**CONTAINS SWEARING AND SPOILERS AND OVER-USE OF CAPITALS**
Usually I’m very positive on this page but on occasions I feel the need to let rip at things that irk me. Loss of the Voice-Over Guy in film trailers pisses me off as does the generally poor expositional style of many trailers which TELL the whole story or give key plot points away IN THE TRAILER!!! E.g. Terminator: Genocide (2015). But there is one sub-genre of movie-making which has me tearing my nuts off with rage and that is the continued proliferation of FOUND FOOTAGE style films. And here are TEN reasons why!!!
1) THE BLAIR WITCH PROJECT(1999)
I hate this fucking film! Because of its ridiculous success it undoubtedly gave birth to an army of other bastards that have been stinking up the cinema and TV screens for the past few decades. Firstly, this film sucks! As both a story AND a horror story. If this film scares you then you are a moron! It’s an okay short film padded out to an overlong bore-fest which was only topped for boringness when Paranormal Activity (2007) came out.
I’m happy for the filmmakers for garnering such success but given they have not released anything of note since shows this was a fluke success. I mean the characters were awful and dumb; notably when one moron threw away the map and got them LOST! The ending isn’t bad but I was just so relieved when they all died! Verbal Kint once said, “The greatest trick the Devil pulled was convincing you he doesn’t exist.” I disagree: it was making this film so phenomenally successful.
2) UNNECESSARY!
Found footage is unnecessary to tell a story. I can see some benefit in perhaps framing your story like that if it’s Cannibal Holocaust (1980) and it’s documentary film crew blah-blah-blah! But in my opinion it ADDS NOTHING to the story as a stylistic device. Use flash-backs, montage, flash-forwards, voiceover, non-linear structures etc. but found footage is like one of those Chihuahua dogs: irritating, totally lacking in charm and completely pointless.
3)POISON
Like Hitler, Gangnam Style, Miley Cyrus, Adam Sandler, Ugg Boots etc. found footage films are inexplicably successful yet also poison humanity!! I admire low-budget/independent filmmakers and DO NOT begrudge any success these people have had BUT THE FILMS ARE RUBBISH!! The cinematic epitome of the Emperor’s New Clothes.
4) CLUMSY
It’s just SO clunky!! Even the best ever found footage film Chronicle (2012) which uses the device imaginatively suffered because they had to make up some reason for one of the characters to be filming. Oh, it’s my sister’s mum’s birthday and funeral and we need to film it for future posterity. Oh, I accidentally left my phone camera on while in the woods and am now being hunted down by my own shadow! No! STOP IT!!
5) THE FILMS LOOK SHIT!
Need I say more?!? Low budget does not mean the film needs to be shot through CCTV or infra-red or in low-grade digital footage grainier than hamster shit. Ten minutes or so is bearable but a whole film like that is just too much to handle!
6) LAZY
Oh, we’re gonna make a horror film shall but we don’t have much money: shall we use our imagination like say Sam Raimi or James Wan and construct a proper story with nasty monsters, witty dialogue, funny and horrific set-pieces OR shall we set up a fake camera and have doors move slightly or faces suddenly appear on screen or it’s quiet and then a shadow moves! Yeah, don’t bother with characters you may connect with or creating suspense through something called a story let’s make a found footage film because WE ARE LAZY!!
7) INSULTING
Occasionally, found footage is used well such as in Creep (2014) with Mark Duplass or REC (2007), but overall the films are an insult to the horror genre. I love horror films and there have been some really good ones recently such as: Insidious (2010), Saw (2004), The Conjuring (2013), The Babadook (2014), It Follows (2014), You’re Next (2011), Let The Right One In (2008), The Descent (2005), Cabin in the Woods (2012), Shaun of the Dead (2004) to name a few. And were any of them found footage films: HELL NO!!!
8) MORONS
It’s an invite for every talentless, breathing moron with a camera who think they can become a filmmaker. Don’t bother writing a script or creating decent characters or storyboarding imaginative cinematic moments – just don’t bother because you can just tripod a camera and PRETEND its close-circuit TV or a cameraman or videographer! Even horror legend George Romero got sucked into the talent vortex with the atrocious Diary of the Dead (2007) and Oscar winner Barry Levinson too with The Bay (2012). Stop the world I’m getting off!!
9) VERMIN
Like rats in London you’re never too far away from a found footage film. There’s too many of them – they are a plague upon the culture and humanity overall. Please STOP watching them because as they are cheap to make they spawn rubbish sequels! They are like the appendix; utterly pointless but when they burst on the cinema screen they are poisonous, painful and one must immediately seek medical help.
10) FOUND FOOTAGE FILMS ARE NOT SCARY!
Perhaps in the darkened cinema you could be tricked into THINKING they are scary when a shadow, door or tree moves but they’re not. Overall they are as scary as a Panda in a bib!
Pretty busy this month with my film viewings so here’s every film I watched in the month of July 2015 with marks up to 11!
**MASSIVE SPOILERS AHEAD**
ANNABELLE (2014) – NOW TV
Prequel to the chilling James Wan horror The Conjuring (2013) which explains the backstory to creepy doll Annabelle and how it came to be such a malevolent force. While not reaching the heart-in-mouth scares of Insidious (2010) there is much to raise the pulse here. I found the references to the Manson death-cults and Rosemary’s Baby (1968) influences to be interesting and there are some very jumpy moments. The ending lets it down but worth a look while the star is the gnarled doll which never fails to chill one’s core. (Mark: 6.5 out of 11)
ANT-MAN (2015) – CINEMA
This was a blast! The awesome Paul Rudd plays “good” criminal Scott Lang — a Robin Hood-style thief — who while down on his luck tries one last job so he can gain parental access to his daughter. Little does he know is he’s breaking into top scientist Hank Pym’s (excellent Michael Douglas) place and thus a chain of events occur making Lang a perfect candidate for Ant-Man. It’s simplistic narrative-wise but what it does have is a fizzing script full of zingers and comedic moments as well as some great action set-pieces built around a complex but well orchestrated final act heist. A fun supporting cast including: Evangeline Lilly, Bobby Cannevale, Michael Pena and scenery-chewing baddie Corey Stoll add class to proceedings and overall I had a great time watching this. It proved that not ALL superhero films have to be HUGE as sometimes small, rather than big, is beautiful. (Mark: 8.5 out of 11)
CLOWN (2014) – NOW TV
A father finds himself possessed by a monster having, inexplicably, tried an old clown suit on for his son’s birthday. It’s a low budget horror film from Canada and has decent moments of gore especially toward the end but clunky plotting really lets it down. It gets on my nerves when screenwriters put massive bits of exposition in the MIDDLE of a film to try and get the audience up to speed with the narrative. Show don’t tell please! The scene in the plastic-ball pit full of kids was good so worth a look at that. But coulrophobics beware as it gets nasty and definitely not one for the kids! (Mark: 5.5 out of 11)
DRACULA UNTOLD (2014) – NOW TV
This is pitched like a horror version of the 300 (2006) but lacks the brutal style of that muscular classic. Basically, Vlad must protect his Transylvanian family from marauding Turks so does a deal with a demonic vampire (Charles Dance) to become a super-being. However, it comes with a Faustian price. Some good action but the gore was too sanitized by the CGI for my liking but brooding Luke Evans — as the eponymous anti-hero — is great in this blood-thirsty prequelization of Bram Stoker’s literary classic. (Mark: 6 out of 11)
FLAME & CITRON (2008) – NETFLIX
This is a thrilling Danish WW2 story charting the exploits of Danish Resistance fighters/assassins codenamed Flame and Citron. Mads Mikkelsen portrays Jorgen, the latter of the partnership as he and compatriot Bendt laid waste to Nazis and their Danish collaborators amidst the German occupation. Mikkelsen is very good at playing smooth characters but here he’s nervy, dirty, sweaty and living-on-the-edge. He brings his classic mournful look to a character fighting inner demons, traitors and Nazis; all the while trying to cling to the family he loves. War brought the worst and best out of people; sometimes at exactly the same time as this film ably illustrates. A fine war story expertly told. (Mark: 8 out of 11)
GOD BLESS AMERICA (2011) – AMAZON PRIME
This was my favourite film I saw in July by a long, long way. It is a coruscating and murderous satire with a savage script that lays into the United States of the media nation; notably reality TV and talent shows. It has a majestically deadpan and downtrodden performance from Joel Murray as Frank, a lowly office worker, who after having a REALLY bad day decides to go on a kill crazy rampage to rid the world of people who sicken him. Think Falling Down (1993) but WITH hilarious jokes! Along the way Frank obtains a teenage sidekick called Roxy and she joins him in the mayhem as they wipe out everyone from hate-filled preachers to obnoxious political commentators. It makes simple but valid critiques about modern culture and allows one to indulge and enjoy the height of revenge fantasies while filtering influences such as Bonnie and Clyde (1967), It Happened One Night (1934) and other gun crazy road movies. (Mark: 9.5 out of 11)
KNIGHTS OF BADASSDOM (2013) – NOW TV
