Tag Archives: Cinema

Cinema, New Releases, Reviews

CINEMA REVIEW: NIGHTMARE ALLEY (2021)

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CINEMA REVIEW: NIGHTMARE ALLEY (2021)

Directed by: Guillermo del Toro

Screenplay by: Guillermo del Toro, Kim Morgan

Based on: Nightmare Alley by William Lindsay Gresham

Produced by: J. Miles Dale, Guillermo del Toro, Bradley Cooper

Cast: Bradley Cooper, Cate Blanchett, Toni Collette, Willem Dafoe, Richard Jenkins, Rooney Mara, Ron Perlman, Mary Steenburgen, David Strathairn, etc.

Cinematography: Dan Laustsen

*** MAY CONTAIN SPOILERS ***

Guillermo Del Toro could probably have had his pick of film stories to choose from after the monumental box office and critical success of the majestic alternative love story, The Shape of Water (2017). But rather than build on the message of love and hope in that creature feature he has chosen to adapt the noir novel, Nightmare Alley by William Lindsay Gresham. In the process Del Toro has also remade the classic 1947 film of the same name, starring Tyrone Power.

Essentially a $60 million dollar B-movie, the film is one of the most opulently dark and beautifully designed films I have witnessed in some time. Light, shadow, wood, gold, blood, fire, sweat, skin, snow, and night all collide and collude in a stunningly presented palette from Del Toro and lead production designer, Tamara Deverell. This film is a moving painting with inspiration from geniuses such as Picasso, Dali, Matisse and Edward Hopper. While the look of the Nightmare Alley (2021) and cast are a constant wonder, I had a nagging thought while watching the film which made me question who the audience was for this film. Also, there were many story elements which did not gel for me.

Nightmare Alley (2021) opens with fire and death. Drifter Stanton Carlisle (Bradley Cooper) then finds himself drawn to the carnival arena. It is full of shadowy characters, oddballs and tricksters, portrayed with dirty glamour by the likes of Toni Collette, Willem Dafoe, David Strathairn, plus the more innocent, Rooney Mara. Stanton fits right in and is soon making a name for himself as a mentalist, fooling audiences with carefully rehearsed cues and memory tricks. The first half of the film is its narrative strength. Only after Stanton’s story leaves the carnival his journey twists into something more sinister, but less satisfying.

I enjoyed Del Toro’s stunning visual magic employed in Nightmare Alley (2021). However, while Bradley Cooper has terrific star quality I did not care for his anti-heroic Stanton Carlisle. Cate Blanchett is also alluring as the latter second act enchanter, but ultimately the film lacks real depth. Themes relating to masculinity in crisis, war, psychoanalysis, crime, grief, the afterlife and what it means to be a freak or outsider are there, but only skimmed. I mean the plot has some decent twists, but I did not entirely commit to the downward trajectory of Carlisle’s tale. Overall, as a morality tale Nightmare Alley (2021) is not as frighteningly tragic as it could have been. Carlisle gets what he deserves, and I felt little pity or horror for his end. Unlike another classic noir from some years back, Angel Heart (1987).

Mark: 8 out of 11

Amazon Prime, Cult Cinema, Films That Got Away, horror

CULT MOVIE REVIEW: XTRO (1982)

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CULT MOVIE REVIEW: XTRO (1982)

Directed by: Harry Bromley Davenport

Screenplay by: Harry Bromley Davenport, Michel Perry, Iain Cassie, Robert Smith

Story by: Harry Bromley Davenport, Michel Perry

Produced by: Mark Forstater

Cast: Bernice Stegers, Philip Sayer, Simon Nash, Maryam d’Abo, Danny Brainin etc.

Cinematography: John Metcalfe

*** MAY CONTAIN SPOILERS ***

Being a fan of the horror genre never fails to spring surprises, especially if you also love trashy-B-movie-exploitation-video-nasties too. Because what often occurs is a hidden or buried or previously banned film will reanimate and be located on one of the many streaming platforms we have today. I am both surprised and even more joyous if I find I have never even seen the said film. This is certainly the case with low-budget alien monster film, XTRO (1982).

There I was pressing play via Amazon Prime, thinking it was another schlocky American indie I had missed from yesteryear, only to discover Xtro (1982) is actually a bizarre British film which twists and riffs on the box office hit that was ET: Extra Terrestrial (1982). Xtro (1982), directed by Harry Bromley Davenport, is not a comforting family science fiction drama like its more famous counterpart though. Instead, it is a gory sci-fi shocker with many outrageously violent set-pieces and a budget lower than E.T.’s lunch bill.

