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MY CINEMATIC ROMANCE #22 – MARTIN SCORSESE

MY CINEMATIC ROMANCE #22 – MARTIN SCORSESE

Cinema is a matter of what’s in the frame and what’s out.
— Martin Scorsese

I recently had a three-week career break while I was looking for a new job. I have since gratefully located employment and that would explain why I have not been as active on this blog as before. Because looking for work is more time consuming than an actual job! Anyway, aside from spending the day on the computer searching for gainful employment I also caught up on some TV shows and films that had been on my planner for a while. One of the those I watched was the HBO produced TV drama called VINYL (2016). Created, directed (first episode only) and produced by, among others, Martin Scorsese.

Vinyl (2016) was an incendiary, nostalgic and snorting cavalcade of 1970’s rock and roll music centred around a drug addicted record executive, portrayed by Bobby Cannavale, whose business and personal life are collapsing due to his addictive and self-destructive behaviour. Overall, the ten episodes were scintillating entertainment: loud, over-the-top, ballsy, in-your-face and darkly hilarious. The characters were despicable scumbags at best, yet Scorsese’s sensational style ensures the audience enthusiastically rubber-necks these human car crashes.

Alas, due to low ratings, poor critical response and the huge budget, HBO did not renew Vinyl (2016) for a second season. Thus, Scorsese’s blistering TV rock and roll creation was no more. However, in my latest piece in the My Cinematic Romance series, I have selected five of Scorsese cinematic classics. I could’ve, of course, chosen many, many more but have challenged myself to pick only ONE film from each of the last five decades of the master filmmaker Martin Scorsese. Don’t worry Marty – I thought Vinyl (2016) absolutely rocked. F*ck the critics! You are a true genius.


Vinyl – Co-Creator/Executive Producer Mick Jagger with Bobby Cannavale and Co-Creator/Executive Producer/Director of Pilot of Martin Scorsese on the set ©2016 HBO, photo by Niko Tavernise

TAXI DRIVER (1976)

Paul Schrader’s incredible screenplay about a lost soul travelling the mean streets of New York while on the edge of insanity, is given dark life by Scorsese’s evocative direction and Robert DeNiro’s fearless performance. One of the most memorably nightmarish thrillers and character studies of the 1970s; a period which arguably represents the most exceptional decade of American cinema. Having both the writer and director admit to substance addiction in the 1970’s, lends further to the monstrously illusory vision of urban decay within the pores of this amazing work of cinema.



RAGING BULL (1980)

Boxing champion Jake La Motta represented another morally complex vision of masculinity in crisis for both Robert DeNiro and Martin Scorsese. Both in and out of the ring he is man in pain who hurts those he loves and, above all else, himself. Each battering jab and uppercut and hook is felt by the audience via incredible editing and sound design. Overall, Scorsese delivers a brutal profile in stark black-and-white and a knockout box of cinematic tricks. Unsurprisingly, DeNiro won a Best Acting Oscar at the 1981 Academy Awards. Rather surprisingly, Ordinary People (1980) was winner of Best Picture. Go figure!



GOODFELLAS (1990)

As far back as I can remember, this has been one of my favourite films of all time. Ray Liotta’s voiceover introduces and tells the story of the rise and fall of gangster, Henry Hill, while expertly supported by Scorsese’s selection of memorable shots, music and sequences. Further, Scorsese’s major skill here is too, is to make us both enamoured and disgusted by the actions of these charismatic criminals and killers. There are so many classic scenes in this incredible epic and the cast of Liotta, DeNiro and scene-stealing, Joe Pesci, make it one of those films that can be watched over and over. Did I forget to mention that it also has one of the greatest cinema soundtracks ever!



THE DEPARTED (2006)

A truly remarkable remake of Infernal Affairs (2002), the film is shot and edited, as expected, with immaculate precision; crammed with unrelenting and bone-crushing thrills and violence. Thematically, it’s powerful too. Throughout, honesty and truth are obliterated by lies and death. Costigan and Sullivan are no more than pawns at the hands of a corrupt system that lets people down from a great height. This is literally the case where Martin Sheen’s Captain Queenan is concerned. An immense cast including DiCaprio, Damon, Wahlberg and scenery-chewing, Jack Nicholson, take a twisting Kafkaesque plot where criminals and cops collide; ultimately chasing their shadows and souls to a treacherous, bloody and bitter end.



THE WOLF OF WALL STREET (2013)

The Wolf of Wall Street (2013) feels like a greatest hits package combining all of the finer ingredients from Scorsese’s other films. You’ve got the classic swooning camera moves; the direct address to camera; cat-and-dog couples fighting as seen in Casino (1995) and Goodfellas (1990); the boat-in-peril sequence as seen in Cape Fear (1991); the multi-character voiceovers; the dumb criminals putting themselves in the shit; characters turning on each other and ratting each other out as seen in The Departed (2006); plus many more. But whereas Scorsese used to deal with outsiders, oddballs and working class criminals like Travis Bickle, Rupert Pupkin or Henry Hill, he presents via Jordan Belfort a white-collar criminal and venal member of the “Master-Race”, getting his just desserts in an incendiary morality tale of major power.


CLASSIC MOVIE SCENE #15 – X-MEN: DAYS OF FUTURE PAST (2014) – QUICKSILVER BREAKS OUT MAGNETO!

CLASSIC MOVIE SCENE #15 – X-MEN: DAYS OF FUTURE PAST (2014) – QUICKSILVER BREAKS OUT MAGNETO!

