James_Take2 Reviews

FBI (2018– )

Flashy but one dimensional

[6/10 · 18 February 2024]

According to this show, the FBI is full of really good looking people who are all smart mouthed individuals who all try and show each other how intelligent they are at solving crimes to save the world.

The SFX and cinematography, direction and production levels are high, but as a drama it is way too formulaic and after a few episodes it is hard to have any empathy with the characters who just reel off loads of information without any feeling, thought or deliberation.

Columbo and Kojak were great because they were human. They solved the problems using human instincts, skill, personal qualities and thought. The characters in this series just shout facts and rules at each other and they all seem to process everything super quick without question or thought. At times you'd think they were just reading the script like a telephone directory.

Overall watchable if you like special effects and dumbed down drama full of empty dialogue. It also comes across as quite stupid at times. Like when they are going to spring a surprise raid on a bomber - yet they are all wearing jackets with FBI in big yellow letters emblazoned on the back and front. Talk about lack of surprise. If you were a criminal you'd see them a mile away.

It's all a bit pretentious and grows tedious quite quickly. There are loads of much better crime box sets out there, to view than this over glossy cliched corn.

A Time to Kill (1996)

Could have been special

[6/10 · 12 June 2023]

This is very much a 90s movie with a low sense of reality and a lot of Hollywood sugar coating. It's a shame it was ruined by miscasting McConaughey as the hot shot lawyer. He's unconvincing and mumbles his way through the script with obnoxious smugness.

The other actors put in a sterling job, Samuel L Jackson, Sandra Bullock and Kevin Spacey were all good and the premise of the movie and its characters flowed well.

The cinematography was first class and it felt like a blockbuster, like a big movie deserving of the big messages (racism, justice) behind it.

Where it went wrong was in the nonsense scenes such as McConaughey becoming an impulsive action man. What smart lawyer charges into a riot scene to start punching everything that moves? In another scene, McConaughey entraps a bomber and then beats him for information - is this typical legal procedure for US lawyers?

If that wasn't bad enough his courtroom questions were laughable. His first question to one of the victim's mothers was "In the 23 years you've known your son, how many children has he kidnapped and raped?" We are supposed to believe he's a lawyer and he opens with that question. Even when he put glasses on to try and look intellectual, he simply was not believable as a criminal defence lawyer.

In summary quite entertaining, some good set pieces, decent plot/script but ruined by McConaughey's hammy muffling acting and some very silly scenes. Some other parts of the movie that were designed to be the emotional scenes were also a bit sugary to try and force emotion.

A six out of ten for the cinematography and decent performances by the supporting cast, but this was a missed opportunity.

Comfort and Joy (1984)

Melts slowly away into the mundane

[6/10 · 8 March 2023]

Comfort and Joy had all the ingredients to be a true British classic. Fine actors, good director and the backdrop of 1980s Glasgow - a city in transition where a real ice-cream van territorial war (involving drug gangs) was escalating during the depths of Thatcherism.

Being a resident in Glasgow at the time and witnessing the devastation of Thatcherism on my home city, that included, high unemployment, low economic growth combined with the break up of communities - as inner city slums were being demolished and extended peripheral housing estates were growing - there was a formidable background to work with and make a film of true social comment. Instead Forsyth indulged in whimsy with a script that one might have come from the basement floor of the then derelict Ealing Studios.

With the material available, this could have been a very different film in the hands of say directors such as Ken Loach or John McKenzie. However the script is pretty lame, though it has some witty moments it lacks real punch.

In the lead role, Bill Paterson as savvy DJ Alan "Dickie" Bird carries the movie. His performance is a pre-curser to his excellent acting as gangster Ally Fraser in the TV series Auf Wiedersehen Pet some three years later.

The premise of the film is, DJ Dickie Bird gets caught up in an ice cream turf war and acts as mediator between the two gangs to bring about a peaceful workable solution.

In terms cinematography, its filmed quite well, some of the scenes are in exact locations where I grew up and Forsyth uses the camera to effectively capture the atmosphere of the time and place. However it's the plot and script that disappoint and leave one thinking what might have been had the comedy been darker and the plot more realistic.

In the end, just like ice cream and a City undergoing massive changes, Comfort and Joy simply melts aways into the mundane but the film might be remembered as a a marker for Paterson's progress as an leading actor and for those who might want to see Glasgow through Forsyth's lens in the grip of Thatcherism.

Glass Onion (2022)

Tries to be too clever for its own good

[5/10 · 14 January 2023]

Clearly a lot of budget went behind this sequel to the very successful, Knives Out, but as a plot it sags badly. It also tends to fail the textbook "show don't tell" rule of screenwriting. There's too much talking to explain the plot and just what is going on. The flashback sequence could have been handled a lot better and could have been shorter.

The cast is good, but sadly the overall acting does not hit the mark. It's all a bit pretentious and Daniel Craig in particular is quite wooden.

On the plus side, it's well made, high production values, great sets and it has some quite funny moments/lines.

Overall, I doubt that history will be kind to this movie and I'll be surprised if there's a third movie after this overblown but shallow effort.