Critically damned at the time, Xtro (1982), when released on home video in 1983, was subject to a prosecution case in relation to British obscenity laws and labelled a “video-nasty”. Watching it now I have to admit it is quite shocking still, but the practical effects are so gloriously over-the-top they are more humorous than sickening. Having said that there are some memorably gruesome moments involving alien births, crazy clowns, a live “Action Man” doll, weird space eggs, and transformative man-into-monster effects.

The film doesn’t hang about establishing character but propels, from the opening scene of a father playing in the garden with his son, straight into the disappearing parent plot. The father (Philip Sayers) vanishes without a trace and three years later his wife (Bernice Stegers) and son are attempting to repair their lives. Yet, the boy is suffering horrific nightmares when suddenly his father reappears attempting to reconcile. The familial drama within the script itself could have been further developed to some emotional impact. However, while Bernice Stegers gives a decent dramatic performance, the film soon descends into a mix of surreal and insane set-pieces, combined with the father’s metamorphosis into something from another world.

There’s much to like and much to loathe about, Xtro (1982), notably the gratuitous nudity sprinkled throughout. Yet, if you are drawn to exploitational B-movies there is much sick entertainment to be found in the blend of impressive practical effects and creature moments. Philip Sayer and Bernice Stegers keep the shlocky elements of the plot in check with sane acting performances and despite some eccentric writing throughout Harry Bromley Davenport and his team have delivered an out-of-this-world bona fide B-movie cult classic.

Amazon Prime, Cinema, Reviews

AMAZON FILM REVIEW: BEING THE RICARDOS (2021)

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AMAZON FILM REVIEW: BEING THE RICARDOS (2021)

Directed and written by: Aaron Sorkin

Produced by: Todd Black, Jason Blumenthal, Steve Tisch

Cast: Nicole Kidman, Javier Bardem, J. K. Simmons, Nina Arianda, Tony Hale, Alia Shawkat, Jake Lacy, Clark Gregg, etc.

Cinematography: Jeff Cronenweth

*** MAY CONTAIN SPOILERS ***

Lucille Ball and Desi Arnaz were entertainment, musical and business pioneers during the classic Hollywood television period. Lucille Ball alone was nominated for 13 Primetime Emmy Awards, winning five times, and the recipient of many other accolades, before being inducted into the Television Hall of Fame. Not only did the married couple produce and star in the seminal U.S. situation comedy, I Love Lucy, but their Desilu Studios production company would be the driving force behind creating famous TV series including Star Trek and Mission: Impossible. The couple broke viewing records and barriers in regard to race, gender and business practices. While they were not of my era, I recognise both Lucille Ball and Desi Arnaz as consummate professionals, business trailblazers and iconic stars.

Aaron Sorkin’s Being the Ricardos (2021), adapts a week-in-the-life of Lucille Ball (Nicole Kidman) and Desi Arnaz (Javier Bardem) as they prepare, audition and perform the episode ‘Fred and Ethel Fight’ of I Love Lucy. At the same time, Lucille faces shocking revelations about her alleged Communist past. Moreover, her marriage to Desi is also tested by suspicions he has slept with other women. Interspersed around these events Sorkin flashes back to reveal how the couple met, and Lucille’s flailing film career as a dramatic actress was re-ignited by a chance switch to radio comedy. As a consummate screenwriter Sorkin hops between these time periods with great aplomb and his customary whip-cracking dialogue fires zingers throughout. The production process of the TV episode is particularly brilliant, with crafty Nina Arianda and the awesome J. K. Simmons providing superb support as Lucille and Desi’s supporting couple, William Frawley and Vivian Vance, respectively.

Being the Ricardos (2021) spins a great many plates within the running time and it is rock solid entertainment. As he did with The Trial of the Chicago Seven (2020), Aaron Sorkin arguably takes liberties with the time of events to compress and finesse the truth for the sake of dramatic and comedic effect. But that’s fine as this is not a documentary. What we get instead is an authentic production design which expertly evokes the mood, look, glamour, costumes and sounds of the era. It also explores the business, sexual and ideological politics of age with Desi and Lucille facing and pushing back at sponsor and studio demands. Those who know I Love Lucy will be overjoyed at the recreation of some memorable comedy sketches.