Directed by: Bryan Singer

Produced by: Bryan Singer, Lauren Shuler Donner, Simon Kinberg, Hutch Parker

Screenplay by: Simon Kinberg

Story by: Jane Goldman, Simon Kinberg, Matthew Vaughn

Based on: X-Men by Stan Lee, Jack Kirby and Days of Future Past by Chris Claremont, John Byrne

Cast: Hugh Jackman, James McAvoy, Michael Fassbender, Jennifer Lawrence, Halle Berry, Anna Paquin, Elliot/Ellen Page, Peter Dinklage, Ian McKellen, Patrick Stewart, Evan Peters etc.

***CONTAINS SPOILERS***



“We need your help, Peter.”

“For what?”

“To break into a highly secured facility…and to get someone out.”

“Prison break? That’s illegal, you know.”

“Um…only if you get caught.”

“So, what’s in it for me?”

“You, you kleptomaniac, get to break into the Pentagon.”

―Wolverine, Quicksilver, and Professor X


After loving the venture back in time to the 1960’s in X-Men: First Class (2011), I recall genuinely looking forward to the follow up X-Men: Days of Future Past (2014). I wasn’t disappointed as it gripped me from the brilliant opening scene which established a set of all-conquering villainous machines called The Sentinels which had taken over the earth and were wiping out both mutants and humans alike.  Cue Wolverine being sent back in time by Magneto and Professor X to convince the two respective younger versions of them to change the events which caused the Sentinels to rise to power. If it seemed a bit Terminatoresque it’s because it was completely the same story with some Back to the Future nods thrown in too.  But Simon Kinberg’s screenplay (from Matthew Vaughan/Jane Goldman’s story in turn inspired by 1981 Uncanny X-Men comic book narrative by Chris Claremont and John Byrne) wears its influences proudly and gets us into the story so quickly that the time travel element becomes structurally very satisfying.

Usual X-Men favourites get some wonderful moments including Wolverine (Hugh Jackman) going back to the past and finding his powers are altered somewhat. Moreover, Mystique (Jennifer Lawrence) is on impressively vengeful form. We are also introduced to a “new” character called QuickSilver, portrayed with cheeky charisma by Evan Peters. He gets his chance to shine when the film goes all Mission Impossible.  Magneto is being held a mile underground at the Pentagon penitentiary and QuickSilver utilises his speedy skills brilliantly. The rescue scene gives rise to probably the best set-piece I saw at the cinema that year. The majestic use of slow motion, special effects, sight jokes, folk music by Jim Croce etc. had my heart in my mouth and adrenalin rushing throughout. It also reveals character as Quicksilver’s playful jabs, hat-knocking and wedgy show him as a mischievous force of nature.  

Furthermore, the scene continued to highlight the ongoing battle between Magneto (Michael Fassbender) and Charles Xavier (James McAvoy) with Magneto having little consideration for life. As the adults argue, the “child” in the scene is the one who saves the day breathing a hurricane of humorous fresh air into the scene and film. Finally, QuickSilver is also speedy in mind as all his set-ups pay-off with a litany of fantastic punchlines at the end of the scene. Thus, avoiding any deaths and getting the X-Men out of a difficult situation in the blink of an eye. The interesting thing about the scene is Quicksilver steals the film and then is not really involved afterwards, leaving a gaping hole in any further potential action. I guess the writers were trying to avoid easy resolution, given he could just save everyone with his impressive powers. Still, quality over quantity, I guess.


THE CINEMA FIX PRESENTS: 12 FAVOURITE FILMS OF 2020!

12 FAVOURITE FILMS OF 2020!

It was indeed an extremely strange year for cinema, for sad and obvious reasons. The global pandemic wreaked havoc with people’s lives and the culture was hit massively due to arts and crafts being locked down. Cinema’s loss meant streaming giants such as Netflix, Amazon and Disney +, rose even more so in power, with many films being premiered in the homes rather than on the big screen. Many big releases have been put on hold too, so my list of favourite films is a mix of those I saw at the cinema and at home.

For comparison: here are my FAVOURITE FILMS OF 2019!

AD ASTRA (2019)
AVENGERS: ENDGAME (2019)
CAPERNAUM (2018)
DOLEMITE IS MY NAME (2019)
THE FAREWELL (2019)
THE IRISHMAN (2019)
JOJO RABBIT (2019)
JOKER (2019)
KNIVES OUT (2019)
MARRIAGE STORY (2019)
ONCE UPON A TIME IN HOLLYWOOD (2019)
US (2019)



In respect of 2020’s choice, some releases may have overlapped with 2019, but this is a list of all the films I watched and loved last year. They may not be the best necessarily, but they are the ones that really grabbed my imagination and intellect and humour. There may be some I haven’t seen as I currently do not have Disney + or Apple TV. Oh well, so it goes.

Almost making the list are the following highly entertaining films: The Peanut Butter Falcon (2019), A Beautiful Day in the Neighbourhood (2019), The Personal History of David Copperfield (2019), Tell Me Who I Am (2019), His House (2020), The Nightingale (2019), The Platform (2020), The Gentlemen (2019) and Diego Maradona (2019).

Anyway, here are my favourite twelve films of 2020 in alphabetical order. If I have missed any movies I MUST see – please comment below.


1917 (2019)

“… the cinematic marvel that is, 1917 (2019), overcomes its narrative and thematic familiarity with an amazing technical achievement in both form and style.”


DARK WATERS (2019)

“…surprising to see the film was directed by arthouse auteur, Todd Haynes. Nonetheless, it is not about making poetic cinema, but rather presenting a powerful environmental message that highlights the murderous avarice of DuPont.”