This damned awful horror spoof couldn’t even be saved by a cast that includes Peter Dinklage and Steve Zahn. It went for an Evil Dead style vibe as a bunch of live-action-role-playing game nerds accidentally conjure up a demon which wreaks havoc on their game-playing. Ryan Kwanten plays a handsome mechanic who is taken along for the ride and potentially could have been another Ash in the making. But alas the script and style are abysmal and overall this is a charmless film. I will always try and give low budget horror films a break critically speaking but, this is neither funny or horrific enough to make it worth recommending. (Mark: 4.5 out of 11)
MAGIC IN THE MOONLIGHT (2014) – NOW TV
The great filmmaker Woody Allen is quietly turning out one film a year and this one is a pleasant sojourn through 1920s France and the relationship between misanthropic magician Stanley Crawford (Colin Firth) and young psychic Sophie Baker (Emma Stone). Basically, the older Crawford sets out to debunk pretty Sophie’s skills as a medium and it doesn’t take a seer to work out what happens. It’s a sunny film full of eccentrics and has some interesting discourse on the nature of death and the “other” side. While it lacks some of the classic Woody one-liners there’s gentle character humour to be found and Firth is always great, so it’s a film difficult not to enjoy. (Mark: 7 out of 11)
PURGE 2: ANARCHY (2014) – NOW TV
Sequel to The Purge (2013) takes the original’s claustrophobic home-invasion style and widens the action to the violent streets of the U.S.A. Again, criminals and ordinary citizens are given the chance, for ONE NIGHT ONLY, to commit any misdemeanour (rape, robbery, murder etc.) they so desire WITHOUT fear of arrest. I absolutely love this idea and the first film was pretty decent but this one takes a funky concept and delivers a film which lacks wit, thrills and more importantly horror. It’s not bad and the social satire works but it lacks a star to carry it and the characters are too paper-thin and badly written to care about. Some fun to be had with the urban warfare and the revenge on the filthy rich socialites that occurs but with a more imaginative director like say, James Wan, this could have been great. (Mark: 5.5 out of 11)
TED 2 (2015) – CINEMA
Sequel, believe it or not, to Ted (2012) – the one from the creator of Family Guy Seth Mcfarlane about the dope-smoking-sex-crazed-alcoholic-filth-mongering-talking-Teddy-bear. I enjoyed the original but this one was even funnier as Ted (McFarlane) and his thunder-buddy John (Mark Wahlberg) fight the US courts to prove that Ted actually exists as a “person” in the eyes of the law. The plot isn’t important really and merely acts as mannequin to hang a litany of sexual, druggy, politically-incorrect, sexist, offensive, toilet-humourist gags on. Wahlberg is a blast, even when he’s drowning in semen, during one particular gross but hilarious scene. If that’s the level of your humour then you’ll love this! (Mark: 7 out of 11)
TEENAGE MUTANT NINJA TURTLES (2014) – NOW TV
The latest TEENAGE MUTANT NINJA TURTLE FILM was not half as bad as I thought it would be. But then again I could only sit through half of it as it was THAT bad. Here are some comments from my Facebook status: which say it all!
“I’ve never seen anything so lacking in charm.”
“Starts off ok, but then becomes a mess.”
“I tapped out after 10 minutes of nothing but clunky exposition and the entire film treating it’s own premise like it’s a joke.”
(Mark: 4 out of 11 – mainly for the well-choreographed fight scenes)
TERMINATOR GENISYS – CINEMA
The iPhone spell checker changes Arnie to “sarnie” which is apt because the new Terminator film is a complete shit sandwich! It’s even worse than I thought it could be. It doesn’t make any sense as a story at all. Only Jason Clarke and Arnie himself save it with decent turns. The convoluted plot was an insult to the memory of the first two films and really this should be called Terminator: Genocide as it must have killed the franchise once and for all. How Jai Courtney gets work I do not know and the title SUCKS! I just hope Schwarzenegger dies soon and can never say “I’ll be back!” ever again. (Mark: 4.5 out of 11)
TWO LOVERS (2008) – BLU RAY
A really intriguing, human and romantic drama which had some mature performances from Joaquin Phoenix and Gwyneth Paltrow, plus magnetic direction by James Gray. It’s a slow-paced character piece with suicidal thirty-something Leonard trying to find some small happiness following the break-up of a recent engagement. The joy comes from Phoenix’ darkly humorous and awkward acting performance and it’s the kind of film which at times is sometimes TOO painful to watch as Leonard finds he must choose between two women: the attractive, yet safe, Sandra played by Vinessa Shaw and the sexy, flaky human car-crash that is Michelle (Paltrow). I very much enjoyed this film as it acts as an anathema to the obvious slick-sugar-schtick that Hollywood usually pumps out. (Mark: 7 out of 11)
TO BOLDLY BLOG WHERE NO BLOG HAS GONE BEFORE: A CULTURAL REVIEW
Culturally speaking the title is a lie; I haven’t actually been that bold with my choices this month. I’ve re-seen a comedy favourite; ventured to a well-known London market; re-watched episodes of a classic TV show and read about a comedic hero from the past. However, sometimes it’s good to review things both nostalgically and with a more mature set of eyes as it often gives a fresh perspective. In any case the prime directive of this blog is to mainly seek out new stuff and I have done that as well with the playing of a new Zombie videogame and experiencing music I hadn’t heard before. Read on and prosper!
BILL HICKS: LOVE ALL THE PEOPLE (BOOK)
Bill Hicks is a genuine comedy legend. I grew up watching his growling, sarcastic, intelligent and damned hilarious comedy routines on Channel Four and subsequently VHS/DVD. His comedy had this rare ability to take serious subjects and gain great laughs from both ridicule and merely stating honest common-sense truths. Moreover, he delivered his world-view like a raging preacher who, in despair at the world, is willing and begging us to see humanity as he does. People may say its edgy but it’s done out of a desire for peace and love and Hicks is just incredulous at the insanity of what the more negative aspects of the human race have done to the world and each other.
The book essentially covers his routines, poems, lyrics and interviews in chronological order. Reading his words in print still carries much of the power and many of the ideas as hearing Hicks spit them out live. In fact, reading in between and outside of the lines I sensed a real pain in a man who was tired of preaching to the morons who just dismissed his grander concepts of peace and equality in the hope of hearing dick jokes. Hicks did great dick jokes too though as well as the biting political and sociological satire. A black-belt comedian who was not afraid to hit his targets head-on he would cause much controversy when alive and of course it is one of the great cultural tragedies he died so young. This book is NO substitute yet it is far better to have an echo of Bill Hicks’ reverbing in the world than nothing at all.
CAMDEN MARKET, LONDON
I like Camden Market. For me it’s as London as red buses, pie-and-mash and Buckingham Palace. While it’s very much a tourist trap with overpriced grub and general tat it’s a fun trap which has many varied colours, pubs, scents, music, tattoos, clothes, hair-dos, people, weirdos, food and cultures on show that lure you in and distract you before hitting you hard in the wallet. Of course, one can eschew the spending and just take in the sights and that’s pretty much what I achieved when I re-visited the place with my son and had a good look about. Because as another archetypal Londoner Micky Flanagan says: “I like a look about!” And if you like a look about then why not try Camden Market one weekend.
DYING LIGHT – VIDEOGAME – XBOX ONE
First person World War Z type actioner set in a fictional Middle-Eastern city is absolutely brilliant fun. Bit of a slow-burner this game but I have become utterly immersed in the story and missions of this kill-crazy-parkouring-bombing-booby-trapping-zombie-slice-and-dice-fest! What impressed me most is the expansive nature of the storylines and the intricate tasks at hand plus imaginative ways with which to wipe out the constant stream of zombies. While the human villains are a bit cartoony the actual plot is better than most Hollywood movies and I would recommend this game for anyone who loves fighting monsters and mercenaries equally.
FELIX FOX: A MODERN FOP (ONLINE SCRIBE)
A quick shout out for mate of mine’s blog http://modernfop.com/ It’s a fine and dandy online novel set on the mean, boozy, cocaine-fuelled, contemporary streets of London and features the anti-heroic antics of fashion assassin and retail worker Felix Fox. Posts go up on a regular basis and they are extremely funny with some dark sarcasm thrown in for good measure. Our pretentious “hero” attempts to further his career and escape the hoi-polloi-working-class roots he was born into while damning the variety of fashion victims he encounters. If you like the writings of JG Ballard, Chuck Palahniuk and Irvine Welsh then there will be something here for you. Do check him out before he’s gets that book deal he surely deserves and you have to pay for the reading pleasure.
NICK MULVEY, SOMERSET HOUSE, LONDON
I was thinking the other day that what my life lacked was access to more young, multi-talented-middle-class-solo-male-singer-songwriters-pouring-out-their souls-on-stage-to-a-mediocrity-seeking public-who-desire-to-be-anaesthetised-and-have-their-thoughts-numbed-by-banality-and-unthreatening-wonder. And then, just then, my lovely girlfriend said she had tickets to the very fine musician Nick Mulvey. It was a soppy gig at Somerset House with Mulvey’s twee tones drifting out over the London skyline putting me in a trance like musical methadone. He has a mercurial voice and is a brilliant guitarist and while I prefer my musical tea a lot stronger it was a blissful night set in architecturally gorgeous surroundings.