At the heart of the film Nicole Kidman and Javier Bardem combine formidably to breathe life into these legendary talents. Kidman is an actor who is extremely brave taking on the role of an icon. Sure, she gets paid millions of dollars, but her performance as Lucille Ball is energetic and intelligent and very funny. It could be easy to criticise her casting but Kidman does sterling work here. She gives Ball’s characterisation an effervescence, intelligence and perfectionist approach to her craft one cannot help but admire. Javier Bardem is a cinematic dream. With effortless panache he lights up the screen and just is so damned charming. Together they create fine on-screen chemistry as Sorkin’s bullet-paced dialogue is delivered superbly by the stars and terrific ensemble cast.

Ultimately, neither dramatic enough to tug the heartstrings or funny enough to be called an all-out comedy classic, Being the Ricardos (2021) remains another intelligent Aaron Sorkin rendition of real people and actual events. It’s a classy affair with a stunning cast and script, overall paying fine tribute to the genius of Lucille Ball and Desi Arnaz.

Mark: 8.5 out of 11

Cinema, Netflix, Reviews

NETFLIX FILM REVIEW: DON’T LOOK UP (2021)

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NETFLIX FILM REVIEW: DON’T LOOK UP (2021)

Directed by: Adam McKay

Screenplay by: Adam McKay

Story by: Adam McKay, David Sirota

Produced by: Adam McKay and Kevin Messick

Cast: Leonardo DiCaprio, Jennifer Lawrence, Meryl Streep, Cate Blanchett, Rob Morgan, Jonah Hill, Mark Rylance, Tyler Perry, Timothée Chalamet, Ron Perlman, Ariana Grande etc.

Cinematography: Linus Sandgren

*** MAY CONTAIN SPOILERS ***

Adam McKay has had an interesting filmmaking career. He was a head writer on Saturday Night Live for two seasons before moving into cinema comedy by writing and directing gag-heavy comedies such as Anchorman: The Legend of Ron Burgundy (2004) plus the sequel, Talladega Nights: The Ballad of Ricky Bobby (2006), Step Brothers (2008), and The Other Guys (2010). While one could see these films as silly and knockabout Will Ferrell clown vehicles, certain films contained explorations of social issues relating to sexism in the workplace and big corporation fraud. Nevertheless, it was still surprising when McKay shifted toward more dramatic work full of barbed satire and social commentary. While both The Big Short (2015) and Vice (2018) certainly had humour, they also impressively dissected the mortgage crash and the political rise of Dick Cheney, respectively.

His latest film is the Netflix produced Don’t Look Up (2021). It is a disaster movie in genre, that also mixes in comedy, political satire and drama. The story concerns Kate Dibiasky (Jennifer Lawrence), an astronomy Ph.D. candidate, discovers a previously unknown comet. Kate’s professor Dr. Randall Mindy (Leonardo DiCaprio) work together and find that it is an extinction event which will destroy all life on Earth. Only having presented their findings to NASA and the White House do they find themselves dealing with indifference, administrative incompetence and corporate neglect lead by insane financial greed. As news of the impending doom hits society, the population become split between believers and naysayers leading to division and chaos.

Don’t Look Up (2021) is arguably less serious in tone compared to Adam McKay’s previous two films, but the message is ultimately more damning of the U.S. Presidency and humanity as a whole. Because the gigantic comet heading for Earth is very much a metaphor for climate change. Here Meryl Streep’s President is dizzyingly dismissive of the science and only begins to act when it is politically and financially beneficial. Her Chief of Staff son, a brilliant Jonah Hill, is a sycophantic numbskull more interested in Lawrence’s raging scientist, rather than saving the world. Indeed, Dibiasky and Mindy get side-tracked by glamour, celebrity and the toxicity of social media. DiCaprio’s arc is amusing as he goes from nervous mouse to confident commentator in the middle act, only to experience a costly personal comeuppance.

Rich in fast-paced gags at the expense of pop, media, political, corporate and dumb human personalities, Don’t Look Up (2021), is a highly entertaining disaster movie with a terrific ensemble cast. I felt Leonardo DiCaprio, one of my favourite actors, was a tad miscast as the science everyman, but he still gives a great performance. Lawrence provides the most grounded and empathetic character playing it straight amidst the all-round insanity. The White House “vending” machine running gag is the best in a film full of funny lines. Mark Rylance is craftily good as the social media megalomaniac manipulating the catastrophic narrative to his own means, but as aforementioned Jonah Hill steals the comedy show. Lastly, Adam McKay probably over-reaches with the poignant family-driven ending. However, I did feel a true sense of loss for the characters and our planet as a whole. The Earth may be full of idiots who don’t want to look up, but thankfully there are storytellers trying to turn their minds in an amusing, silly and intelligent fashion.