DA 5 BLOODS (2020)

“… with Da 5 Bloods (2020), Spike Lee has delivered another bravura mix of genre and socio-political filmmaking which stares into the dark heart of humanity and finds greed, war, death, and brotherhood.”


I’M THINKING OF ENDING THINGS (2020)

“…given Kaufman’s predilection for characters on the edge of nervous, depressive and existential breakdowns, some may find this film’s journey tough to complete. But I loved the invention and constant ideas on show throughout.”



THE INVISIBLE MAN (2020)

“…The Invisible Man (2020) starts strongly and proceeds to deliver a series of gripping and, at times, heart-in-the-mouth cinematic moments. “


MANGROVE (2020)

“…Steve McQueen and his exceptional cast deserve all the plaudits in bringing such a vital legal case to the screen. The Mangrove 9’s case is emblematic of the horror of ignorance that has occurred in British history and we must continue to stamp out vitriolic actions based purely on cultural difference and the colour of an individual’s skin.”


PARASITE (2019)

“… more than a voyeuristic air to it with characters hiding around doorways and stairwells, as well as following, spying and watching each other secretly. It’s a film which Hitchcock would have been proud to have directed too, with many suspenseful and gripping set-pieces throughout.”


PORTRAIT OF A LADY ON FIRE (2019)

“… the performances by all the actresses are superb too as Sciamma directs with such confidence. I also liked that the critique of patriarchal society was implicit rather than didactic.”



SAINT MAUD (2019)

“…Saint Maud (2019), overall, is an exceptionally well-crafted low budget work of British cinema. It is more than just a calling card for the extremely talented director, Rose Glass. Her grasp of the material is superb and the cinematography and shot composition support her dark vision brilliantly.


TENET (2020)

“… TENET (2020) is a big, brash and confident Bond-type film with bells on. Sure, the rules of the world could have been excavated and presented somewhat clearer. But, Nolan favours a breakneck pace and be damned if you cannot keep up.”


THE TRIAL OF THE CHICAGO SEVEN (2020)

“… Aaron Sorkin and his incredibly adept ensemble cast deserve much praise for taking such a complex case and distilling it into such an enlightening work of cinema. Sacha Baron Cohen and Jeremy Strong stand out as a fine double act, while Mark Rylance attends his usual intelligence and class to the role of defence lawyer.”


UNCUT GEMS (2019)

“… Howard himself is an unrelenting addict, his own worst enemy and a whirlwind of broken promises. But, I must admit I was gripped throughout due to overwhelmingly brilliant style, cinematography, editing, direction, darkly funny script and acting performances.”


SIX OF THE BEST #27 – GREAT FILM ENDINGS!

SIX OF THE BEST #27 – GREAT FILM ENDINGS!

What makes a great film ending? Well, it helps to have an amazing cinematic story before it, building to an incredible twist, memorable shock or emotionally cathartic moment. In the latest effort in my occasional series Six of the Best, I have chosen six films with unbelievably brilliant endings. If you have your own suggestions, please feel free to comment.

*** CONTAINS MASSIVE SPOILERS ***


CASABLANCA (1942)

“I think this is the beginning of a beautiful friendship.”


INGLOURIOUS BASTERDS (2009)

“You know somethin’, Utivich? I think this just might be my masterpiece.”


PLANET OF THE APES (1968)

“They blew it up! God, damn you! Damn you all to hell!!!”


THE SHAWSHANK REDEMPTION (1994)

“Remember, Red, hope is a good thing, maybe the best of things, and no good thing ever dies.”


THE USUAL SUSPECTS (1995)

“The greatest trick the devil ever pulled was convincing the world he didn’t exist. And like that… he’s gone!”

WITHNAIL AND I (1986)

“I have of late, but wherefore I know not, lost all my mirth…”

ALL 4 DRAMA RESIDENCY – INCLUDING REVIEWS OF: THE ACCIDENT (2019), CHIMERICA (2019), KIRI (2018), NATIONAL TREASURE (2016) and more…

ALL 4 – DRAMA REVIEWS

So, I don’t get paid for doing this. I do it because I enjoy watching films and television and writing about them. It helps me to review stuff critically from both a creative perspective and absorb knowledge for when I make my own low budget films. Also, it’s something to do isn’t it; a hobby and means to immerse oneself in something that interests me. Lastly, one also learns much from the hours of viewing, especially if the narratives are grounded in reality, representations of history and social issues.

CHANNEL 4 has always been at the forefront of producing intelligent drama television built to inform, entertain and provoke thought. Their streaming platform called ALL 4 is a great place to catch up with Channel 4’s product and I have already reviewed many of their shows here on this site. Having said that, I thought I should put an even bigger effort to catch up with some of their dramas. After all, ALL 4 is — aside from watching a few adverts — is absolutely FREE! I’m glad I did because they have quality production values and are very powerful, skilfully tackling social themes and historical events. So, here are some quick reviews of Channel 4 television dramas both recent and not so recent with the usual marks out of eleven.



THE ACCIDENT (2019) – Mark: 9 out of 11

What I found from my All 4 residency was that many of the shows were written by Jack Thorne. He is a clever writer with a keen eye and ear for drama relating to everyday people’s lives. The Accident (2019) is set in Wales and concerns a small community whose lives are ripped apart by an explosion at a construction site. Many children are killed, but given they were trespassing the blame initially falls on both them and building company. The ensemble cast lead by Sarah Lancashire and Joanna Scanlan are uniformly excellent, as the impactful drama echoes actual events such as Aberfan and Grenfell Tower disasters.