PAUL FOOT, SECRET COMEDY SHOW, LONDON
Thought I’d give the wonderfully silly Paul Foot another mention as he is consistently funny in every show I see him in. So do check him out if you like your comedy unpredictable yet structured; silly yet intelligent and seemingly off-the-cuff yet imaginatively written. The latest little secret show I saw him at was a kind of run through some older and newer material and on a scorching hot evening Mr Foot once again delivered a delightfully absurd cacophony of comedy musings, epithets and physical skips down laughter lane.
STAR TREK: THE ORIGINAL SERIES (BLU-RAY)
Having rewatched the whole of the new Doctor Who and delved into the Time Lord’s back catalogue of great episodes via the Horror Channel I gained a thirst for classic televisual Sci-Fi, thus, decided to boldly go back to the original series of Star Trek! Aah, watching the space adventures of Kirk, Spock, Uhuru, Bones, Chekhov, Sulu, Scotty etc. brought back interstellar memories from my youth and as entertainment now the show definitely stands the test of time (and space!)
It is a terrific show. This, in no small part, is down to a solid premise and rules of the world, wonderful writing and committed performances by an awesome cast notably the Enterprise’s yin and yang: James Tiberius Kirk and Mister Spock played perfectly by Shatner and Nimoy. The storylines and characterisation are always intriguing and on reflection the show was pioneering in regard representations of gender, race and sexuality.
Episodes are deftly written with high concept sci-fi ideas, imaginative alien races and a zeitgeisty approach to the themes of the day which still maintain their power now. I’m halfway through the first season (of three) which has too many fine episodes to mention, including: The Enemy Within (Kirk splits into two different personalities); Mudd’s Women (a critique of quick fix drug therapy and plastic surgery); Miri (a strange world which holds host to children who never grow old); The Menagerie (thrilling episode which foreshadows ideas featured later in The Matrix) and The Conscience of the King (a Shakespearean influenced drama dealing with the pursuit of an intergalactic war criminal.)
Given the show has given birth to all manner of prequels and sequels, and continues to be a multi-billion dollar franchise today, demonstrates the genius and long-standing quality of Gene Roddenberry’s Wagon Train To The Stars or as it came to be known: Star Trek.
“I was looking for a job and then I found a job. Heaven knows I’m miserable now!” Stephen Patrick Morrissey
**CONTAINS MILD SPOILERS**
Cinema and television is often about reflection. What happens on screen reflects the dreams or loves or nightmares or hates of the audience. There is no greater scene in a movie I love more than a good sacking or resignation scene. Indeed, I’ve had many jobs I’ve hated. I’ve had many jobs which hated me. Plus, in my “career” as a wageslave I’ve been constructively dismissed, made redundant and resigned from various places of employment.
So, when I see it occur on screen I thrill at the idea of a character NOT being in work; of leaving employment; of being free and damning the consequences. Of course, this is all wish fulfilment and projection as I am a responsible person and continue to punch the clock. Nontheless, if you have a desire for a certain level of existence and especially if you have children you need to pay your way. But a sucker can dream and have the mirage of hope play out on a big screen. For your consideration I have pushed, filed, stamped, indexed, briefed, de-briefed, and ordered some cracking sacking or resignations scenes from television and film.
For your consideration I have pushed, filed, stamped, indexed, briefed, de-briefed, and ordered some cracking sacking or resignations scenes from television and film.
AMERICAN BEAUTY (1999)
This brilliant ensemble drama confirmed Kevin Spacey as an actor of some force and the scene where he turns the tables on his boss in just magnificent. I also love it when he’s interviews for the job at the fast food place because he wants a job with as little responsibility as possible. A mid-life crisis has never been so much fun!
BOYS FROM THE BLACKSTUFF (1982)
A tragic and darkly comic “poster-man” for Thatcher’s Britain, Yosser Hughes became synonymous with the catchphrase “Gissa job!” A pale, ghost of a man who would essentially get hired and fired on the spot due to his uncontrollable anger and violence. The whole series is classic British TV at its best and in Yosser’s Story I’m both laughing and crying inside at the same time.
BRIDESMAIDS (2011)
I’ve used this scene before on a previous blog item about great dialogue scenes and happy to use it here again. Kristen Wiig and the teenage nemesis exchange verbal blows ending in a cracking payoff right at the end. The scene has wonderful performances and cracking comic timing as they take the comedy staple of battling one-up-woman-ship right up to eleven.
“DO I NOT LIKE THAT!” ITV DOCUMENTARY (1994)
One of the greatest sporting documentaries ever! The tragi-comedy of Graham Taylor’s ill-fated attempt to get England to the 1994 World Cup is a brutally honest and painful to watch. Taylor is a fine football man but this whole documentary is one big sacking waiting to happen. David Brent doesn’t manage football teams; but if he did.
FIGHT CLUB (1999)
One of my favourite films of all time this is a wonderful, wonderful scene which captures the mood and violence of the thematics in a heartbeat. Smashing yourself up AND blaming your boss is just a magnificent way to leave a job. Awesome!
THE HUDSUCKER PROXY (1994)
While not one of the Coen Bros more celebrated films The Hudsucker Proxy has many wonderful visual tricks up its sleeve. The opening set-piece where the Chairman of the Board “resigns” is a wonderfully constructed sequence edited and shot with their usual flair, humour and precision.
KILL BILL: VOL. TWO (2004)
I really felt sorry for Michael Madsen’s Bud in this scene. Here’s a guy who is a part of infamous assassin team called The Viper Squad, in a deadbeat backwater town bouncing to make ends meet with a coked-up-douche-bag-boss to boot. For being late he is catigated in the most humiliating way and yet doesn’t react. Perhaps he’s above it all but I really wanted Bud to thump his scumbag boss but he just takes it and walks out.
NEED FOR SPEED (2014)
Great driving and car stunts do not save this video-game adaptation from being an also-ran as a narrative. However it does have a very memorable resignation scene which transplants some much needed humour in the over-serious petrol-headed plot. Here mechanic Fin quits his job in hilarious fashion.
NETWORK (1976)
“I’m mad as hell!” Stunning Paddy Chayefsky script holds a burning mirror up to the news media governed by a desire for ratings in Network. The film reflects flaming ire and wide-eyed fury via Peter Finch’s Howard Beale who not only is under threat of the sack but actually promises to “resign” permanently on live television. It’s a stunning film which in many ways is just, if not more, relevant today.
THE OFFICE (2001-2003)
Even though he probably deserved his sacking/redundancy for his somewhat eccentric management style I still felt sorry for David Brent. His self-delusion knows no bounds as he offers his resignation believing him to be irreplaceable only to find it accepted by the management. It’s made all the more amusing because he’s adorned in ridiculous fancy dress for Comic Relief. Priceless.
THE PRISONER (1967 -1968)
This TV show from the 1960s is an enigmatic masterpiece. Set in the mysterious Village we follow one-can-only-presume-a-former-spy called Number 6 (Patrick McGoohan) as he attempts to escape from his nefarious captors. Kafkaesque to the extreme it begins with one of the great resignation/credit sequences ever.
Watched quite a lot of TV stuff in June including a binge on Hannibal Seasons 1 & 2 plus I have started watching the old school Star Trek series with Shatner and crew so not that many films watched in June. Anyway, here’s my humble little reviews with marks out of ELEVEN! Peace!