Mark: 8.5 out of 11

Cinema, Under-Rated Classics

UNDER-RATED CLASSICS #10 – TO DIE FOR (1995)

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UNDER-RATED CLASSICS #10 – TO DIE FOR (1995)

Directed by Gus Van Sant

Screenplay by Buck Henry based on To Die For by Joyce Maynard

Produced by Laura Ziskin

Cast: Nicole Kidman, Joaquin Phoenix, Matt Dillon, Casey Affleck, Dan Hedaya,

Cinematography Eric Alan Edwards

Edited by Curtiss Clayton

For the record, for me, an under-rated classic can be a film I love, plus satisfy the following criteria:

  1. Must not have won an Oscar.
  2. Must not have won a BAFTA.
  3. Must not appear in the AFI Top 100 list.
  4. Must not appear in the IMDB Top 250 list.
  5. Must not appear in the BFI 100 Great British films.
  6. Must not appear in the all-time highest grossing movies of list.

To Die For (1995) is a bona fide under-rated classic and I am surprised it received no Academy Award nominations, especially as Nicole Kidman was nominated for a BAFTA, and won a Golden Globe Award. Kidman is sensational in arguably her greatest performance as narcissistic and ambitious sociopath, Suzanne Stone. Indeed, Stone as the driven, media-hungry manipulator is one of the most glamorous monsters ever seen in cinema.

Told in mockumentary style, To Die For (1995) is deftly directed by Gus Van Sant in a somewhat punchier and more comedic tone than usual. Stone strives for fame as a TV newscaster but eventually becomes a weathergirl on a local TV station. Marrying local boy Tony Maretto (Matt Dillon) does not stop Stone’s ambition. In striving for hard-hitting new stories, she meets a group of young drop outs, featuring early roles for Casey Affleck and Joaquin Phoenix. The delusional Stone turns seductress and arch-conspirator as her husband becomes a victim of her venal plotting.

Both funny and tragic, To Die For (1995), has an almost perfect screenplay. There isn’t a wasted scene, with its use of direct address, media clips and interviews forming a rich tapestry of comedic scenes and character moments. The fact that Stone uses the teenagers to commit murder is so tragic as her husband, Tony, is a decent bloke who loves her so much. Such is her blind desire for fame, that while one is admirable of her forceful qualities, one questions her evil intent. Ultimately, To Die For (1995), is a film which has stood the test of time, especially in these days of rampant self-obsession on social media. Lastly, Kidman has never been better as a character who even up to her icy end thought her name would be up in TV lights.

Cinema, New Releases, Reviews

CINEMA REVIEW: TITANE (2021)

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CINEMA REVIEW: TITANE (2021)

Directed by Julia Ducournau

Written by Julia Ducournau

Produced by Jean-Christophe Reymond

Cast: Agathe Rousselle, Vincent Lindon, Garance Marillier, Laïs Salameh, etc.

Cinematography: Ruben Impens

*** THE WHOLE FILM IS A SPOILER ***

The difficult second album syndrome applies with Julie Decournau’s incredibly horrific, illogical and over-rated, Titane (2021). How the film won the Palm D’or at the Cannes Festival is beyond me. Maybe the jury were on the same acid as the ultra-talented writer-director when she created the script. Or, maybe the jury were belatedly rewarding her for the amazing contemporary horror film, Raw (2016).

Raw (2016) works on so many distinct levels with themes covered including: veganism, peer pressure, initiation, fitting in, animal cruelty, sexuality. lesbianism, same-sex attraction, animalism, sisterhood, hedonism, nature versus nurture, cannibalism, family, etc.  It crosses genres effortlessly and has one of the greatest and disgusting scenes I have had the pleasure to see for some time. Raw (2016) is a shocking, intelligent and astounding modern-day masterpiece. Titane (2021) unfortunately is not.

Before I say why I did not enjoy Titane (2021), I must say that I constantly seek out challenging cinema that pushes boundaries. I love horror and want to be shocked, but also emotionally involved with the characters at the same time. Moreover, I am well prepared to commit to dream logic and surreal narratives, however, the filmmaker must also try not to over-indulge their artistic excesses, and respect the audience too. Of course, this is just my opinion, but I don’t feel Julie Decournau had a clear story path and rather went hell bent into delivering a variety of different ideas, none of which created a fulfilling emotional journey for the main protagonist, Alexia (Agatha Rouselle).