CHIMERICA (2019) – Mark: 8 out of 11

Based on Lucy Kirkwood’s play of the same name and set during the 2016 American Presidency election, this political drama sees Alessandro Nivola’s once-lauded photographer attempt to locate the “Tank Man” from the 1989 Tiananmen Square protests. Part-redemption and part-historical expose, the writing is excellent as Cherry Jones and F. Murray Abraham easily steal the acting plaudits. I was more interested in the plight of Zhang Lin’s (Terry Chen) China-set parallel storyline than the photographer’s, but, overall, I was drawn into detective plot and human conflict throughout.



THE DEVIL’S WHORE (2008) – Mark: 9 out of 11

The wonderfully titled The Devil’s Whore (2008), features a fine cast of actors including: John Simm, Peter Capaldi, Andrea Riseborough, Michael Fassbender and Dominic West. The drama focusses on the historical era of Oliver Cromwell and Charles I, filtered through the eyes of Riseborough’s strong, yet scandalised heroine, Angelica Fanshawe. Peter Flannery’s excellent script is full of violence, political and religious intrigue and works well as both a work of entertainment and chronicle of key characters from the bloody English Civil War!


I AM. . . (2019) – Mark: 9.5 out of 11

Dominic Savage is a skilful and experienced filmmaker, who recently made the semi-improvised feature, The Escape (2017). It focussed on unhappy mother portrayed by Gemma Arterton, and while an interesting character study, it ultimately felt a little flat dramatically. Using the same improvisatory and documentary style with the anthology triptych, I Am. . . (2019), Savage casts Vicky McClure, Samantha Morton and Gemma Chan in three separate stories of women in various states of domestic plight. All of the narratives are brilliantly acted and directed, focussing on coercive relationships, gaslighting debt escalation and painful maternal inertia respectively, all delivered with tremendous emotional power.



FALLING APART (2002) – Mark: 8.5 out of 11

Mark Strong and Hermione Norris excel is this shocking drama about domestic violence. Seemingly the perfect couple, Pete and Clare fall in love and marry, only for Pete’s aggressive tendencies to come to the fore soon after the honeymoon period. Clare forgives Pete and blames work and herself and then finally thinks he may have a problem. An honest and bleak look at love gone wrong, there are many scenes that make one flinch and feel bad for those women trapped in similar situations.


KIRI (2018) – Mark: 9.5 out of 11

Sarah Lancashire is exceptional as the social worker hung out to dry when a fostered child, Kiri, is killed after a family visit to her paternal grandparents. Jack Thorne writes a subtle and compelling script which explores issues relating to: adoption, social care, race, class, and child murder. As well as Lancashire, Lucian Msamati, Paapa Essiedu, Wunmu Mosaku, Lia Williams and Sue Johnston give exceptional performances. Finally, what begins as a murder mystery drama unfolds into something far more complex, with an ending that leaves you stunned with its brave, narrative risk-taking.



NATIONAL TREASURE (2016) – Mark: 9 out of 11

Not to be confused with the Nicolas Cage film series, this searing drama, written by Jack Thorne again, springboards off the recent #MeToo and Operation Yewtree news events. Robbie Coltrane takes the lead as Paul Finchley, a once successful comedian of the 1980s and 1990s, now hosting a television quiz show, while his wife is portrayed by the exceptional Julie Walters. Finchley’s life and career is turned upside down when he is accused of rape and sexual assault, something he vehemently denies. The drama unfolds in an engrossing fashion as we flash back and forth between Finchley’s present day and past history. Again, a potentially sensationalist subject matter is dealt with mesmeric power, as it all culminates in a tense and emotional court case.


ON THE EDGE (2018) – Mark: 8 out of 11

Excellent set of short anthology dramas which focus on various issues affecting mostly younger people in Britain today. Issues explored include: knife crime, body shaming, race, neurodiversity, date rape, depression and social work. All are extremely well acted and directed, giving excellent examples of diverse drama Channel 4 excels at.

CLASSIC FILM REVIEW: BLIND CHANCE/PRZYPADEK (1987)

CLASSIC FILM REVIEW: BLIND CHANCE/PRZYPADEK (1987)

Directed by: Krzysztof Kieślowski

Produced by: Jacek Szelígowski

Written by: Krzysztof Kieślowski

Cast: Bogusław Linda, Tadeusz Łomnicki, Zbigniew Zapasiewicz, Boguslawa Pawelec, Marzena Trybała, Monika Gozdzik, etc.

Music by: Wojciech Kilar

Cinematography: Krzysztof Pakulski

Edited by: Elżbieta Kurkowska

**MAY CONTAIN SPOILERS**



The English translation, according to Google, of the original title of Kieslowski’s classic film, PRZYPADEK, is CASE. Clearly this was considered too simpler a name to give to such a complex film, thus it become known as the more evocative, BLIND CHANCE (1987), when distributed to Western audiences. The title CASE is quite appropriate as the lead character is a case subject in a trio of varying narratives. The brilliant screenplay splits the lead protagonist’s fate into three potentialities and shows how random chance can shape people’s lives. If you think this idea sounds familiar then the films SLIDING DOORS (1998) and RUN LOLA, RUN! (1998), used the same concept in the romance and crime genres, respectively.