The Brave One (2007)

Cracking revenge thriller

[7/10 · 22 December 2022]

It was the longest day of the year. Midsummer night's dreams of delights and demons, twisting turning until my sheets lay on the floor, damp from sweat. The distant sirens of central London waved through my opened windows to wake me. It was 2.05am. I was restless. I got up and made a cup of tea (black no sugar), went into the living room and switched on the TV. After a bit of channel-hopping I came across Sky Action Movies. I saw The Brave One title come up. Normally I'd give unrecognisable titles a miss, but then I pressed the i button for Info - "Jodie Foster plays vigilante in this Neil Jordan thriller".

I decided to give it a chance and the entertainment commenced. Rarely have I stayed up through the night to watch a movie, but this one was well worth it.

Despite what the critics say, one can identify with Foster's character Erica Bain. She's had her pretty nice life cruelly ripped apart by three mindless thugs. Gone are her fiance, her dog, her confidence, her loving tenderness and her morals. Well, not completely. She's still got her radio presenter's job which is cleverly weaved into the plot and for the next ninety minutes we see inside Erica Bain's mind as she wrestles wholeheartedly with her conscience through the tools of her job - a radio script. She's on a moral roller coaster. She knows what she is doing is wrong, but is compelled to react to situations - and boy does she react in some well orchestrated set pieces.

We are talking point blank bullets taking out some real nasty pieces of work. Throughout the movie, one can't help rooting for her and at the same time empathizing with her loss of love and conscience crisis.

Terence Howard's Detective Mercer is perfect foil for Foster's vigilante. Where Erica Bain is an instinctive lethal weapon, Mercer is the calm methodical pillar that is slowly piecing it all together. If Foster is like Charles Bronson with a heavy heart then Howard is as close to Henry Fonda in his performance of cop with the utmost integrity. It's a fine contrast between the two leads and their scenes together work superbly well.

Neil Jordan's direction is also something of note. Here we see the sure hand of a professional in his peak years, evidenced by excellent use of locations, terrific pace, some clever transitions and economic use of effects. Yes there's brutality and gore going on, but it's contained and thus leaves a lot to the imagination.

The script does have some corny moments which is a pity. I sometimes wish I could sit down with directors and be a script consultant as so many movies are ruined with one or two lines. The Brave One though is not that bad but there are a few lines that jar, for example when Erica pulls a gun on a bad guy and declares "I want my dog back" It just didn't fit. There are one or two more brief moments of dialogue that seem to be more Arnold Schwarzenegger than Jodie Foster. But don't let it ruin the experience this is a great thriller.

And so it's 62 minutes since this film ended - 5.48 am. Outside all I can hear are the birds whistling, the wood pigeons coos come through the windows now instead of the sirens. The morning has broken and another fine film is in the hard drive in my head, if not yet in my DVD collection.

Enjoy The Brave One.

The Palm Beach Story (1942)

One for screwball comedy fans

[6/10 · 4 February 2022]

The Palm Beach Story was made during the Hollywood golden era and at the time it would have undoubtedly have been considered risque and funny. Sadly time hasn't been kind to this movie with its thin plot, over the top characters, unlikely and silly scenarios and an ending that is just too neat and sweet.

Like most screwball comedies there's way too much dialogue and unnecessary noise as everyone appears to be trying too hard to be funny. With better timing and more crafted pace a lot of the humour could perhaps stand up today, but it's all too rapid-fire as though memorized directly from the previous night's script reading. It all makes for an unnatural feel and it becomes easy to lose interest in the characters.

The premise of the story is a wife wants to divorce her husband (an inventor) so she can then marry a rich man and then send her divorced husband the money to fund his inventions. In today's world it is obscene to think the only way a woman can get wealthy is by marrying some old rich guy. Even worse to think she's only doing it because her husband can't find any funding. The prospect belittles both the women's dignity and the man's acumen and it doesn't make for great humour.

In travelling to Palm Beach the wife so happens to meet one of the richest and most eligible bachelors in the world - far fetched doesn't even begin to describe it. On the same train a hunting group (of old men) decide to sing a lullaby to the young wife whilst sitting on her bed in her cabin - a bit odd and creepy. Then shortly afterwards the same old men get drunk, have a shooting game and start blasting shotguns all over the catering carriage. It's not funny, but unrealistic and just plain stupid.

The Palm Beach Story has dated badly and there's very little outstanding about it. The acting, directing, plot and script are all fairly average, so it's a surprise it rates so highly on many film sites. This is definitely one for screwball comedy fans only.

In the Line of Fire (1993)

Slick Thriller from a Halcyon Era

[8/10 · 3 February 2022]

If "In The Line Of Fire" had been made in the 1960s, 70s or 80s it would likely have won a few Academy Awards.

From stellar cast to production crew, all are at the top of their game in this action thriller that keeps the engagement levels high throughout.

It is often a forgotten movie perhaps because it was made in the 90s - a golden decade for action movies and blockbusters.

The plot is essentially a cat and mouse game between a Secret Service Agent Frank Corrigan (Clint Eastwood) and a psychotic but calculating assassin, Mitch Leary played by John Malkovich.