Rouselle, as the malevolent and tragic conduit of Ducournau’s twisted vision, does give a spectacularly brave performance. But her character is given so many complex set-ups at the beginning, I quickly gave up caring what happened to her. As a child she is badly injured in a car crash. This gives her a titanium plate in the skull. Alexia grows up and is an exotic dancer who either dreams of, or actually fucks cars. Oh, she is also a serial killer who violently kills for no apparent reason. Several gruesome set-pieces result in the goriest deaths ever seen in a Palm D’or winner. Indeed, by the time Alexia goes on the run and smashes her face into a sink to alter her features I was numbed by it all.

Titane (2021) at the midpoint then delivers one of the most dumb and insulting plot shifts I have seen in recent years. Yes-yes it’s an arthouse film and an expression of Julie Decournau’s vision of humanity, but I DID NOT CARE!! Not only did we get Alexia’s horrific behaviour, we are then introduced to another plot turn when she hides out with a bereaved and emotionally scarred firefighter, Vincent (Vincent Lindon). By this time I was actually laughing at certain scenes, finding it all tiresome and frankly embarrassing. I got the symbolism of human beings as machines and exploitation of females and that family represents death and blah-blah-blah! Yet, and I’m likely to be in the minority, Titane (2021) is one of the most narratively, emotionally and visually exhausting films I have seen in some time. Watch at your peril!

Mark: 5 out of 11

Cinema, Reviews, Star Trek, Television

TO BOLDLY REVIEW #13 – STAR TREK – THE NEXT GENERATION FILMS!

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TO BOLDLY REVIEW #13 – STAR TREK – THE NEXT GENERATION FILMS!

I have to admit I started getting Star Trek fatigue having watched seven seasons of The Next Generation, the original series, and films over the last couple of years. Thus, I had a bit of a break. But now am ready to visit the many series of Deep Space Nine.

What of the The Next Generation feature films though? The creative danger of adapting television series into feature films is that they often fall into the trap of being two episodes stuck together without the texture , scope or feeling of a cinematic presentation. Not that the studio executives will care ultimately, because their films will likely make money due to the desirous power of the show’s fanbase. How successful were the TNG film releases in avoiding the pitfalls of small to big screen adaptations? Let us see.

*** CONTAINS SPOILERS ***

Star Trek: Generations (1994)

Generations sees Captain Kirk (Shatner) and Captain Picard (Patrick Stewart) meet across the time-streams in a giddy mix of philosophy and temporal variance. Malcolm McDowell as an obsessive scientist, Soran, plays a good baddie. However, this is more a collection of fascinating concepts conjoined unevenly to get Picard and Kirk on screen together. What it lacks in proper cinematic drama and suspense, it serves the fans well with a fun mix of the original and Next Generation series actors. Who doesn’t love seeing Patrick Stewart and William Shatner inhabit their characters with gusto trapped in the mind-bending realm of the Nexus?

Mark: 7 out of 11

Star Trek: First Contact (1996)

In First Contact, Picard and crew fight the formidable Borg with the former flexing both his verbal and physical muscles. This is great and easily one of the best Star Trek films. Patrick Stewart is always brilliant, but you can see his Picard is driven, Captain Ahab-like, to pursue revenge against the Borg, even ignoring Starfleet orders along the way. Alice Krige as the Borg Queen is particularly memorable too. Time travel is integral again to an involving plot. Senior crew members led by Riker (Jonathan Frakes) go back in time to when warp was invented by unlikely legend, Zefram Cochrane (James Cromwell). With two strong narrative strands combining to create superb drama and conflict, First Contact, is both entertaining and moving, standing as a fine tribute to thirty years of Star Trek.

Mark 8.5 out of 11

Star Trek: Insurrection (1998)

With a title suggesting uprising and revolution, Insurrection rather slows the pace down when compared to the dynamic, First Contact. Moreover, in the “fountain of youth” themed plot, Captain Picard falls in love, with Patrick Stewart flexing his romantic muscles here. I actually enjoyed Insurrection with the crew of the Enterprise endeavouring to protect a peace-loving community called the Ba’ha from several surprising foes. I am aware the script went through a number of drafts and iterations, so the narrative holds up surprisingly well. The thematic exploration of the prime directive, vanity and mortality provide emotional depth. Although the biblical metaphors of Picard leading the natives to the “promised land” is a bit much. Still, F. Murray Abraham is brilliant as antagonist, Ru’afo, even under all the prosthetics. Overall, Insurrection, while a mixed bag of ideas and story strands, is certainly very entertaining.