Set against the background of Communist Poland, the narratives follow Witek, a medical student at a crossroads in his life. His father dies and he questions whether he wants to be a Doctor. He takes a break from studies and gets a train to Warsaw to explore future possibilities. Kieślowski dramatizes Witek’s journey as a series of three strands, where fate can be decided by chance as well as choice. The splitting point of the story is Witek rushing to catch his train. In the different scenarios he is shown to board the train and not get on the locomotive. Structurally the film is fascinating as the three different episodes explore Witek’s life from a political, spiritual and personal perspective. Popular Polish actor, Bogusław Linda, brings great empathy and humanity to the characterisation of Witek. Each of the strands finds him in difficult situations politically, romantically and philosophically. However, he is a very sympathetic character, who I very much wanted to succeed, because he always tries to make honest and righteous choices.



If you find yourself absorbed by compelling human dramas that make you think, then you will definitely enjoy, BLIND CHANCE (1987). Kieslowski is a truly masterful filmmaker who creates complex ideas and emotions, but delivers them in a digestible fashion. Kieslowski is not overly intellectual or pretentious, even when positing deep existential questions. Are we tied to fate or do we have some element of control over our lives? Does pure chance rule our world and should we fight against our fate? As such, the film is both fascinating analysis and absorbing drama, because Witek is such a believable character. He desires a career, friends, love and belonging. Moreover, Kieslowski uses Witek as a case study to critique both politics and religion, at the same time opining the importance of loyalty, love and family.

Revered Polish filmmaker, Kieślowski, wrote and directed BLIND CHANCE (1987) in 1981, but due to heavy censorship it was not released for a number of years. Even on initial release many scenes which were cut as they were considered to have critiqued the Polish government. The version I watched on Arrow Video thankfully was restored expertly with just one scene missing. The crisp restoration also highlighted Krzysztof Pakulski’s exquisite cinematography. Indeed, while the use of natural lighting techniques is quite commonplace today, the mood and atmosphere of the composition really compliments the seriousness of Witek’s various journeys. Overall, while there are no easy answers to the questions raised, Kieslowski’s remarkable ending to the film will leave you in no doubt as to his feelings toward life’s rich but fatalistic tapestry.

Mark: 9.5 out of 11



FIFTY NOT OUT! 50 FAVOURITE FILMS IN 5 MINUTES!

FIFTY NOT OUT! 50 FAVOURITE FILMS IN 5 MINUTES!

I celebrated my fiftieth birthday last week. So, for a bit of fun I set myself a cinema game involving the theme of fifty. I gave myself no more than five minutes to list fifty favourite films. The rules are simple:

  • Pick 50 favourite films off the top of your head.
  • Take no longer than 5 minutes.
  • No checking Imdb.com or other cinema sites.
  • One film per franchise.
  • Go with your instinct – don’t overthink it!
  • Once you have written fifty down – you cannot change any.

Of course, these aren’t necessarily the best films ever, but instinctively films I love. Obviously, I am now kicking myself for the many great works of cinema I have missed. But, it’s just a bit of fun! So, here we go! In alphabetical order – FIFTY FAVOURITE FILMS chosen in FIVE MINUTES to celebrate FIFTY YEARS alive!



A GHOST STORY (2017)

AMERICAN BEAUTY (1999)

ANCHORMAN: THE LEGEND OF RON BURGUNDY (2004)

AU REVOIR LES ENFANTS (1987)

THE BIG LEBOWSKI (1998)

CAPTAIN AMERICA: THE WINTER SOLDIER (2014)

CASABLANCA (1942)

CASINO ROYALE (2006)

DAWN OF THE DEAD (1978)

DEAD MAN’S SHOES (2004)



THE EXORCIST (1973)

FARGO (1996)

FIGHT CLUB (1999)

FOUR LIONS (2010)

GLADIATOR (2000)

THE GODFATHER: PART II (1974)

GOODFELLAS (1990)

THE GOOD THE BAD AND THE UGLY (1966)

THE GREAT ESCAPE (1963)

HALLOWEEN (1978)



INGLOURIOUS BASTERDS (2009)

JAWS (1975)

KES (1969)

LORD OF THE RINGS: THE RETURN OF THE KING (2003)

THE MAGNIFICENT SEVEN (1960)

MAN ON FIRE (2004)

MEMENTO (2000)

MILLER’S CROSSING (1990)

MISSION IMPOSSIBLE (1996)

NETWORK (1976)



THE NINTH CONFIGURATION (1980)

NOSFERATU (1922)

ONCE UPON A TIME IN AMERICA (1984)

PSYCHO (1960)

RAGING BULL (1980)

RAIDERS OF THE LOST ARK (1981)

RESERVOIR DOGS (1992)

ROBOCOP (1987)

ROCKY (1976)

SCARFACE (1983)



SECRETS AND LIES (1996)

THE SEARCHERS (1956)

THE SEVEN SAMOURAI (1954)

STAR WARS (1977)

THE TERMINATOR (1984)

THE THING (1982)

TREMORS (1990)

TRUE GRIT (1969)

WHEN HARRY MET SALLY (1989)

WITHNAIL AND I (1986)


SIX OF THE BEST #26 – ENNIO MORRICONE (R.I.P 1928-2020)

SIX OF THE BEST #26 – ENNIO MORRICONE – (R.I.P – 1928-2020)

“If you scroll through all the movies I’ve worked on, you can understand how I was a specialist in westerns, love stories, political movies, action thrillers, horror movies, and so on. So, in other words, I’m no specialist, because I’ve done everything. I’m a specialist in music.” Ennio Morricone


As if 2020 couldn’t get any more dramatic, one of the greatest musical composers and dramatists ever known has passed away. Ennio Morricone, rather incredibly, wrote the scores for over four hundred films and television works. He also managed to write well over one hundred classical pieces. To say Ennio Morricone was a prolific genius is somewhat of an understatement.

