostage thriller” sounds like a cliché, but this is most definitely not another Die Hard.
Gripping thriller which sees hostage negotiator Willis achieving redemption for an earlier failure through dealing with a similar but more complex situation a year later. This is actually a very clever film – time and again you think you know where it’s going, but then the twists and turns of the plot take it into less familiar territory. Director Siri is said to have a love of noir classics of the 40s and 50s and it’s very apparent here, especially with his skilled use of light and shadow. All the main characters have an element of psychological depth, and there’s a strong use of symbolism throughout – I especially liked the motif of blood on the hands of various characters at different points. Don’t take the movie at face value – “Bruce Willis in hostage thriller” sounds like a cliché, but this is most definitely not another Die Hard.
Tuesday, November 9, 2010
Black Sheep
New Zealand, 2006. Directed by Jonathan King. Nathan Meister, Peter Feeney, Danielle Mason, Tammy Davis, Oliver Driver, Glenis Levestam.
A delightfully gory tale featuring genetically modified killer sheep, this horror-comedy from New Zealand is a lot better than many blockbusters. The humour is witty, the acting from a largely unknown (to me) cast is polished and believable and at 87 minutes the film is just the right length to avoid wearing out its welcome. I wasn’t expecting much, but I was agreeably surprised.
A delightfully gory tale featuring genetically modified killer sheep, this horror-comedy from New Zealand is a lot better than many blockbusters. The humour is witty, the acting from a largely unknown (to me) cast is polished and believable and at 87 minutes the film is just the right length to avoid wearing out its welcome. I wasn’t expecting much, but I was agreeably surprised.
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