Mark: 7.5 out of 11

Star Trek: Nemesis (2002)

More interesting for the casting choices rather than the strength of the screenplay, plot and themes, Nemesis (2002) was unfortunately a box office failure. It isn’t surprising though as Stuart Baird was arguably not the right director for the franchise, as the film is helmed like a generic action film without the essence of true Next Generation style. Having said that I quite liked the concept of Picard facing Shinzon (Tom Hardy), an enigmatic character who knows a lot about the Enterprise captain. Despite some energetic set-pieces Nemesis (2002) doesn’t quite catch fire dramatically, but Stewart pitting his acting chops against a very young, Tom Hardy, provides some frisson of excitement. Mostly though this could be any bog-standard sci-fi story and is a disappointing final TNG cinematic salvo.

Mark 6.5 out of 11

Cinema, New Releases, Reviews

CINEMA REVIEW: LICORICE PIZZA (2021)

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CINEMA REVIEW: LICORICE PIZZA (2021)

Written and Directed by: Paul Thomas Anderson

Produced by: Sara Murphy, Adam Somner, Paul Thomas Anderson

Cast: Alana Haim, Cooper Hoffman, Sean Penn, Tom Waits, Bradley Cooper, Benny Safdie etc.

Cinematography: Michael Bauman and Paul Thomas Anderson

Edited by Andy Jurgensen

*** MAY CONTAIN SPOILERS ***

Any film from Paul Thomas Anderson will certainly receive high critical praise and Licorice Pizza (2021) is certainly no different. Not only do I think this is his most over-rated film. I don’t even think it is a good one. Not for any technical reasons. Because as usual Anderson’s filmic skills as a director, the scintillating cinematographic style, the evocative rendition of early 1970’s Californian suburbs, plus two star-making turns within a formidable cast, ensure Licorice Pizza (2021) is deservedly going to win many plaudits. But I just did not get the story about pretty much nothing and did not connect with the lead romance.

Set in 1973, Licorice Pizza (2021), is part slice-of-life period drama and part character comedy, with a spine consisting of an odd romance between entrepreneurial fifteen-year-old, Gary Valentine (Cooper Hoffman) and twenty-five-year-old, Alana Kane (Alana Haim). While containing many brilliantly directed scenes, the film is a hot mess of indulgent rooting through Paul Thomas Anderson’s historical research and anecdotal events inspired by real-life film producer, Gary Goetzman.

Being asked to root for a relationship which is dubious on the surface and extremely complex to say the least is not beyond me. But Licorice Pizza (2021) doesn’t address the age difference, aside from a couple of moments in the script. I know Cooper Valentine is an old head on young shoulders, but why Alana doesn’t hang out with people her own age was weird for me. I’m not being politically correct or a prude, but is Anderson asking for us to root for what could end up being statutory rape. Am I over-thinking this? Well, all I can say is it impacted my emotions of a major aspect of the story.

Licorice Pizza‘s (2021) worst crime is it’s virtually plotless and I could not identify with the characters. I liked Gary to a certain extent as he ducks and dives to make a living, but what was at stake? Nothing really. Yeah, I get it is art but I found Anderson’s vision boring. Sure, the actors are great, especially the effervescent Alana Haim. Virtual cameos from Sean Penn, Bradley Cooper and Tom Waits failed for me though, with Cooper’s coke-addled and womanising impression of Jon Peters about as funny as an enema. Of course, the cinematography, period design, soundtrack and costumes are exquisitely presented, but they exist in an emotional vacuum. Finally, Licorice Pizza (2021) made me want to watch Paul Thomas Anderson’s previous 1970s masterpiece, Boogie Nights (1997). Now, that film deserved all the critical praise that came its way.

Mark: 6 out of 11

Amazon Prime, Cinema, Netflix, Reviews

THE CINEMA FIX PRESENTS: 10 FAVOURITE FILMS OF 2021!

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THE CINEMA FIX PRESENTS: 10 FAVOURITE FILMS OF 2021!