**YES – THERE’S SPOILERS!**
THE BABADOOK (2014) – BLU-RAY
Eerie low-budget Aussie chiller which involves a blow-the-spectrum kid and his mother who mentally unravels following the death of her husband. Together they become isolated as outsiders and are left to the mercy of The Babadook; a dark creature from a weird indestructible book. It’s filmed with consummate skill and has a creeping style which gets under the skin. For an hour I was gripped but in the end felt it was somewhat one-paced and lacking a satisfactory gore-frenzied ending I like from my horror. However, the dark symbolism in the piece was highly compelling and the director is one to watch. (7 out of 11)
THE BEAT THAT MY HEART SKIPPED (2005) – BLU RAY
This one’s a rewatch and on second viewing it remains a complex and humanely ambiguous French drama from one of my favourite directors Jacques Audiard. It’s a loose remake of James Toback’s Fingers (1978) and concerns Thomas (Romain Duris) as an unsympathetic slum landlord who tries to use a mild talent for the piano to try and escape his nefarious job. However, he is delusional and ultimately finds little peace from this pursuit as he is constantly dragged back to violence. It’s an involving character study of a man with family and anger issues and is typical Audiard; holding a mirror up to complex humans and their relationships.(8 out of 11)
CHEAP THRILLS (2013) – NOW TV
This cracking micro-budgeted horror-thriller may be shot on a shoe-string but it’s sharp and nasty as piano wire. The basic premise is a drunken game of “Would You” which escalates way out of hand as two friends meets a decadent drunken couple including Anchorman’s Champ Kind – David Koechner. Mild dares such as: fighting a club bouncer and crapping in the neighbour’s house are just for starters as this darkly comedic gore-fest illustrates the lengths some people will go to for fun or money. This film killed: in a good way and the final image is still burned on my retina. (9 out of 11)
COLD IN JULY (2014) – NOW TV
I love my Southern neo-noir movies. John Dahl and the Coen Brothers made some cracking films a few years ago like Blood Simple (1984) and The Last Seduction (1994) and Cold in July is in that territory as it tells a dark, twisted story as slippery as an eel smeared in grease. Michael C. Hall of Dexter infamy plays an ordinary Joe whose house is invaded by a burglar and having killed said intruder he is then hunted down by the dead man’s career criminal father. This is just the taster as tables are turned and chairs are burnt in a first act full of suspense. The story then diverts into murkier waters as Don Johnson pops up as a charismatic Farmer/Private Investigator!! Jim Mickle is an unsung director of very good lower budget films like vampire-western Stakeland (2010) but this was an even better thriller with a keen sense of mood, doom and unsettling fear. (8 out of 11)
THE CONNECTION (2014) – CINEMA
This solid French police drama starring the handsome Jean Dujardin takes a looks at the team who brought down the biggest heroin dealers in 70s France. It’s nothing we haven’t seen before but it brilliantly filmed with a brutal, masculine cast crossing and double-crossing each other all for a bit of money and power. I have to admit I was VERY tired watching this so dozed off at one point as the cinema was bloody hot! However, my cinema fail aside it’s certainly one to catch online or DVD rental. Performances from Dujardin as heroic prosecutor Pierre Michel and Gilles Lellouche as his gangster counterpart are worth the admission alone. (7 out of 11).
X-MEN: DAYS OF FUTURE PAST (2014) – NOW TV
I positively reviewed this one last year and on second watch it holds up well but certainly loses power on the smaller screen. Still a very entertaining superhero-time-travel film with the X-Men battling the past to resolve future extinction. Still loving the Quicksilver v Fort Knox slow-mo fight scene. Gets me every time. Good solid home-screen entertainment. (7.5 out of 11)
I also reviewed this one last year and it actually works so much better as a put-your-feet-up-in-front-of-the-telly-after-work-actioner. Here the always-reliable movie star Denzel’s portrays a seemingly meek Homebase worker when in fact he is a deadly former CIA shadow able to take bad guys down in a heartbeat. Like a modern-day Robin Hood he kills the bad and rewards the good all in a calm, professional and explosive fashion. Great, if brutal, fun. (7.5 out of 11)
I rewatched the petrifying original before watching the prequel Chapter 3 at the cinema and while not as good as the first the latter had some cracking scares which had my heart in my mouth throughout. I love a decent horror and also enjoy the more fantastical elements present in the Insidious franchise. I know it’s about Astral Travelling and some such nonsense but Leigh Whannell and James Wan crafted a terrifying original complete with horrific demons and ghosts from the other side. The plots basically involve a family being terrorized by ghosties and troubled medium Elise Ranier and her team go into ‘The Further’ to slam the door shut!
Wan is a wonderful genre director who during Insidious uses a box of cinematic tricks to convey terror including: light and shadows; kinetic camera movement; smash cuts; sudden music cues including screeching violins; characters appearing out of nowhere; ghosts hiding in the corners; and many more. It’s not always subtle but damn it works well to get the heart pumping. Writer Whannell directs Insidious: Chapter 3 and makes a good fist of it as old favourites come back from the beyond along with some newer nasties to give you nightmares. (7.5 out of 11)
JURASSIC WORLD (2015) – CINEMA
Jurassic World is loads of fun. The formula that Michael Crichton began in Westworld and continued with the original Jurassic Park is ratcheted up to eleven! I mean, who doesn’t enjoy watching Dinosaurs wreak havoc on the screen; and the Dinosaurs in this are impressive with the vicious Indominus Rex stealing the thunder. Chris Pratt coasts through all muscles and winks; while Bryce Dallas Howard’s character arc is defined by the reduction of clothing throughout. The joy of cinema is to divert the brain from the real world outside by creating an exciting one on screen. Jurassic World succeeds — despite the paper-thin characters — with impressive chases, scares and one-liners . (7.5 out of 11)
KAJAKI (2014) – BLU RAY
I’m anti-war. But I enjoy war films. For me “blood will have blood” and historically one can blame Kings, Governments and greedy humans for wars. When watching a war film I will look at the humanity on show; the story that is told rather than solely the politics.
Kajaki is a brilliant lower-budget British war film set in the Helmond Province, Afghanistan in 2006 and focuses on the true events which befell a group of soldiers trapped in a historical Russian minefield. The screenplay is impressive as it establishes the characters and longueurs of war before exploding into furious action when the men become locked in a small patch of hellish land. It’s both illuminating and suspenseful as soldiers become prisoners to the past conflict of a land persistently ravaged by conflict.
Indeed, Afghanistan has been invaded more times than a Wild West Saloon whore and STILL there’s no resolution to the fight. Amidst the bloody suspense of Kajaki, however, the bravery, humour and camaraderie on display is something to be in awe of. (9 out of 11)
TWO FACES OF JANUARY (2014) – AMAZON PRIME
With Viggo Mortensen, Kirsten Dunst and rising star Oscar Isaac in the cast I had very high hopes for this Hitchcockian thriller based on Patricia Highsmith’s book. But it kind of petered out as a story really after a very gripping start. Still, the cast are good and the sunny setting of 1960s Greece and Turkey is beautiful to look but the main issue was I never felt any empathy for the unlikeable characters and rarely felt like there was much at stake. A mirage of a film: promises much but then you realise there is nothing there. (5 out of 11)
You know the drill. I pick an actor and have a gander at some of the finest roles in their cinematic/televisual Curriculum Vitae.
For my latest tribute I have a look at the mercurial Mads Mikkelsen; a Danish actor who has impressed me more and more in each role I have seen him in. Here’s FIVE of his finest moments.
***CONTAINS MASSIVE SPOILERS***
CASINO ROYALE (2006)
Mikkelsen was an awesome Bond villain in Daniel Craig’s first outing playing the shifty-banker-come-gambling-addict Le Chiffre. A fantastic Ian Fleming creation, here he’s visualized with classic bleeding tear duct, pitch black hair, and shark-eyed deadpan stare. Mikkelsen’s ability to convey a callous cold demeanour provided a perfect counterpoint to the free-running energy, muscularity and snarling passion of Craig. Furthermore, Mikkelsen’s intelligence, angularity and range allow him to play striking villains and ALMOST have you rooting for them.
FLAME AND CITRON (2009)
This is a thrilling Danish WW2 story charting the exploits of Danish Resistance fighters/assassins codenamed Flammen and Citron. Mikkelsen portrays Jorgen, the latter of the partnership as he and compatriot Bendt laid waste to Nazis and their Danish collaborators amidst the German occupation. Mikkelsen is very good at playing smooth characters but here he’s nervy, dirty, sweaty and living-on-the-edge. He brings his classic mournful look to a character fighting inner demons, traitors and Nazis; all the while trying to cling to the family he loves. War brought the worst and best out of people; sometimes at exactly the same time as this film ably illustrates.
HANNIBAL (TV – 2013 – 2015)
It took me a couple of attempts to get into Gaumont/NBC’s lavish adaptation of Thomas Harris’ iconic characters and indeed I bailed watching it the first time round as I didn’t get it. However, buoyed by fan-boy admiration for Mads and also encouraged by my American girlfriend I tried again and have just whipped through the first two seasons of a killing, cooking and bloody-curdling TV feast. Mikkelsen plays an elegant, urbane and vampiric Hannibal Lecter far removed from the over-the-top-grand-theatrics of the brilliant Anthony Hopkins. His pursuers are once again Will Graham (Hugh Dancy) and Jack Crawford (Lawrence Fishburne) as they attempt to track down a number of serial-killers all knocking about the United States of Annihilation.
There is death and blood galore in this series all presented via a beautifully shot and very artistic editing design full of surreal imagery and Rorschach-style montage. Mikkelsen as Lecter is a delight as he kills and grills his victims with epicurean aplomb. If you like gory imagery, psychological mind games and gothic narrative then this is the show for you. Mikkelsen excels as usual as he can convey a moment of pure evil and black humour with a single look or gesture. He’s also no stranger to cannibalistic characters having played a sympathetic yet murderous meat-man in the Danish black comedy Green Butchers (2003). Bring on Season 3!
THE HUNT (2012)
This is one of the best dramas I have seen in a long time. Mikkelsen is a well-respected Primary teacher in a middle-class Danish village. Following a seemingly innocuous incident with a young girl he is suddenly accused of being a paedophile. The matter escalates and escalates as he is shunned by those around him and he becomes isolated while protesting his innocence. Mikkelsen is incredible as this tortured pariah who is terrorized by the equivalent of villagers with torches and pitchforks pursuing a monstrous Frankenstein creation to its doom. The genius of this challenging film is creating an antagonist out of a kindergarten child’s blurred memory subsequently fuelled by fervent and fundamentalist mob rule. It’s arguably Mikkelsen’s finest performance; full of nuance and pathos as his character Lucas suffers a kind of modern day Kafkaesque ordeal. Deservedly he won Best Actor at the Cannes Film Festival.