Both leading actors deliver believable performances and bring their own unique styles to the characters. The script has some memorable lines and great wit interlaced in a fast paced plot.

As a viewing experience, In The Line Of Fire oozes class and has the feel and look of a big movie. From the use of famous locations and landmarks (in particular in Washington DC) through to the brilliant set pieces that would have done Alfred Hitchcock proud. The rooftop chase is edge of your seat thrills.

Eastwood's character seems straightforward. A loyal but ageing agent looking to redeem himself in his one last shot at "the big job" (protecting the President). However he is multifaceted. He's also a jazz lover, he plays piano, he's reactive, witty, temperamental and on the lookout for new romance in his late 50s as he flirts with fellow agent Rene Russo - who plays hard to get.

Malkovich's character conversely appears deeply complex, yet is quite simplistic. His mission in life is to kill the President and in doing so he wants to humiliate and outwit the Secret Service by highlighting their incompetence. And so begins the game of cat and mouse.

The pace, power, performances and visual feast of In The Line Of Fire make this a very watchable and enjoyable thriller that certainly belongs in, and indeed complements the Clint Eastwood canon of great cinema.

The Eagle Has Landed (1976)

Great cast, dodgy plot and some major character flaws

[6/10 · 12 January 2022]

With a stellar cast and crew, this film could have and perhaps should have been a true classic war movie, but it is let down by some silly errors in the continuity of the plot and inconsistency of characters.

The devil is in the detail and it's the detail that lets down this novel adaptation.

The characters behave incredibly stupid at times to the point where one might think it's been played for farce or satire.

Let's start with the Germans, Michael Caine is just not plausible as the Nazi war hero, who is also a Jewish sympathiser come leader of a band of paratroopers setting out to carry out a huge coup in the UK but in such secrecy that even Hitler doesn't know about it.

Then there's Donald Sutherland who plays the IRA hitman quite well in terms of the accent and mannerisms, but does a lot of very stupid things for a mercenary supposedly operating undercover. Sutherland looks like he's playing it for laughs most of the time and it's strange that not one person mistrusted him at a time when the British and Irish were effectively still at war with each other.

Without going through the whole cast, there's some serious miscasting in this film with Larry Hagman as an eccentric US Colonel who also does some really stupid things that border farcical.

On the plus side, Treat Williams as the US Captain, Donald Pleasance as Himmler and Robert Duval as the German Colonel do put in decent performances.

The plot starts slow but after the first hour or so it does gather pace and there are some good action scenes in excellent Norfolk locations. The overall production values aren't bad but this movie is not as cinematic as some other war movies such as Kelly's Heroes, Dirty Dozen and Where Eagles Dare. At times, it feels a bit like a 70s BBC TV drama.

The book is no doubt a good read and gripping novel as the ending has a great twist, but the film overall has too many character and storyline flaws to do it real justice.

Puzzle (II) (2018)

An understated but fine drama

[8/10 · 11 January 2022]

Watching this movie took me back to the last century when films were mostly all about story and character development and not devised to smash our senses with special effects, loud music and predictable over the top plots.

This well crafted piece is a joy to watch and provides the perfect platform for some superb acting all round, especially by Scots actor, Kelly McDonald (Agnes) who plays the lonely, frustrated and subservient housewife. Her performance (including very accurate NE USA accent) is one of great subtlety often conveying thoughts through her forlorn eyes and faint smiles. The story is centred around Agnes' escape from her discontented life in the face of her husband (Louie) - who, though a loyal fairly decent man is beyond being stuck in his ways as he settles for mid-life drudgery with his worst crime being that he takes his hardworking wife for granted.

Despite her fairly insular and mundane existence, Agnes' brain is sharp and she maintains it by doing jigsaw puzzles in her spare time. Her curious mind drives her to explore new horizons via her puzzle pastime, as she ventures into the big smoke with dual purpose, to visit her ailing, elderly Aunt and to shop for new jigsaw puzzles. This pursuit leads her down an existential crossroads.

Look out for some clever touches and devices in the development of the storyline as the characters change at different paces and in different directions.

The cinematography captures New York and its suburbs in crisp autumnal tones. Puzzle is not a glossy film about up state New York life but a down to earth true life drama about very plausible people in real situations. The interior sets create great contrast - the suburban house appearing dark and claustrophobic to convey Agnes' trapped environment whilst the other properties (she visits in NYC) are light and spacious to highlight openness, freedom and hope.

The film's title is "Puzzle" and though the drama is not exactly a puzzle, it is intriguing and does show how life itself can be a puzzle caused by events that are almost meant to be.

If you like meaningful films, this understated drama is definitely worth watching.

The Apartment (1960)

One of the darkest and best comedies ever

[9/10 · 9 December 2021]

The Apartment is one of those films that still feels fresh no matter how many viewings.

The film is basically a comedy about the lengths someone will go to get up the slippery corporate ladder and how love and lust can prevail in various forms and rule and ruin lives.

Jack Lemmon puts in a fine performance as CC Baxter, a lowly but ambitious clerk who's Apartment is a precious commodity for his senior managers.

There are some superb Wilder touches in this black comedy with a brilliant screenplay (written by Wilder and I. A. L. Diamond) that strays from farce to dark despair and all the while laced with sharp wit.