Following on from the extremely tricky global issues of 2020, the cinema saw further transitions amidst lockdowns and the rise of even more streaming platforms. Traditional timetables for film releases remain all over the place due to the effects of the pandemic on our culture. Plus, big budget productions are now going straight to the living room more often than not. Especially if the proposed cinema release date is postponed on several occasions. What studios lose in terms of cinema release profits, they are now looking to claw back with reduced marketing budgets and subscriptions to their own respective channels.

In the past my favourite film of the year lists were all films I saw at the cinema. Now they are a mixture of cinema and online releases. There is some overlap too in the given year when I watched such films due to the scheduling changes. I’m really not a fan of this as I don’t like change to routine as a rule. But if it means I still get to see my favourite films online or at the cinema then it’s hardly a trial or major issue to adjust.

List Notes

  1. There are LOADS of films I have NOT SEEN! Please comment below MUST-SEE films not on the list.
  2. The Bond film is not on here. It was fantastic entertainment, but NOT a good Bond movie.
  3. There are no MARVEL/DC films on the list as I have not watched them all. Plus, I have superhero film formula fatigue.
  4. Nomadland (2020), while good, was completely over-rated.
  5. White Tiger (2021) would be on this list, but I only watched it yesterday. So, it qualifies for assessment in 2022.

For comparison here is my list of favourite films in 2020. A starter if you will, before the main cinematic course.

Happy New Year – have a great 2022!

TWELVE FAVOURITE FILMS of 2020!

1917 (2019)
DARK WATERS (2019)
DA 5 BLOODS (2020)
I’M THINKING OF ENDING THINGS (2020)
THE INVISIBLE MAN (2020)
MANGROVE (2020)
PARASITE (2019)
PORTRAIT OF A LADY ON FIRE (2019)
SAINT MAUD (2019)
TENET (2020)
THE TRIAL OF THE CHICAGO SEVEN (2020)
UNCUT GEMS (2019)

TEN FAVOURITE FILMS of 2021!

ANOTHER ROUND (2020)

“… with Thomas Vinterberg’s expert direction, evocative natural cinematography, and Mads Mikkelsen giving yet another acting masterclass, the humorous narrative soon leaves the laughs behind to become a bittersweet, yet still uplifting, work of Nordic cinema.”

THE GREEN KNIGHT (2021)

“… David Lowery is an original thinking talent, and someone I categorise as an alternative genre filmmaker… The Green Knight (2021) certainly has scale and magic and astounding cinematic power.”

LAST NIGHT IN SOHO (2021)

“… Edgar Wright has delivered one of the most thrilling and spectacularly energetic films of the year. The nostalgic and heavenly soundtrack is to die for, with so many songs I recall growing up listening to. Likewise, the cinematography and lighting design sparkle in hues of black, fluorescence, shadow and neon.”

MA RAINEY’S BLACK BOTTOM (2020)

“… Levee Green does not see the bigger picture and is sucked in by the promise of money, women and fame. He is blinded by the bright city lights and the closer he gets to them the easier it is for the record producers to pick his pocket. In such a tragic character August Wilson has created a memorably complex persona, perfectly rendered by the acting genius, Chadwick Boseman. R.I.P.”

MINARI (2020)

“… the scenes where David antagonises his unconventional grandmother are hilarious. Youn Yuh-jung as the elderly matriarch is fantastic, deservedly winning a best supporting actress role at the Oscars. Moreover, Lee Isaac Chung gets a miraculous performance from child actor, Alan Kim.”

PIECES OF A WOMAN (2020)

“… The loss of a child is never going to be an easy experience and it is something an individual will never get over. As I followed Martha’s journey intensely the smallest incremental shift in her personality is felt massively. Vanessa Kirby, in particular, is stunning as a woman cut-off from the world by this devastating grief.”

THE POWER OF THE DOG (2021)

“… I’m not always a fan of poetic cinema, especially within a narrative presented as a quasi-Western. Mostly I like to be punched in the gut, not branded slowly from the inside out. Yet Jane Campion’s expert adaptation of Thomas Savage’s novel, The Power of the Dog (2021), contains some bite. You just don’t see when and how it happens.” 

THE RENTAL (2020)

“… I’ve seen some so-so reviews for The Rental (2020), but it’s the kind of tightly plotted suspense thriller I really thrive on. What starts as an idyllic getaway for two relatively wealthy couples is carefully unravelled by Dave Franco’s well-paced direction, complimented by Brie and Steven’s committed performances, has wonderful locations and a seriously proper killer ending.”