PUSHER (1996)/PUSHER II (2004)
Mikkelsen’s debut was in Nicolas Winding Refn’s gritty drug drama Pusher where he played the scumbag Tonny; a lowlife mate of dealer Frank. He certainly made an impact because when Refn made a sequel he put forth Tonny as the main character of the story. Pusher II is even more relentlessly grim than the original featuring all manner of dumb, lower-class hoods trying to scrape gold from Copenhagen streets paved mainly with smack and dog-shit. It’s an unglamorous and honest realisation of criminal-life with a lot in common with Scorcese’s Mean Streets (1973), as low-level pushers fuck one another over on a regular basis.
Mikkelsen’s Tonny is a tragic character who is left rudderless by a manipulative father and just cannot cut a break due to both his own lack of intelligence or positive role models. Tonny’s portrayed like a blind dumb bear chained to a metal stake swiping at those around him as he attempts to find the means to escape or redemption only to realise he’s all alone in the dark. Never has there been so much sympathy for a movie thug like Tonny as Mikkelsen extracts every bit of humanity he can from the poor beast.
I didn’t watch that many movies in May as I have been theming my viewing to British TV productions, so it was quality rather than quantity this month and with a big Antipodean feel.
As usual Marks out of Eleven follow the little review.
***MASSIVE SPOILERS AHEAD***
BLACK SEA (2014) – SKY MOVIE STORE
Jude Law, Ben Mendelsohn, David Threlfall, Scoot McNairy, Michael Smiley and a motley crew of Russians go down into the deep, dark recesses of the black ocean in search of Nazi gold. This effective B-movie is essentially The Treasure of Sierra Madre (1948) set underwater. The cast are excellent plus there are some thrilling and suspenseful scenes as greed and nationalist rivalry poisons the water amidst a series of disasters which strike the crew. This is perfect viewing for a damp Tuesday evening while eating pizza and drinking a beer. (Mark: 7/11)
CLOUDS OF SIL MARIA (2014) – SKY MOVIE STORE
This is the kind of intellectual-artsy-actor-fest that middle-class viewers and critics wank themselves lyrical about in the broadsheet press and online. Don’t get me wrong I enjoyed the triptych of performances from Juliette Binoche, Kristen Stewart and Chloe Grace Moritz and the filmmaker Olivier Assayas tackles some interesting themes about identity, modern culture, death, aging, and the nature of performance. However, it’s pretty one-paced and has a head-scratching Bunuelian turn at the end of the second act which made no sense; I imagine that was the point. I didn’t even care enough to be perplexed as it just washed over me on the main with neither enough drama or comedy to get my teeth into. Some beautiful vistas and scenery though. (Mark: 6.5/11)
FAR FROM THE MADDING CROWD (2015) – CINEMA
Apart from the moron-head who decided to eat crisps really loudly in the seat near me during the opening 10 minutes, I really enjoyed this wonderfully shot romantic drama from impressive filmmaker Thomas Vinterberg. Based on Thomas Hardy’s classic novel it stars Carey Mulligan as the fiercely independent Bathsheba who goes against the social tide of the time and attempts to run a successful farm despite the backward sexual politics.
This is a romantic period drama that even blokes can enjoy as the subject matter eschews the fluffery of Jane Austen for the harsher side of rural life. It’s Thomas Hardy-light with a brisk 120 minutes run through the narrative as Bathsheba is courted by three men of varying social standing and characterisation. Performances are top notch, notably from Michael Sheen as the pained William Boldwood and ever-sparkling Carey Mulligan. Matthias Schoenaerts, a striking Belgian actor, is also outstanding as the sturdy Gabriel Oak. (Mark: 8/11)
GALLIPOLI (1981) – BFI – CINEMA
I grew up watching this film; usually on a Sunday evening on BBC2 and when I saw it was screening at the BFI I jumped at the chance to watch it. It is a heart-wrenching World War One story concerning the Western Australian men who left their families to fight against the Turkish army during the brutal conflict. It follows two lads portrayed by Mark Lee and cusp-of-stardom Mel Gibson who at first are rival sprinters and then brothers-in-arms as they venture overseas to fight.
The screenplay is sinewy and powerful yet with much humour, as it builds their friendship from the outback to the trenches culminating in a truly tragic final reel. Peter Weir announced further his credentials as a filmmaker of high quality and the cinematography by Russell Boyd is a wonder. I also loved the use of music here which employs both modern synthesized pieces from Jean-Michel Jarre and marries it to more classical compositions by Strauss and Giazotto/Albinoni’s Adagio in G minor. This is up there with my favourite Anti-War films of all time; majestic cinema at its peak. (Mark: 11/11)
MAD MAX (1979)/MAD MAX: ROAD WARRIOR (1981) – NOW TV
I watched these kinda back-to-back with my teenage son and despite their age and low budgets both films stand up to further viewings. In fact, George Miller’s seminal violent-explosive-car-chase-revenge-punk-urban-westerns are best watched as a double bill.
In the first film Max is a hardened road cop who wants out so he can be with his young family. The roads have become a deadly place full of psychotic punks and sociopathic maniacs who rail against society without cause or reason. When Max is left a shell-of-a-man he goes after the gangs which done him wrong with rage-in-his-eyes and hell in his soul. This is an awesome film with more imagination, energy and pace than most bigger-budget blockbusters.
With Max’s character established so well the second film Miller throws an Apocalyptic curveball into the mix as we find future Max — a lone road warrior (aside from his Dog) — fighting even crazier road punks over ever-decreasing amounts of petrol. Mel Gibson really shines as the amoral leather-bound-petrol-head who gets dragged into the outback carmegeddon between a group of settlers and baddies led by the helmeted Lord Humungus. This film rocks big-time and is one of the greatest action-come-road movies ever and one which confirmed Gibson as a major movie star of the 80s! (Double-bill Mark: 10/11)
MAD MAX: FURY ROAD (2015) – CINEMA
Tom Hardy takes on the iconic Max Rockatansky role in this revved-up-mega-budget-future-shooting-guitar-flame-throwing-blood-draining-crash-smash-and-burn epic. Haunted by past failure Max drives round the wasteland trying to survive. Suddenly he’s whisked away to be a mobile blood-bank at The Citadel and used to keep the cancerous War Boys alive with his pure blood. Enter Charlize Theron’s kick-ass Furiosa who is on a mission of her own to protect those she cares for from nefarious Immortan Joe; the Citadel Overlord!
There isn’t really any plot to speak of on the Fury Road but what you get is an incredible visual feast with carnage galore and some incredible stunts in a barren yet beautiful desert setting. Hardy and Theron share great chemistry within the action and Miller executes some mesmerising moments of dialogue-free pure cinema. One may argue that it is style-over-substance but the style IS the substance. The concepts on show such as the flame-throwing guitar; moving blood-banks; mud-people on stilts; assorted pimped-up cars and souped-up weapons are what impresses. As such George Miller proves himself a visionary filmmaker who owns the post-apocalypse on screen making it a terrifying and stunning experience. (Mark: 9.5/11)
MR TURNER (2014) – BLU RAY
I love Mike Leigh films. Most of them anyway. His unique slice-of-life style is quietly confident and steady and even if not much is happening one is often awestruck by colour, mood, composition, character and performance in his work. Indeed, Timothy Spall is on terrifically grouchy form as celebrated painter J. M. W. Turner and the supporting cast is equally brilliant.
I was mesmerized by the film’s composition and the glacial pace worked in the films’ favour as Leigh paints (sorry) an honest picture of Turner’s later years, artistic process and his relationships. I was surprised that the old dog was quite a philanderer but then again I didn’t know much about Turner if I’m honest. This is like walking round a beautiful-looking moving gallery and just breathing in the genius of Turner, Spall and Leigh. (Mark: 8/11)
But to recap: this is a sensational pitch black character piece that allies a powerful script with violent social satire; all glued together by an Oscar-worthy lead performance from the ever-excellent actor Jake Gyllenthaal. Indeed, he should have got AT LEAST a nomination for his performance as news-media-ladder-crawler sociopathic Lou Bloom. On re-watch this film is just as powerful and I was in awe of the incredible script, great acting, cutting direction and black humour throughout. Highly recommended. (Mark: 10/11)
OUIJA (2014) – BLU RAY
This film is a terrible movie; probably the worst I’ve seen all year. It follows a vague Final Destination structure as a series of college kids are wiped out by a demonic force that has “escaped” a Ouija Board. There are no redeeming qualities whatsoever and the most interesting fact I can tell you is that the original Ouija Board was in fact a game. No, I didn’t know that either. Yeah, and the rights to the board game were owned by Parker Brothers and now Hasbro. It was only in 1930s/40s onwards America that it was used by occultists and spiritualists. Who knows: perhaps people will one day be contacting the ‘other side’ using Transformers? You never know on this crazy planet! (Mark 1/11)
In this occasional series I regale my favourite actors and select some of their memorable performances. Leonardo DiCaprio is an actor who has just got better and better in each role he’s been in. I admire his craft because he has seamlessly moved away from star-crossed heartthrob roles such as Titanic (1997) shifting to meaty, dramatic roles the likes of which I will list here. DiCaprio has good looks, charisma and a sparkling smile yet doesn’t avoid the darkness and can easily play the good guys, bad guys and – where humanity is concerned – the ugly guys too. Here are five great roles he’s played and I could quite easily have chosen five others such is the quality of his acting CV.