Morricone won six BAFTAs, eleven Nastro d’Argento, three Grammy Awards, three Golden Globes, six BAFTAs, ten David di Donatello, two European Film Awards, the Golden Lion Honorary Award and the Polar Music Prize. In 2007, he received the Academy Honorary Award for his outstanding commitment to cinema. Moreover, he was also nominated for a further six Oscars. Lastly, Morricone had to wait until 2016 to receive his only competitive Academy Award for the haunting score to Quentin Tarantino’s The Hateful Eight (2016). For Morricone to receive only one Oscar for musical composition is astounding and proves once again there is no justice in the world.

A meagre blog piece from a London-based hack will never be enough of a tribute to a composer who worked in every cinematic genre and with an incredible array of famous and infamous filmmakers. Notables include: Sergio Leone, Oliver Stone, Warren Beatty, John Carpenter, Quentin Tarantino, Sergio Corbucci, Dario Argento, Duccio Tessari, Sergio Sollima, Henri Verneuil, Bernardo Bertolucci, Mauro Bolognini, Giuliano Montaldo, Roland Joffé, Don Siegel, Mike Nichols, Brian De Palma, Barry Levinson and many more companies including advertisers, singers, recording artists and fashion designers. Morricone even found time to compose the 1978 World Cup theme song.

Thus, as a tribute to one of the greatest cinematic artists I have selected six of Morricone’s best film orchestrations. Although given his brilliance and spectacular output, one could certainly pick many more; even sixty of the best!! Riposa in pace, Ennio, il maestro!




THE GOOD, THE BAD AND THE UGLY (1966)



THE GREAT SILENCE (1968)



ONCE UPON A TIME IN THE WEST (1968)



ONCE UPON A TIME IN AMERICA (1984)



THE MISSION (1986)



THE HATEFUL EIGHT (2016)


MY CINEMATIC ROMANCE #20 – KATHRYN BIGELOW

MY CINEMATIC ROMANCE #20 – KATHRYN BIGELOW

If there’s specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons: I can’t change my gender, and I refuse to stop making movies. It’s irrelevant who or what directed a movie, the important thing is that you either respond to it or you don’t. There should be more women directing; I think there’s just not the awareness that it’s really possible. It is.“— Kathryn Bigelow in 1990


Having most recently directed the searing period drama, Detroit (2017), Bigelow has been making feature films, since her debut, The Loveless (1981), for over thirty-nine years. With a strong academic background, having studied at the San Francisco Art Institute and Columbia University, it’s fascinating to review a career which has eschewed arthouse cinema and essentially been spent working mainly on big-budget genre films. However, one can see in her directorial canon that Bigelow, while striving for commercial success, is constantly testing the boundaries of genre storytelling.

Along with a powerful visual style that attains symbiosis with the core material, she intelligently explores themes relating to violence, individual freedom versus the system, masculinity in crisis, gender representations and socio-political corruption. Lastly, her characters are often outsiders, morally complex and dealing with deep personal trauma. In short: Bigelow’s worldview is one of both healthy scepticism and cynicism, but also an element of hope within the longing for control. So, here are five of Kathryn Bigelow’s most impactful cinematic releases.

***ARTICLE CONTAINS FILM SPOILERS***



NEAR DARK (1987)

While The Lost Boys (1987) is rightly regarded as a very entertaining 80’s vampire film, Near Dark (1987) is way, way superior. Despite not catching fire at the box office, this neo-horror-western contains a fantastic cast of James Cameron alumni, including: Lance Henriksen, Bill Paxton and Jenette Goldstein. These great character actors inhabit this snarling gang of vampires perfectly as the film contains shockingly brutal violence and hard-bitten dialogue amidst a tender love story.



BLUE STEEL (1990)

While Jamie Lee Curtis is generally better known for her horror and comedy film performances, Kathryn Bigelow made excellent use of her dramatic acting ability as a rookie police officer caught up with Ron Silver’s psychotic commodities trader. Blue Steel (1990) is a variegated genre film which takes a standard police procedural narrative and twists it into something far more psychologically compelling. Lee Curtis excels, as does vicious bad-guy Silver, aptly named Eugene Hunt!



POINT BREAK (1991)

This classic heist meets surfing movie meets gay subtext bromance is jam-packed with classic action scenes and faux-deep philosophical musings. Keanu Reeves is the daftly named cop, Johnny Utah, who goes undercover, amidst the beach brigade to find a bunch of bank robbers. His suspicions fall on Patrick Swayze’s elemental surfer-dude-god and a dangerous “bromantic” game of cat-and-mouse ensues. Bigelow scored her first major hit with Point Break (1991), infusing it with some incredibly visceral stunt, surfing, robbery and chase sequences in an exhilarating film experience.



THE HURT LOCKER (2008)

After the box office failures of her previous three films, the under-rated sci-fi thriller, Strange Days (1995), enigmatic mystery, The Weight of Water (2000), and stodgy cold war film, K-19: The Widowmaker (2002), Bigelow’s seemingly took a career break. She would, however, come back with her most critically acclaimed and Oscar-winning film, The Hurt Locker (2008). From a brilliant script by Mark Boal and led by Jeremy Renner’s standout lead performance, The Hurt Locker (2008), put the audience right at the heart of a bomb disposal unit in Iraq. Putting aside the politics for a moment, the film is full of incredibly tense and superbly edited scenes which have your heart in your mouth. Simultaneously too, the film also shows the devastating emotional, physical and mental effect war has on the people of Iraq and the soldiers sent to fight this horrifically unjust conflict.