Worth noting the fine acting by the support cast and co-stars Fred McMurray as the sharp boss and Shirley McLaine as the "unattainable" sweet lift attendant who sparkles throughout.

A must watch movie not just for Wilder, Lemmon fans but for movie fans, it remains a bona fide all time classic.

Sunset Boulevard (1950)

Yet another Wilder classic

[9/10 · 9 December 2021]

Put a great story, script and cast in the hands of one of cinema's greatest ever directors and it really can't fail.

This is arguably the greatest ever movie about Hollywood, but it doesn't pull its punches and shows the unsavoury side of the movies business.

Gloria Swanson is superb as the ageing, bitter and delusional actress who is waiting for that big "return" to stardom. The plot and script reflect her true life story and there are references to her career in the film bringing even more realism to this human drama.

Swanson shines brightest but the performance of William Holden as the struggling desperate writer was Oscar worthy - even though he didn't win he was nominated. Holden's unusual narrative during the film adds a clever and beautiful touch of surrealness to the stark reality.

Lookout for quite a few classic Hollywood cameos, references and lines that weaves more fun to this darkest of comedy/dramas which is shot in black and white in classic noir style.

One of the most famous lines in the film belongs to Swanson as fading star Norma Desmond, who with ego-maniacal stare declares "I am big...it was the pictures that got small", a reference to movies going onto TV.

With each viewing this picture seems to get bigger making all that's come after it, look small. It's a truly great Hollywood tale with memorable characters and with the bonus of some real life movie legends playing themselves in yet another Billy Wilder classic.

Beat the Devil (1953)

An enjoyable romp from class acts

[7/10 · 20 November 2021]

Any film starring Bogart and directed by Huston will always be measured against the masterpieces these giants gave to cinema. So when watching Beat the Devil it is worth considering the almost impossible expectations it has to live to.

With a stellar supporting cast (all at their peak) that included Jennifer Jones, Gina Lollobrigida and Huston/Bogart stock favourites, Lorre and Morley, plus a screenplay co-written by Truman Capote all set in glorious southern Italy and it all points to film classic. Though it does fall short of classic status this movie is still a very enjoyable romp with class actors having fun in the sun and at sea.

In it's own right, it is a much better film than many give it credit for. Extremely watchable and with a decent plot and colourful characters delivering a witty script. This is a movie worth watching when looking for a comforting, entertaining, pacey comedy that hits a lot of fine notes.

Worth noting that though made in black and white, there is now also a colourised version which breathes a whole new life into the movie. It's one of the few old black and white films that clearly benefits from colourisation.

Enjoy the sheer fun and escapism of Beat the Devil.

Café Society (2016)

Oozes class but has fatal flaws

[5/10 · 9 November 2021]

As a spectacle this movie has some amazing sets that truly take the viewer back to the glorious 1930s with sumptuous art deco interiors, colourful and classy costumes combined with some classy swirling jazz notes dancing through the air. Yes the movie does transcend the viewer to an era that sparkled for the rich, famous and notorious, but for all that, this movie is deeply flawed.

The lead male character is dreadfully miscast and unconvincing The plot is in the "so what" file and the script is annoyingly interspersed with Director Woody Allen's narration telling us what is going on - as though we can't see it for ourselves. All that and truly some unbelievable characters in far fetched situations. The three brothers look and act so different from each other that it's hard to believe they are related. The parents scenes are like something from a 50s sitcom with sporadic humour that perhaps only Allen would find funny, but I suspect most would struggle to find it mildly entertaining.

This film is worth watching as it does have some interesting moments and exceptional sets, but generally it's a disappointing effort by a waning and self-indulgent director.

Knock on Any Door (1949)

Bogart class in dated courtroom drama

[6/10 · 31 October 2021]

A film for Bogart aficionados as this great actor once again oozes class as the tough but empathetic lawyer.

The film though doesn't hit the same mark. The script is fairly weak and dated. Similarly the plot is tenuous and as a movie it hangs together as a romantic drama to coming of age drama, to crime drama with noir touches to retrospective character study of a juvenile delinquent turned criminal and finally all under "courtroom drama". It tries to hard to be too many things and doesn't really do justice to any of them - only Bogart and McCready's performances save this movie from being destined to the "forgettable bin".

The pace and direction is generally good and though it was Nicholas Ray's second film, his cinematography and style (using noir tones and angles) is a clear forerunner of his classic noir films including In a Lonely Place (again with Bogart) and On Dangerous Ground.

And so to John Derek, he definitely had the pretty boy looks for the "Pretty Boy Romano" role but his acting is lame and isn't believable - no matter how much Bogart and McCready (who incidentally puts in a solid performance as the DA) try to drag him up to their standard.

All in all, a reasonably interesting and engaging watch despite the flaws. Had Ray cast a better actor than Derek (e.g. Clift, Garfield or Curtis) and developed a more robust plot and less cliched script, this could have been up there as yet another classic in the Bogart canon.

Yellow Sky (1948)

A minor classic western

[8/10 · 28 September 2021]

Not one of the most well known westerns but this is a mini-classic of the genre and one I'd recommend all western fans watch if they've never seen it.