**THERE BE SPOILERS AHEAD**
BLOOD DIAMOND (2006)
Aside from this one and Titanic (1997) DiCaprio doesn’t do enough action type movies with big explosions and mayhem. Perhaps he doesn’t like running around and prefers the meatier roles? Then again, his character Danny Archer had an impressive character arc amidst the fireworks within this Edward Zwick directed anti-war film. Initially, he is a selfish mercenary only out for the money until he comes into contact with Djimon Hounsou and his desperate search for his son. Together they hunt for a priceless diamond in war-torn Sierra Leone and in the process Archer/DiCaprio learns some humanity along the way. It takes a broad approach politically but, amidst the well-stage battle sequences it successfully highlights the horrific attitude of Western capitalism to Africa: a place to be plundered for wealth and damned the consequences. Yet, for me, this works best as a classic war film with DiCaprio’s anti-heroic soldier ultimately finding redemption by the end.
DJANGO UNCHAINED (2012)
DiCaprio’s turn as ‘The Kid’ in Sam Raimi’s Leone Western homage The Quick and The Dead (1995) almost made this list as he was just so young and cheeky and his death scene was very touching; but I’ve gone with his badass rendition of nefarious plantation owner Calvin Candie instead. It’s an over-the-top and theatrical ripper of a performance as he takes great glee playing the baddest, racist, capitalist pig around. Indeed, Tarantino cast him perfectly as he used DiCaprio’s charisma to counteract the murderous psychosis of the devilish Candie. In the hands of another actor the whole film could have been just damned nasty but with his Southern accent, golden glint in his eye and finger-twiddling moustache-come-beard he almost steals the show. The mercurial Christophe Waltz won the best supporting Oscar for his role and deservedly so, however, DiCaprio must have been close to breaking his Academy cherry here with this grandstanding and dastardly turn.
THE AVIATOR (2004)
I hated this film the first time I saw but soon realised I was an idiot; on 2nd and 3rd viewing the pure genius of the Scorcese and DiCaprio combination shone through every time. With a brilliant John Logan screenplay it depicts the early years of Howard Hughes’ flamboyance, follies and failures. DiCaprio has often portrayed characters on the edge of a nervous breakdown or full-blown mentalists like Teddy Daniels in Shutter Island (2010) and here he captures Hughes at the height of his film and aviation glories only to find his obsessive-compulsive disorder swallowing him up and dragging him into the pits of hell. This step-by-step disintegration is portrayed with such intelligence and impact I felt this was the role DiCaprio should have won Best Oscar for. It’s a brash and loud performance with Hughes’ big personality to the fore, however, underneath the mental issues which would make him a recluse in later years are beginning to show through and the actor draws out these subtleties in a devastating and very sad way.
CATCH ME IF YOU CAN (2002)
This was a just a humdinger of a film which had everything: humour, romance, drama, crime, cat-and-mouse chases, pathos, brilliant cast, sex and at its heart DiCaprio playing a teenage con-boy to perfection! Once again he is perfectly cast as the little-boy-lost who is devastated by his parents’s break-up and goes on the lam perfecting his counterfeiting skills on the way. Frank Abagnale Jnr is arguably the role which finds DiCaprio grow on-screen from a lad to a man. In it he imbues the arrogance of youth yet also reveals the pain and drive of a child attempting to come to terms with his feelings. His instinct is to run as fast as he can and his crimes such as: impersonating a pilot; faking cheques; practising law and medicine are presented as a means of escaping his internal turmoil. Steven Spielberg illustrates this incredible story with style and pace and DiCaprio is just a treat as he lies and cheats and cons his way into and out of the most entertaining of scrapes with Tom Hanks’ dogged agent never far behind him.
THE WOLF OF WALL STREET (2014)
DiCaprio doesn’t DO superheroes. He does anti-superheroes; and none more so than in this memoir by disgraced human scum Jordan Belfort – a drug-addicted-sex-addicted-thieving-stockbroker-par-excellence. The Wolf of Wall Street follows the same rise-and-fall structure of mafia classic Goodfellas (1990) as DiCaprio’s Belfort schemes and sells his soul to power up through the snakes and ladders of Wall Street. This is NOT a heavy analysis of socio-economic morality and values but rather a bullet-paced black comedy filled with cracking scenes and razor-sharp one-liners delivered by a stellar cast. This is DiCaprio and Martin Scorcese’s film and as they demonstrated in The Aviator, The Departed, Shutter Island etc. they are a formidable team. What DiCaprio does incredibly well is making this Wall Street monster likeable, funny, believable and human. Indeed, I felt DiCaprio deserved an Oscar but the Belfort character has already had enough success in his lifetime and threw it all away because of greed. Surely awarding an Oscar to such a heinous character would be TOO MUCH wouldn’t it? But as this film demonstrates TOO MUCH is never enough!
Cinema, historically, is seen as a visual medium telling its’ stories via wonderful imagery and sequences spliced together to traverse the collective vision of an omnipotent director. And there have been some incredible filmmakers who have created fantastic visual landscapes to be marvelled at such as: Stanley Kubrik, David Lean, Ridley Scott, David Fincher, Andrei Tarkovsky and er. . . Michael Bay. Yet, as much as I love the films of such ‘epic’ filmmakers you just can’t beat a brilliantly written piece of dialogue created by a screenwriter and delivered by an actor committed to the character and performance.
Bad dialogue will be on-the-nose, telling us the story specifically and reveal half-baked emotions from paper-thin characters; while great dialogue will tell us about character, theme, and subtext as well as make the audience laugh, cry and most importantly feel emotion. I love dialogue which is both funny and dramatic and reveals the nature and dynamics of characters’ relationships; especially scenes where characters verbally abuse each other or have gone into meltdown mode.
So, here’s a random list of some of my favourite dialogue scenes and why I like them so much. But, of course, the dialogue would probably be nothing without some fine performances too. I’m certain there’s many, many more scenes or monologues I’ve left out but as Osgood says to Jerry in SOME LIKE IT HOT – in one of the greatest final lines of any movie – “Nobody’s Perfect!”
(SPOILER ALERT and assumptions you have seen these films. If not, why not!?)
SOME LIKE IT HOT (1959)
“Nobody’s Perfect!”
Voted one of, if not the best comedy ever by the American Film Institute this scene is a gimme. It is genuinely the funniest ending to a great comedy. The dialogue is both hilarious and nails the characters’ personas right to the end. Cool heartthrob Joe (Tony Curtis) gets the ultimate blonde bombshell, Sugar (Marilyn Monroe) while hapless loser Jerry’s (Jack Lemmon) plan to marry for a big settlement backfires splendidly. Lemmon was one of the greatest screen actors ever as he was able to do comedy, pathos and drama with wonderful timing and he shows that in this highly witty scene.
RESERVOIR DOGS (1992)
“Why Am I Mr Pink?”
I love Tarantino’s dialogue. For me he’s the closest you’ll get to a 20th Century Shakespeare. All his films – apart from Death Proof (2007) which I hate – have wonderful characters, casting and set-pieces. Most of his scripts tend to be a tad overlong e.g. Kill Bill (2004) could and should have been one film. Therefore, because of its’ economy, muscular writing and fast pacing, Reservoir Dogs (1992), remains a major favourite of his ouevre. I love the temporally jigsawed order, testosteronic cast and above all else, the hard-boiled dialogue. It’s lean, bruised and biting; spat out by unreconstructed men who are destined to die a violent, painful death.
The Mr Pink (Steve Buscemi) ‘I don’t tip’ scene deserves to be on this list but the one where they all get their names from big Joe Cabot (Lawrence Tierney) is a diamond in a cluster of sparkling rough. Industrial language crackles from the screen and the hilarious argument that ensues further sums up Mr Pink’s petty-minded character. Interestingly, this scene was not in the original screenplay and was added to the film during shooting.
MILLER’S CROSSING (1990)
“If you can’t trust a fix. What can you trust?”
The opening scene of Miller’s Crossing – like the whole movie – perfectly encapsulates the 1920s/1930s language of America as represented by, not actuality, but the works of noir novelists Dashiell Hammett and Raymond Chandler. The Coens’ postmodern vision creates a world of violence, dames, sluggers, double-crosses and prohibition-led organized crime. The scene begins with a speech by Italian gang-leader Johnny Caspar (Jon Polito) who espouses his “ethical” modus operandi on fight-fixing to soon-to-be-rival Leo (Albert Finney). While the dialogue crackles and pops; the scene also foregrounds all the key characters on screen at the time and those to appear later in the movie – notably John Turturro’s slimy bookie Bernie Birnbaum. You could probably do a Top 100 of great dialogue scenes from Coen Brothers’ movies and this is certainly up there with the best of them.