ZERO DARK THIRTY (2012)

Whereas The Hurt Locker (2008) had highly emotional and empathetic protagonists, Bigelow and Boal’s next film Zero Dark Thirty (2012), is a much more clinical and technically efficient cinematic experience. In parts, both a war drama and espionage thriller, the story also has a feel of an old-fashioned Western as American military and CIA operatives, led by the excellent Jessica Chastain and Jason Clarke, hunt down Osama Bin Laden. Politically speaking this is a film which makes me feel very uncomfortable for a number of reasons. It plays out like a revenge story. It also seems to both criticize and vindicate torture in the early scenes. This makes me uneasy as I understand the 9/11 attacks were just horrific, yet they seemed to get used as a motive for many more atrocities by the United States government. I guess that was what Bigelow and Boal were going for. They attempted to create a morally and emotionally complex war thriller that lets you interpret the events yourself and conclude one’s own judgements.



HBO REVIEW – CURB YOUR ENTHUSIASM – SEASON 10 – another stream of comedic offence, farce and genius!

HBO REVIEW – CURB YOUR ENTHUSIASM – SEASON 10

Created by: Larry David

Executive producer(s): Larry David, Jeff Garlin, Robert B. Weide, Larry Charles, Erin O’Malley, Alec Berg etc.

Writers: Larry David, Jeff Schaffer, Justin Hurwitz, Steve Leff, Carol Leifer

Directors: Jeff Schaffer, Cheryl Hines, Erin O’Malley

Main Cast: Larry David, Jeff Garlin, Cheryl Hines, Susie Essman, J. B. Smoove, Ted Danson, Richard Lewis, Vince Vaughan, Kaitlin Olson etc.

Guests: Mila Kunis, Clive Owen, Laverne Cox, Chris Martin, Sean Penn, Jonah Hill, Jon Hamm, Philip Rosenthal and many more.

Distribution Platform: HBO (USA) – SKY (UK)

**CONTAINS MASSIVE SPOILERS**



“AH! INTERESTING. . . “

During a lengthy hiatus from 2011 to 2017, fans of Curb Your Enthusiasm were left bereft of their dose of Larry David’s inimitable and eccentric behaviour. The multi-millionaire writer of Seinfeld had carved out a wonderfully politically incorrect comedy series, full of misunderstanding, farce and hilariously embarrassing situations. Thankfully, he returned with season 9, and it was absolutely brilliant. Larry managed to get himself a death sentence, having written a musical called Fatwa, along with all manner of other comedic shenanigans. Season 10 has now followed and, once again, anti-heroic Larry delivers ten more fantastically offensive and funny episodes. More often than not we find his behaviour abhorrent as he goes about upsetting friends, family members, celebrities, and strangers on a daily basis. However, sometimes we are with Larry and his actions have merit and reason. Furthermore, due to the wonderful writing, improvising, cast and situations the humour is always more than pretty, pretty good!


NARRATIVE ARC (OF THE COVENANT)

Usually, Curb Your Enthusiasm episodes can stand alone due to the richness of the narrative strands Larry David and his writers create. But most seasons will have a very solid narrative arc running through it to provide looping rejoinders, a structural spine and a fitting conclusion. In season 10, there were echoes of storylines from prior seasons. Larry wanted to get back with Cheryl and they even committed divorced adultery, cuckolding Ted Danson in the process. However, the main arc revolved around the return of coffee store owner, Mocha Joe (Saverio Guerra). Larry pisses Mocha Joe off because he complains about “cold” coffee, wobbly tables and weak scones. Following Larry’s customary banishing he swears revenge on Mocha Joe. This takes the form of the wonderfully named ‘spite store’ he sets up next door. Thus, Latte Larry’s is born, and ten episodes of fast-paced, tit-for-tat, vengeful and hilarious scenes ensue.



“THE GOLDEN RULE” – STYLE AND THEMES

Curb Your Enthusiasm is not just funny because of the situations, dialogue, observations, guest stars and acting performances. It is also very sophisticated and stupid, combining a variety of comedy styles to fuel the humour. Earlier seasons could be argued to be more based in reality per se. The interactions between the characters felt more natural, in keeping with the pilot episode which was shot as a mockumentary about Larry returning to stand-up. Later seasons, especially seasons 9 and 10, upped the gag rate and one could even say felt slicker. Don’t get me wrong, the jokes have always come thick and fast in Curb Your Enthusiasm, but in the last two seasons there is not only a reliance on the usual comedy of embarrassment, observations and satire, but farce, slapstick and gross-out humour too have been added to the palette. Lastly, the show has always skated close to the edge in regard to non-PC humour and causing offence. Evidently, Larry David has now fully thrown himself over that edge and is happy to offend everyone in a two-fingered salute to so-called snowflakes or liberals out there.

In regard to thematics, Larry David clearly has his finger on the pulse relating to contemporary society, politics and human behaviour. Much of the humour and funny scenarios derive from what is acceptable behaviour and certain “rules” within everyday living. In season 10, Larry finds himself questioning, among other things: the behaviour of a pregnant woman; the merits of artificial fruit; what is and what isn’t’ sufficient praise; usage of disable parking badges; whether he should be in a restaurant’s ‘ugly section’; whether sex with Cheryl’s sister is post-relationship cheating; and the overall benefits of running a spite store. These elements, the running feuds with Ted Danson, Mocha Joe and Larry’s assistant, Alice, and themes relating to the Harvey Weinstein scandal and #MeToo movement; Larry and Leon’s continued chats about the nature of being black/white; Donald Trump’s presidency; fat shaming; suicide; Susie’s alleged plot to murder Jeff; nationalist ridicule; egotistic actor types; and transgender issues, all connectedly make this season a very rich product, full of ideas and challenging storylines.