Stellar cast, pacy plot, wonderful locations, sharp direction/editing and superb cinematography make this a pretty memorable western.

Peck plays the main character and for a change he's on the wrong side of the law as he leads a gang of outlaws (on the run) into the desert where drops of water are worth more than money can buy.

It goes from a survival course to action western come romantic drama as the gang stumble upon a young woman and her grandfather living in an oasis. What follows is a tale of lust, greed, betrayal, romance and redemption.

Great starring roles for Gregory Peck and feisty Anne Baxter, well supported by Richard Widmark and Harry Morgan in this hidden gem of a western.

Separate Tables (1958)

A real gem that beautifully captures time and place

[9/10 · 25 July 2021]

Why this movie isn't more widely shown on TV is a real mystery. It has a stellar cast, a great script, terrific characters, excellent setting and pin sharp (black and white) cinematography. In addition, considering the limitations of the plot (it is set entirely around a hotel), the film has assured direction and fine editing to ensure the viewer is taken to different scenes and atmospheres during a steadily paced 100 minutes of well layered drama.

Above all are the performances that turn this highly successful stage play into a cinematic gem. Hollywood's hot "imports" are approaching their peaks, in the form of a young rising Burt Lancaster and a stunning yet very serious, even devious Rita Hayworth.

But it's the British who steal the show, with Deborah Kerr playing completely against type as the repressed and sheltered young woman who struggles to escape the miserable tight control of her domineering and snobbish mother, played wonderfully by Gladys Cooper.

The star of the film and deserving of his Academy Award is David Niven who delivers a truly career best performance. Niven is perfect in the role of the dodgy ex-army officer who as well as being economical with his personnel background facts, has a penchant for "impropriety" with the female species in his desperate and forlorn search to be loved and to share his own feelings.

Look out too for a few solid character actors (Rod Taylor, Wendy Hiller and May Hallat) who are much more than mere partners to the ornate Victorian furniture that splendidly fills the background and adds to the dramatic ambiance. The cast is perfect and make the characters wholly believable, bringing Terence Rattigan's script not just to life but to bona fide classic status.

The movie is greater than the sum of its parts, it leads us into a time capsule that shows life as it was in post-war Britain. In contrast with today's 21st century life, it is clear how we as humans have changed quite dramatically, morally and emotionally and all in a relatively short space of time.

Made in an era when innocence, imposed morals and often misplaced values, were starting to escape western society with the swinging 60s on the horizon, Separate Tables beautifully captures a time and place that needs to be visited every so often to remind us of where we've came from and hopefully the viewing experience can help us in the journey ahead.

Being There (1979)

Not quite as great as it could have been

[7/10 · 14 July 2021]

Being There ticks a lot of boxes. It's a good film, very good in parts but over the decades it has gathered a lot of sentiment and cult status that has elevated it beyond what it actually is - a sequence of humourous misunderstandings.

The premise of the film makes it engaging, in that you want to know how things turn out for the simple minded Chance the gardener. However the movie sags a little in its 2 hours due to the predictable one dimensional plot with most scenes ending with the gormless expression of the leading character. This is where Sellers genius could have been more utilized. For example, throughout the film he is seen copying actions and behaviour from people on TV, just imagine how good this movie could have been if he'd gone further by say mimicking voices and accents - which copiers tend to do. Sellers was of course one of cinema's greatest mimics.

There is more than a touch of Stan Laurel in Sellers performance and he is convincing but there was a lot of scope to develop the character which never materialised leaving a sense of unfulfillment.

Despite the underdevelopment of character, it is still an enjoyable watch and interesting.

One footnote, the US Government, media and corporate leaders in the film are fooled which at the time of the film would have been more amusing than it is today. Given recent history with leaders etc, people are no longer surprised or amused that fools are in powerful positions. In that sense, Being There is like being here, right now.

Tinker Tailor Soldier Spy (1979)

Hasn't aged well

[6/10 · 26 June 2021]

An engaging TV mini-series but poor quality in terms of production values, sound, cinematography and location. Surprisingly poor when one thinks it was a BBC production.

The acting is good considering the script is dated and the characters generally are quite wooden/one dimensional. The plot is laboured and it's hard to care deeply about the characters.

All that said, if you like spy stories (I do) it is worth watching. When it was made, the communist threat/cold war was still relevant. Today it's not the case, many other issues have taken priority and as a result it hasn't aged well.

Guinness was made for the role of Smiley though it is not by any means his best work. You get the feeling Guinness is so good in this role because he is close to playing himself. Still he does a pretty good job of carrying the whole series given its sub-standard script and production values.

Overall I gave it six out of ten because it does engage the viewer despite the slow pace and below par production quality. I did find it a bit predictable half way through but still enjoyed it as the plot unfolded.

I started watching the film starring John Hurt and Gary Oldman, but gave up after 30 minutes. I will give it another shot and compare it with the TV series.

East of Eden (1955)

A movie that does the book no justice whatsoever

[4/10 · 31 August 2013]

Giving this film a four out of ten really stretched my generosity to its fullest. In brief, this is an inferior and flawed film in so many ways that does no justice to one of the greatest novels ever.