Johnny Caspar: I’m talkin’ about friendship. I’m talkin’ about character. I’m talkin’ about – hell. Leo, I ain’t embarrassed to use the word – I’m talkin’ about ethics. It’s gettin’ so a businessman can’t expect no return from a fixed fight. Now, if you can’t trust a fix, what can you trust? For a good return, you gotta go bettin’ on chance – and then you’re back with anarchy, right back in the jungle.
MISERY (1990)
“He didn’t get out of the cockadoodie car!!”
Kathy Bates deservedly won an Oscar for her barnstorming performance as Annie Wilkes. Stephen King’s Wilkes’ is a charismatic lunatic who takes the ‘I’m your number one fan’ maxim to the extreme. This scene reveals more, in some ways, than the memorably gruesome ‘hobbling’ scene. It shows Wilkes’ skewed understanding of narrative by revealing her disgust at ‘cheating’ cliffhangers of Saturday morning serials. While her language is funny, the delivery and anger in Bates’ performance is very unnerving as demonstrated by Caan’s stunned reaction when he realises he is in the company of a very disturbed individual. Lastly, I actually agree with her! They always cheated in those TV shows!
WITHNAIL & I (1986)
“What’s your name – Mcfuck?!”
Definitely in my top-ten-line-for-line-best-dialogue-ever-movies, WITHNAIL & I simply bursts with memorable spats, insults, one-liners and speeches. I recall being incredibly drunk following a birthday party and watching this scene over and over again and almost choking on my own laughter. It’s still quite early in the film but the relationship between permanently inebriated cowardly ‘thespian’ Withnail (Richard E. Grant) and the eponymous ‘I’ (Paul McGann) is perfectly crystallized in their exchanges with the dangerously lubricated Irish barfly.
Withnail not only reveals his ineptitude in facing physical confrontation but is more than happy to stitch his companion up in a scene which is later mirrored during their run-in with a randy bull. Moreover, the scene slyly sets up the character of Monty (Richard Griffiths) and the disastrous trip to the country, demonstrating great writing in burying such exposition within the comical encounter. Bruce Robinson, arguably, never reached the heights of Withnail and I again unfortunately. But his screenplay is one of the greatest ever written; conversely making it one of the funniest and tragic films of all time.
ANNIE HALL (1977)
“I have to go Duane – I’m due back on Planet Earth.”
Arguably the most brilliant and prolific screenwriter/directors ever, Woody Allen’s movies – especially his ‘early, funny films’ – are jammed with gags, slapstick and cracking one-liners. Allen’s cinematic art would mature and his hilarious romantic comedy Annie Hall forms a creative bridge between the joke-driven all-out comedies and the more dramatic works featured in Allen’s oeuvre. Annie Hall is obviously still of full of punchline-led scenes as it tells a classic boy-meets-girl-boy-breaks-up-with-girl-boy-analyses-where-it-all-went-wrong tale, only Allen could pull off.
I could’ve picked any number of great scenes from Annie Hall but one I always remember features the majestically intense – even as a youngster – Christopher Walken. It’s his only scene but he still stands out as Annie’s brother, Duane: a psychotic loner with suicidal tendencies. His short but very dramatic monologue is perfectly delivered as Duane confesses a desire to kill himself in an automobile accident. Comedy arrives by virtue of Allen’s squirming reactions in the car with Duane and the final pay-off is an absolute treat.
BRIDESMAIDS (2011)
“I feel bad for your face!”
I love this scene because it really sums up Kristen Wiig’s unhappy-go-lucky-loser-status in the film. Wiig’s Annie suffers a severe case of arrested development throughout and in the squabble with the young girl she should really be mature and know better. Annie’s in negative equity romantically and forever in the shadow of other more successful women and just as things cannot get any worse she enters into a ping-pong argument with this brattish teenager that escalates WAY out of control. It culminates in a wonderfully rude topper of a punchline that left me laughing my head off. There’s also an element of wish fulfilment in there too as I would love to have let rip in a similar fashion during my time in customer service.
GLENGARRY GLEN ROSS – (1992)
“Fuck you! That’s my name!”
In Glengarry Glen Ross, Alec Baldwin plays the character Blake, almost earning the silver-tongued raconteur an Oscar for the role. He’s in ONE scene. ONE scene, yet because of David Mamet’s mercurial speech he steals the whole film. This is no mean feat given the cast contains an annual Oscar Best Actor nominee list: Jack Lemmon, Al Pacino, Kevin Spacey, Ed Harris, Alan Arkin and Jonathan Pryce. Blake’s speech is a rallying call for the sales team to raise their game, full of acronymic inspiration and cursing and flat-track bullying. It quickly turns to a litany of threats, abuse and monetary grandstanding as the sales guys just don’t respond to Blake’s aggressive personality. I fucking hate sales jobs and they suck because of guys like Blake who do not care about the customer – just the dough! Although having said that if I’d heard Mamet’s speech delivered by Baldwin I’d be ready to sell snow to the Eskimos. He’s that good!
Bit late with the old film reviews for April because I have actually been writing my own short film screenplays in the last few weeks.
I set myself a target of writing TWELVE original first draft short films in 2015 (one a month basically). I have completed TWO thus far. I’m confident I will hit the target.
Still managing to watch a high-rate of movies via Cinema, Netflix, Amazon, Blu-Ray etc. so here are my reviews for April 2015. A pretty golden month for diverse and quality motion pictures; plus some right pony too.
**Now featuring a new marking system — in tribute to This is Spinal Tap — which goes up to ELEVEN**
**BEWARE OF MASSIVE SPOILERS**
A MILLION WAYS TO DIE IN THE WEST (2014) – SKY MOVIES
Comedy Western written, directed and starring Seth Mcfarlane started well with a plethora of great gags but once the story gets into gear Seth Mcfarlane the writer fails the director big time. Plus, Seth Mcfarlane the actor just fails. He is NOT a leading man and some quick-fire laughs at the start give way to a one-joke film which lasts 45 minutes too long. The film makes Carry on Cowboy (1965) seem like Shakespeare and while watching I was thinking of a million ways to kill myself. (Mark – 3/11)
AVENGERS: AGE OF ULTRON (2015) – CINEMA
After remaking The Seven Samurai (1954) with Avengers Assemble (2012) Joss Whedon was back at the helm of the good ship Marvel remaking Frankenstein and delivering a bloody good sequel in the process. Indeed, despite sounding like a powerful washing powder Age of Ultron was way better than I expected. I love Marvel movies but was anticipating the moment when the formula just dies and thought this may be it. It wasn’t.
Amidst the green screen superhero carnage there is actually a story which involves the Avengers team battling Tony Stark’s sentient creation called Ultron which he knocked up by mistake thinking it would be good for mankind. The idiot! Throw into the mix Hydra-children Quiksilver and Scarlet Witch who want revenge on Stark plus spandex buddies Captain America, Black Widow, Hulk and the rest of the team and you get a pretty impressive slap-bang-train-crashing-robot-killing-country-unearthing-war-machining-mind-bending-vision-melding-hulk-smashing popcorn muncher.
Highlights for me were: the action of course; James Spader’s evil Ultron; Captain America as usual; Mark Ruffalo/Bruce Banner doing existential pain-like-a-modern day Lawrence “Wolfman” Talbot; some great Whedon one-liners; blink-and-miss cameo from Andy Serkis; plus Scar-Jo’s Nikitaesque backstory raised the blood pressure a tad. While Age of Ultron is thematically weak and the narrative feels transitory on occasions there is SO much happening it doesn’t matter. Overall, it’s a fun-packed-fizzing-firework of a film which stopped me thinking about death for two hours; so that was good. (Mark: 8/11)
BOYHOOD (2014) – BLU RAY
The most expensive home movie of all time is an American modern-day masterpiece in slice-of-life storytelling. Not a lot occurs but it does so with so much heart as we follow Mason Evans (aged 6) and his family life from 2002 to the present day. Much has been made of the fact Richard Linklater shot the film over a decade using both Ellar Coltrane and his daughter Lorelei throughout the film and this organic approach to filmmaking is to be applauded. More importantly I just fell in love with these ordinary characters as we experience vignettes from their lives over a number of years. Brilliant character actors Patricia Arquette and Ethan Hawke shine too as their respective parents juggle the slings and arrows that life throws at them all. While the pace is glacial and the structure elliptical Boyhood is a fine document to family life that touched my heart and mind throughout. (Mark: 9/11)
FAST AND FURIOUS 7 (2015) – CINEMA
Another snap, crack and popping addition to a film franchise which has gathered popularity at a breakneck speed over the last decade or more. Fast 7 picks up after Fast 6 directly with meaty brute Jason Statham coming for Toretto and the team for pretty much marmalizing his brother (Luke Evans) to death in the previous chapter. Having gone head-on with Duwayne ‘The Rock’ Johnson and incapacitated him Statham then goes after the gang, who meanwhile, are charged with the task of tracking down some generic macguffin called the “God’s Eye”. I didn’t really care about the plot as it’s mainly an excuse to join the dots between some stunning right-royal-rumbling car chases, shoot-outs, motor-parachuting and the vehicular carnage we’ve all come to expect from this series.