“PRETTY GOOD. . . ” – EPISODE RATINGS

Episode 1 – Happy New Year – (8.5 out of 10)

Larry goes to war with Mocha Joe and reignites his romance with Cheryl. His relationship with his assistant also descends into accusations of sexual harassment.

Highlight: Larry wearing his Donald Trump, “Make America Great Again!” and ensuring no one wants to be seen with him.


Episode 2 – Side Sitting – (8.5 out of 10)

Larry’s relationship with his assistant, Alice, is possibly going to court unless he settles and makes amends. His attempts to get back with Cheryl are rebuked, so he dates his lawyer’s assistant.

Highlight: Larry gives Susie a portrait of herself as a birthday present. She loves it – but Jeff doesn’t.


Episode 3 – Artificial Fruit – (9 out of 10)

Larry’s donation to a charity fails to bring forward redemption when he refuses to hug Laverne Cox at an event, because she has a cold. Meanwhile, Richard and Larry argue over who is paying a lunch bill, leading to a very embarrassing escapade at a Spanish funeral.

Highlights: Larry is unsure if the Heimlich manoeuvre is appropriate when his assistant is choking. Plus, Larry’s doodle debate with Christine Lahti blows up into a serious disagreement.


Episode 4 – You’re not going to get me to say anything bad About! – (9 out of 10)

Larry, Donna (his new girlfriend), Cheryl, Jeff, Susie and Leon go to Cabo San Lucas for a friend’s wedding. Larry becomes fixated with Donna’s yo-yo dieting, but he and Leon do find some incredible coffee beans for Latte Larry’s.

Highlight: Larry’s determination to locate a toothbrush descends into a farcical conclusion. Later, at the wedding, Ted discovers Larry and Cheryl’s infidelity in a hilarious fashion.


Episode 5 – Insufficient Praise! – (9 out of 10)

Preparations for Latte Larry’s gather pace as Larry asks for a specific urinal type. Larry also gets a new housekeeper and is given a sex doll by Freddy Funkhouser. Meanwhile, Larry clashes with actor Clive Owen and Richard Lewis’ new girlfriend; a professional “crier”.

Highlights: Larry’s frantic battle with the sex doll resulting in his housekeeper and Cheryl catching him. Also, Clive Owen’s brilliantly pretentious send-up of narcissistic acting types.



Episode 6 – The Surprise Party! – (8.5 out of 10)

Larry meets a German inventor who has an anti-Semitic Alsatian called Adolf, and he gains joy from the use of a disabled parking badge. He also clashes with Susie over the surprise party she intends to throw for Jeff.

Highlight: Despite not having an appointment, Larry uses his cardiologist’s reception area to wait, because it’s a “waiting room”.


Episode 7 – The Ugly Section! – (9.5 out of 10)

Larry consistently keeps getting placed in the “ugly section” at the back of a restaurant. Simultaneously, he attempts to woo the widow of his friend who recently committed suicide.

Highlights: Larry asking Jane Krakowski’s character where she got the handles for her husband’s coffin. Later, Larry ruins a possible sexual liaison with her by arguing about the New York Jets. Lastly, Larry insults Susie as she should be in the restaurant “ugly section”.


Episode 8 – Elizabeth, Margaret and Larry! – (10 out of 10)

Actor, Jon Hamm, shadows Larry as he prepares to play a character like him in a film. Larry and Leon start a new business venture which initially proves profitable. Cheryl is angered when Larry spontaneously begins a relationship with her sister, Becky.

Highlights: Jon Hamm slowly turning into Larry throughout the episode, culminating in them both being ejected from a dinner party. Also, Kaitlin Olson returning as Becky and the surprising sex with Larry.


Episode 9 – Beep Panic! – (9 out of 10)

Larry strikes up a friendship with a waitress that dripped sweat into his soup. He also becomes obsessed with the liqorice at his car showroom. Meanwhile, Mocha Joe plots his own revenge using DVD film screeners.

Highlights: Leon and Larry succumb to the severe laxative effect of the liqorice in a silly bit of toilet humour.


Episode 10 – The Spite Store! – (10 out of 10)

Latte Larry’s is well and truly open, and it inspires other celebrities to open similar spite stores. Larry is irked by siren abusers and gives a job to Joey Funkhouser, but his big penis causes the store no end of issues.

Highlights: Sean Penn’s opening a spite-driven pet store. All Larry’s innovations at the coffee store ultimately lead to a very explosive downfall.


“NO GOOD?” – CONCLUSION

In preparing for this review I rewatched season 9 and watched season 10 twice. So, it’s obvious to say that I love, Curb Your Enthusiasm. Overall, I found the latest season to be a wonderful mix of old-fashioned slapstick and farce, combined with Larry David’s original and skewed vision of humanity. What was also impressive was the structural coherence of juggling so many comedy plots and situations. Plus, Larry behaves appallingly, and this is very appealing in an ever-increasingly politically correct world. Many times, throughout the season Larry is shown to be a provocative arsehole, but on occasions he very much has a valid point. Larry’s issues are very much first world problems, but because of the skilled writing and consistently high joke rate I related greatly to this season. Plus, Larry doesn’t win. His spiteful plotting and perpetual disagreements with those around him mostly fail. Indeed, ultimately, the joke is always on him.

Overall Mark: 9 out of 10