SOUND OF METAL (2019)

“… Sound of Metal (2019) beats along steadily but with incredible purpose and rhythm. It teaches us that losing a major sense need not be the end of one’s life, but rather the beginning of an altogether different one.”

WEST SIDE STORY (2021)

“… Everything about the film screams colour, energy and movement. The dancing and editing and swinging beats take you on a breathless journey through the romance and street war. West Side Story (2021) keeps all the memorably catchy songs… and if there is a better directed, choreographed and edited set-piece all year in the Gee, Officer Krupke number then I haven’t seen it.“

Cinema, New Releases, Oscar Bingo, Reviews

CINEMA REVIEW: WEST SIDE STORY (2021)

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CINEMA REVIEW: WEST SIDE STORY (2021)

Directed by: Steven Spielberg

Screenplay by: Tony Kushner

Based on: West Side Story by Jerome Robbins, Leonard Bernstein, Stephen Sondheim and Arthur Laurents

Produced by: Steven Spielberg, Kristie Macosko Krieger, Kevin McCollum

Cast: Ansel Elgort, Ariana DeBose, David Alvarez, Mike Faist, Rita Moreno, Rachel Zegler etc.

Cinematography: Janusz Kamiński

Choreography: Justin Peck

Music by: Leonard Bernstein

*INEVITABLE SPOILERS WITH THIS STORY*

Well, if you removed all the songs and added more dialogue to West Side Story (2021), then I guarantee it would make an amazing stage play. Oh, it has already. I thought it felt extremely familiar. Silly jokes aside, one often hears the decrying of originality in Hollywood cinema. Sequels, prequels, remakes, adaptations and reboots are plentiful as big business. Known quantities are a better bet to executives than original never-heard-of speculative screenplays. And not everyone is averse to re-doing fully developed properties. Thus, one of the most talented filmmakers of a generation, Steven Spielberg, has delivered a stunning remake of a film adaptation of a stage musical that was developed from William Shakespeare’s Romeo and Juliet.

You know the story. If you don’t, stop reading. Young star-crossed lovers fall in love against their families wishes. Their romance explodes into unbridled passion as war escalates between the two rival factions. As the lovers attempt to find a way to be together the conflict brings about eventual tragedy. Shakespeare was a genius and knew how to structure and spin a yarn. No surprise his works have been adapted infinitely to much success. One of the greatest was the musical West Side Story (1961). Exchanging Verona for New York and pitting the Puerto Rican Sharks against the local firm, the Jets, the play and film contain some of the most incredible numbers ever sang and danced to. The original play won awards and broke box-office records. The film West Side Story (1961) deservedly won many Oscars. It is considered almost a perfect musical. How could it be improved?

West Side Story (2021) cannot possibly be classed as better than the original because Jerome Robbins, Arthur Laurent, Leonard Bernstein and Stephen Sondheim, plus their incredible team, had already done all of the challenging work crafting the production. But with this new version Steven Spielberg has once again proved he is one of the great genre directors. Assembling an ultra-talented team including Josh Peck as choreographer, Tony Kushner as screenwriter, Janusz Kaminski as cinematographer and an effervescently wonderful cast.

Everything about the film screams colour, energy and movement. The dancing and editing and swinging beats take you on a breathless journey through the romance and street war. Tony (Ansel Elgort) and Maria’s (Rachel Zegler) love story is bounced effortlessly between the expertly devised gang battles. Moreover, West Side Story (2021) keeps all the memorably catchy songs such as: Maria, Tonight, America, Cool, and Somewhere, capturing the heart and imagination in equal measure. If there is a better directed, choreographed and edited set-piece all year in the Gee, Officer Krupke number then I haven’t seen it.

The cast are uniformly excellent with Ansel Elgort, while lacking slightly in the vocal department, more than making up for it with his magnetic screen presence. Rachel Zegler is charming if bland as Maria, but Ariana DeBose absolutely steals the scenes with her all-round performance as fiery Anita. The cast all deliver Tony Kushner’s excellent dialogue and the iconic songs with aplomb. Lastly, West Side Story (2021) is an absolute tour-de-force as cinematic entertainment. However, there is a sense that it is a missed opportunity for Steven Spielberg and his team to perhaps update the themes for the modern day. Kushner’s script hints at some analysis of racism that ultimately only scratches the surface. Spielberg is satisfied emulating a classic adaptation of a classic play, remaining trapped in a shiny post-modern time-warp full to the brim with powerful nostalgia.

Mark: 9 out of 11