Better than Fast 6 (though not the superlative Fast 5) the film is deftly helmed by expert genre filmmaker James Wan and the action is beefed up by character actors like Kurt Russell and Djimon Hounsou. Statham steals the show as the rogue mercenary and Vin Diesel does his usual John-Wayne-act: mean-and-moody with a heart of gold. The Rock is criminally underused (no doubt because he was shooting Hercules at the same time) but he does impress during the heart-pounding final set-piece. I drank a big coffee before I watched this and as my mind was blazing on caffeine so was the screen. Great escapist cinema which pays a fine, if soppy, tribute to the deceased Paul Walker in the final reel. (Mark: 9/11)
FORCE MAJEURE (2014) – CINEMA
This is one of those excellent foreign films which I hated. I can see why critics and audiences may enjoy the character-driven drama of a family split apart by the father’s less-than-heroic actions during that of an avalanche but overall the film left me cold as an Eskimo’s nostril. Technically, it is beautifully shot, performed, directed and there is some merit in the idea of a family holiday gone wrong, however, I just found the characters too irritating and in the end I was bored. I like many, many films with complex and dislikeable characters but not this one. Personally despising ski holidays probably didn’t help either and I wish the characters had been killed in the avalanche to save on all the middle-class matrimonial moaning and Scandinavian soul-searching that ensued. Great film, in some eyes no doubt, but not my cup of frozen piss. (Mark: 5/11)
HORNS (2013) – BLU RAY
Daniel Radcliffe stars as a young man who wakes up one day with the horn; no sorry that’s HORNS! Plus a dead girlfriend and HE’S the prime suspect in her murder. That is SOME hangover! Basically, the small town where he lives thinks he’s the Devil incarnate so this collective emotion manifests itself physically and spiritually as the former Harry Potter starts being able to control and bring the most dark and fantastical behaviour out of the townsfolk. I think these comedic scenes are the best bits of the film as he learns to control this ability and use it to his own means. It’s a decent enough horror-drama-romance-comedy-detective-noir story which has some fine moments but at times the genre-melding jars the tone. Structurally it’s a bit all over the shop too flitting from long ago to now to not so long ago in a Noiresque fashion. Overall, a pretty fun film to watch on the smaller screen but a bit of pruning for pace would have been handy. (Mark: 6/11)
INBETWEENERS 1 & 2 (2011/2014) – 4OD/SKY MOVIES
I used to think The Inbetweeners was a rude, smutty, uncultured, lowest-common-denominator comedy of the basest level and after watching the three seasons of the TV show on catch-up plus two films back-to-back I still think that. However, I have to admit: it is fucking hilarious! It concerns the tribulations of Will (the nerd), Simon (the neurotic), Jay (the liar) and Neil (the idiot) and their main trials are losing their virginities, trying to buy alcohol, avoiding bullies and trying not make fools of themselves. Laughs come thick and fast from them failing to achieve any of these things; often in the most humiliating of ways!
The movies cranked up the puerile gags in Greece and Australia respectively and I laughed my arse off at the many disgusting events in both films. Having said that this isn’t just filth for filth’s sake as the character interaction and quick-witted scripts by Damon Beesley and Iain Morris have some heart notably when Jay pursues the girl he loves all the way to the Aussie outback. Ultimately, though this search ends with Simon drinking Neil’s piss. Recommended for those who enjoy romantic/sexual failures, toilet humour, broad stereotypes and a streak of unsophisticated adolescent rites-of-passage stuff thrown in. (Mark: 7/11)
JOHN WICK (2014) – CINEMA
If Keanu Reeves had been born in the silent movie era I think he would’ve been an even bigger hit because as long as he doesn’t have much dialogue he is a genuine bona fide movie star. As John Wick he absolutely blows the back doors off as a “retired” assassin who rampages after the gangsters who killed his dog.
The script doesn’t insult us with any semblance of a plot and THAT’S a plus. It’s pure kinesis with Reeves racing from bullet-infested set-piece to set-piece carving up the criminal Underworld like a modern-day (M)Orpheus (see what I did there?) Of course, the stakes are ramped up throughout as Wick must face all manner of super-assassins once there’s a contract out on him. This is a dark-lean-comic-book-Hong-Kong-shoot-em-up-style movie shot on speed and edited on meth and a hugely satisfying cinema experience .(Mark: 8/11)
NEED FOR SPEED (2014) – AMAZON PRIME
I loved Aaron Paul as the desperate meth “protégée” of Walter White in Breaking Bad. His enunciation of “bitch this” and “bitch that” was often the highlight of the show as he was pulled this way and that by WW’s descent into power-crazed drug-dealing hell. I think we appreciated Jesse Pinkman was so out of his depth in that world and Aaron Paul brought a humour and humanity to the role despite being the wrong side of the law.
However, in the videogame adaptation Need For Speed he fails as a cool-as-ice-hard-assed-driver-extraordinaire in a role Steve McQueen would have sped through in his heyday. Plus, and I’m sorry to say, but Aaron is TOO short to impose himself on this Fast and Furious meets Vanishing Point mash-up. The supporting cast are very attractive although Brit actress Imogen Poots is irritating as fuck in the female sidekick role and the film is WAY too long. Overall, great cars, amazing driving, sweet stunts: shame about everything else! (Mark: 3/11)
OCULUS (2013) – BLU RAY
Karen Gillan from Doctor Who basically goes a bit mental in this effective low-budget horror film in which she battles a — wait for it — ghost-mirror that holds the secret to the parents’ death. Fun is to be had from the monstrous spirits and jumps as she ropes in her recently-released-from-the-nuthouse brother who just wants to move on. Not for everyone I guess but I enjoyed it as it made the most of the one main location plus it’s nicely directed and edited by newish filmmaker Mike Flanagan clearly working on a shoestring. (Mark: 6/11)
SECRET IN THEIR EYES (2009) – DVD – REPEAT WATCH
I’ve seen this Argentinian classic romance-noir-detective-political thriller many times now and it is one of the best genre films ever made. It has everything you could hope for in a story which concerns itself with a Government Prosecutor Benjamin Esposito (Ricardo Darin) and his decades-long search for the brutal murderer of a young woman. Stunning characterisation supports a maze-like plot with many twists and turns throughout in a wonderful screenplay.
The most compelling vein throbbing element within the story is the “will-they-won’t-they” romance between Esposito and the classically beautiful Soledad Villamil playing the Judge who has captured his heart. The film also finds time to make political comments on the “Dirty War” which occurred in Argentina in the 1970s and 1980s and has one of the most memorable long-takes in cinema history. A breathtaking masterpiece of the thriller genre. (Mark: 11/11)
WHAT WE DO IN THE SHADOWS – (2014) – SKY MOVIES
A one-joke mockumentary which tries to do for vampires what Spinal Tap did for Heavy Metal. Maybe I should have had a few drinks but I found it quite boring like an overlong sketch which while brilliantly conceived sagged in the middle. It follows four batty (sorry) housemates Viago, Vladislav, Deacon, and Petyr as they go about their nocturnal activities in Wellington, New Zealand. I was especially impressed with the contrast between the old-Nosferatu-style vampyr Petyr struggling with the new world plus Jemaine Clements is always a funny presence in any film.
The film has garnered great reviews from critics and is destined for cult movie status and the first half of the film had me chuckling heartily. But I felt it ran out of narrative steam in the second half as the gag rate dipped. Also, the dark, handheld and grainy style too felt one-note and despite some witty one-liners in the script the loose improvisatory form felt aimless. Bloody brilliant concept that may have suited a half-hour sitcom length but not a feature film. (Mark: 6/11)
WILD TALES (2015) – CINEMA
Last but definitely NOT least is my film of the month (excluding Secret in Their Eyes)! Wild Tales is another soon-to-be-considered Argentinian film classic as it delivers a dark sarcasm and hilarity via six separate stories concerning themes of: revenge, political corruption, class division and bloody violence!
I loved the ye olde portmanteau films usually produced by the likes of Hammer in the past and this is a very modern take on the like as the screenwriter and director Damián Szifron conjures up a delectable and devilish set of stories. It opens with a breath-taking little prologue featuring a horrific incident on a plane and culminates in arguably the wildest tale when the Bride goes on the rampage at her wedding. Everyone’s favourite Argentinian actor Ricardo Darin pops up in the middle as an explosives expert who enacts revenge on City Parking fascists. I love the whole thing as the film delivers a full deck of twists that master of the macabre Roald Dahl would be proud of. (Mark: 9.5/11)
The Cinema Fix presents 