The acting is average, the script corny, the cinematography/direction is quite good (as one would expect of Kazan - though it's his worst effort), the soundtrack is forgettable, the character development is weak and the delivery of the storyline/plot is too literal, too basic and too contrived. All combined it is a very unrealistic, inaccurate and fairly distorted version of the Steinbeck classic. The novel is full of landmark set pieces that landmark the plot, the movies has strangely ignored them and tries and fails to create it's own plot catalysts.

The truth is, this film is a vehicle built for James Dean who plays Cal Trask - a teenager with profound angst - which co-incidentally fitted Dean's image at the time. The book on the other hand is a true masterpiece, telling the epic tale of Adam Trask (played by Daniel Massey)and how his fractured relationships destroyed him piece by piece.

If the book is a Taj Mahal of literature, then the film is a garden shed of movies.

Read the book if you want a thought provoking and truly rich experience. Watch the film only if you are a James Dean fan and you enjoy his efforts at trying to be Marlon Brando.

Bad Day at Black Rock (1955)

Spencer's finest 90 minutes on film.

[9/10 · 22 January 2012]

A fine tale of mystery, intrigue and morality, superbly directed by the great John Sturges.

Spencer Tracy plays John McCreedy a one armed stranger who comes to town of Black Rock looking for a place called Adobe Flat and a Japanese man called Komoko. Problem is he finds that Black Rock is one of the forgotten towns of the old west where the inhabitants are resentful of strangers and reluctant to help because they've got a dark dirty past to hide and are in collusion to keep it firmly a secret.

The movie is set just after WW2 and the town has an unfriendliness (racist attitude)towards the Japanese after the Pearl Harbour attack and it seems Komoko disappeared from Black Rock not long after the US-Japanese war broke out.

So it's up to one armed stranger McCreedy to find out what happened to him and why. However the other mystery is why McCreedy is there to investigate? No one knows and McCreedy is not going to broadcast it. He's not a cop or private detective but before the end we discover why he's come from the other side of the US to find this Japanese man.

The real greatness of this movie is in the ambiance created by the director. You can believe that Black Rock and it's nasty residents exist. The bad guys who created more than one bad day at Black Rock are part of the line up that became Peckinpah's Wild Bunch, they're a grizzly crew.

First up there's Ernest Borgnine as the lumbering wild eyed, crazy Coley who declares himself "I'm half horse and half alligator, mess with me and I'll kick a lung outa ya"

Coley is however the less dangerous one of the three major heavies, enter Lee Marvin playing a mean narrow eyed thug called Hector who is trying to intimidate McCreedy throughout - even tearing out the alternator from his jeep engine explaining chillingly "Looks like you had a loose wire."

But both heavies are led by the towering Reno Smith played by Robert Ryan. He's the brains behind the evil. The most confident and the calculating one of the three terrors and effectively runs Black Rock with his team of henchmen.

Well he almost runs the town. Only the town Doctor (Walter Brennan) has the decency and backbone to stand up to Reno's gang, but he only does this mentally and verbally as he's a old willowy man without any sort of back up from the drunken sheriff (Dean Jagger)and "ordinary" townsfolk - enter McCreedy, he steps off off the train - the first time the train has stopped in Black Rock for four years. They think there must be some mistake, and so the mystery begins.

The plot thickens at a crackling pace and Sturges directs this with a nod to film noir and the classic westerns. The fusion of styles works wonderfully well to create a real powerhouse of a film.

It's Tracy's finest hour and half on celluloid as he chips away at the heavies with various tactics. Spencer's full repertoire is on full show here, at times you'll see his fear, his inquisitiveness, his raw courage, his growing frustration, his satisfaction and even his wit and humour. Behind it all is the thoughtful, fair and moral Tracy that is only surpassed by Henry Fonda's performance in 12 Angry Men.

Watching this film is an uplifting experience, it may be A Bad Day at Black Rock, but it will be a great day in front of your TV if you've never seen, but decide to watch this classic.

No Country for Old Men (2007)

Very watchable but lacking originality.

[8/10 · 22 January 2012]

A good film, well produced and some decent performances but hardly original.

Here we have an everyday man stumbling upon stolen loot and a massacre scene in the desert. Sound familiar? Yep it was an identical premise (and scene) to the plot for The Good The Bad and The Ugly. Only in the GB&U it was the "tip off" of where loot was hidden. Similar theme in It's a Mad Mad Mad Mad World and Shallow Grave and many others.

Back to NCFOM and the main protagonist who takes the law into his own hands also has many parallels with too many other film characters to mention - but you could toss in the likes of D-Fens in Falling Down, Butch and Sundance, etc etc.

Enter the psycho who just kills everyone for the hell of it. Or as the bounty hunter Woody Harrelson says "he'll kill you for the inconvenience" Yep we've seen all these types before also - Arnie, Rambo, Mr Blonde from Reservoir Dogs, etc etc...

Then comes the straight Sheriff (Tommy Lee Jones) who doesn't use a gun if he can help it - yep we've seen this type before too - see High Noon, Shane, etc etc.

So the characters are fairly stereotypical and the plot not the freshest to ever grace the screens. But there is an added dimension, the psycho is in fact haunting the Sheriff and in fact will haunt him forever - this is fairly well done but it is pretty odd. Why? Well the sheriff isn't the main protagonist in this film, he only really becomes "part" of it in the last third, by that time most will not really care about him. It would have been better and made more sense had the Psycho haunted the couple forever.

Cinematography is excellent, the direction pretty good but on the whole this is just a re-hash of several films with the Coen stamp over it.

There are a few very stupid moments. Like Josh Brolin waiting for the psycho to come into his hotel room. Josh sits on the bed right in front of the door. Surely the sensible thing would have been to lie down behind the bed or move over to the side of the room to reduce the risk of being caught by the bulletfire. Also in another later scene, the way Josh Brolin enters Mexico pretending to Border Patrol he is a drunk was silly. Only outdone on the silliness scale by him re-entering America with few clothes on having escaped from hospital. He tells the Border Patrol guard he's a Vietnam vet but shows no ID yet he's gets the all clear to enter. Very silly indeed but I am willing to retract these remarks and apologise to the Coens if in fact such occurrences do happen on the USA/Mexican Border.

Yet despite all the flaws this movie does work. It does create tensions and most viewers will get caught up in the cat and mouse games.

There are times when the dialogue is a bit slow and with no soundtrack sometimes it seems an age to get through a sequence especially when it is sometimes difficult to follow because the accents are so thick.

In summary,NCFOM is a bit overrated but is certainly good, watchable cinema and though the ending may leave some feeling cheated it is at least a bit different unlike the rest of the film which seems very similar to a lot of action films based on greed and lawlessness.

Changeling (2008)

A Missed Opportunity to Make a Classic

[8/10 · 22 January 2012]

How I wish I was Clint Eastwood's Editor!

Changeling had all the makings of real classic - great story, excellent period location, solid actors, good score...etc, etc, but as usual with Clint, he's overcooked it, takes it one more step and the work skirts with the pornographic.

He should take a leaf out of Hitchcock's book and realise that less is often more in movies. Scorcese also talks about the missing frame on celluloid being planted into the viewers mind (for examples see Tarantino's ear cutting scene in Reservoir Dogs or Danny Boyle's Shallow Grave burial scene.)

What we have with the Changeling is a well produced, well detailed, well acted drama, but it goes to far.

The drawn out execution scene was completely unnecessary, as was the over blown asylum scenes.

Angelina Joli does well in a meaty role, but you can't help feeling she is going through the motions at times and not varying the emotions enough to make it interesting. At almost every dramatic turn we see her face crumple, a few tears fall, then the hands shake, the trembly bony fingers and soon it's the head in the hands and cut to next scene. It all looks a bit formulaic - the method gone sad if you like.

Malkovic puts in a decent shift as the militant preacher fighting police corruption and bad cop Jeffrey Donovan is also pretty good if at times a bit too stupid to be a top cop with his completely narrow view of events.

It's worth watching this movie for the sets and the good storyline, Eastwood delivers fine production values but he needs to get a grip of a decent editor to avoid these dark indulgences that we witness far too often in his movies - Mystic River (a terrible final scene), Unforgiven and Million Dollar Baby to name but a few.

Changeling? Watch on TV or rent don't buy the DVD as it's unlikely to invite a second viewing for most.

One final side note - Eastwood might have introduced some typical 1920s entertainment in the back drop - i.e. there was no radio, no source music and the town and townsfolk seemed to be completely lacking in any form of entertainment - bear in mind the film is set in LA during the boom of cinema, live theatre, live music and speakeasies full of flappers - but there is not a sight of any of that. Eastwood's 1920s LA is like Moscow 1950. Disappointing because he had a big opportunity to capture the mood of the 1920s v the contrast of this dark story. All in all worth watching, but once will probably be enough!

The Damned United (2009)

A Great Character Study of the Incredible Brian Clough

[8/10 · 22 January 2012]

"You are a bloody disgrace!" hollers actor Michael Sheen as he explodes in the role of Brian Clough - the larger than life character, who in real life was arguably one of the greatest football managers ever.

Sheen produces an incredible performance to re-create the persona of Clough. In The Damned United, he completely captures Clough's arrogance, his humour, his humility and his incredible professional drive. For those too young to remember the outrageous genius of Clough in his prime, then this movie encapsulates not just Clough but the whole halcyon era of 1970s football. This is a time when football was about glory and not money. It was a period when players played for the jersey and clubs were packed full of characters - Clough was undoubtedly one of, if not the biggest and most talked about character of them all. In fact thinking back Clough's charisma makes Mourhino look like a ball boy!

Sheen plays Clough without parody not the easiest thing to do given that Clough was one of the most parodied figures of the day. So much so that it became a staple of impressionist Mike Yarwood's BBC1 Saturday night prime time show in the 70s. It's great credit to Sheen that he avoided what could have been an easy option. Instead what we get is the talented Mr Sheen giving us the real deal, the accent, the mannerisms, the realness that Cloughie himself would have admired.

As a film, this is superbly put together with old footage, snappy editing and a clever use of the graphics of the time -the old vidi-printer is used very effectively in relaying the back story of Clough's teams'successes.

Though the backdrop to the story is football, this isn't really about football. It's a character study of a unique man and his friendship/partnership with his closest colleague - Peter Taylor played by Timothy Spall - an actor who is true drama heavyweight and not just physically. Spall as always delivers a strong performance and provides good foil for Sheen and most importantly does no devious scene stealing when there must have been a temptation as Taylor too was a big character.

The plot weaves flashbacks of Clough's heady days as Derby Manager with his 44 day ordeal as manager of Leeds Utd - then Britain's top club side. The script is true and pacey, the cinematography well done, the soundtrack is apt if not memorable (surpisingly for the 1970s) and the set designs/wardrobe are authentic.

Having read the book, the film admittedly bears only mild resemblance. The book gets more into the head of Clough and is a very tunnel visioned and bitter point of view of his short time in charge of England's top football club. The book is much darker and less sentimental than the film, but both are equally enjoyable and entertaining.

Whether you are football fan or not, if you claim to be a film fan and you don't see The Damned United then as Mr Clough himself would say, "You are a bloody disgrace!"

The Artist (I) (2011)

Like Someone Has Just Uncovered A Lost Masterpiece

[10/10 · 13 January 2012]

It may have been a cold January night in Leicester Square when I left the cinema but inside I was glowing, my faith somewhat restored in film having just seen this heartwarming classic.

There's little point going through the deeply romantic/dramatic plot set in stark contrast against the shallow world of 1920's Hollywood as it may only spoil it for those yet to see, but in summary this film is a real gem, a true joy to behold with a clever little unpredictable twist at the end. Fabulous acting, superb score, great cinematography and look out for a star turn from a little performing dog which is quite amazing at times.

With lots of classic touches woven throughout this movie, expect to laugh out loud, cry real tears and go through a roller-coaster of emotions as you will no doubt watch in fascination, the vivid recreation of an exceptional time in the history of cinema (the advent of talkies)and the history of the America (Wall St Crash/Great Depression).

Though it is a silent film, sound is used in a very clever way. Similarly the director meshes subtle modern cinema techniques with some classic framing and detail. This is a glorious mixture of the old and the new and has great balance between light comedy/entertainment, intense romance and at times dark drama. The result being interesting characters that engage on many levels.

It's worth mentioning the nods to some of cinema's all time classic films like Singing in the Rain, Sunset Boulevard and Citizen Kane(and several Chaplin classics) but it's not plagiarism, parody or irreverence - it's a beautiful pastiche of the cinema's finest. Watching The Artist, feels like someone was clearing out an old Hollywood Studio and stumbled upon one of the greatest silents (if not films) of them all and suddenly the lost masterpiece is revealed to the world.

Emerging from the Cinema and into the crisp night air of Leicester Square, my thoughts were on one thing...how many Oscars will this instant classic win come February? The Academy certainly didn't disappoint as it picked up 5 Oscars including Best Actor, Best Picture and Best Director.

A big thank you to all who were involved in this magnificent production, a truly wonderful film, delivering a great cinematic experience.

The Wrestler (2008)

A moving and insightful drama

[8/10 · 19 January 2011]

In essence, this film is a reflection of life for the working masses, i.e. Work for low pay until you die and/or until you are too old to enjoy life, and while doing so neglect the important things in life like developing positive meaningful relationships with family and friends.

The story of wrestler Randy "the Ram" Robinson (played outstandingly by Mickey Rourke) is not that different from many people in jobs they hate, but have to do it, either for financial reasons or because they simply can't let go of the only thing they really know and/or feel part of.

Though sadness for Rourke's Randy might be forthcoming, the real sadness is for the two women in his life. Firstly there's Pam (played by Marisa Tomei), Randy's would be girlfriend who balances her life as a single mother and professional stripper/dancer. Her struggle is trying to escape the sleaze of her profession to be a decent, respectable mother. She sees Randy as a man she could maybe feel for and in the end she does care for him, unlike the other woman in Randy's miserable existence, his daughter Evan (played by Rachel Wood). Evan's been let down by Randy once too many times to care any more. It's a relationship that has precious little hope of succeeding and punctures the souls of both daughter and father.

As a film experience, The Wrestler really works with its intimate direction and pacey storyline. There is no flab in this movie except around the waistlines of some of the over the hill wrestlers that Randy bounces around. It's very well done with steady-cam shots and sure editing. The story and characters quickly hook us and though the wrestling scenes are at times too graphically gory, it's a necessary journey we have endure to fully understand the man and his motives.

A film steeped in pathos and brutality (and not just the wrestling scenes), The Wrestler does have some very funny moments and a good tight script. It's a very watchable movie and in many ways enjoyable. The underpinning theme of loneliness is woven around each of the three key characters and if it inspires viewers to be better humans to others, then it has succeeded far beyond awards and box office takings.

The Wrestler may be one of the best sporting movies ever made. Not only does it give real insight into the sport/entertainment industry, but also provides a pungent flavour of the kind of characters who both enrich it and are tragically damaged by it's demands.