I missed this at the cinema, probably because it got a limited release but picked it up on DVD as it sounded intriguing.
Intriguing is probably a good word to describe it. Noir-ish in feel, it features Joseph Gordon-Levitt (Third Rock From The Sun) as a loner who investigates the circumstances surrounding his ex-girlfriend's disappearance, with help from The Brain. Feeling a little like a The Big Sleep but set on campus, he tracks down clues and infilrates the cliques and crime-rings that operate on and around his High School campus.
The cinematography and subtle soundtrack help add to the Noir feel - there's some nice use of contrasting light and shadow, and some scenes are deliberatley shot from dutched angles to isolate the viewer, and in turn the protagonist, from the bigger picture.
Unfortunately, the unusual slang used by a lot of the characters is difficult to follow and the dialogue is often buried deep in the mix - a complaint I've noted from people who saw this at the cinema so it's not simply that I have a rather crappy centre speaker (not helped by my R2 release not having subtitles and defaulting to the 2.0 soundtrack not the 5.1). I don't normally have a problem with slang as it's usually nuanced, in context and delivered in a familiar rhythm that I can pick up and usually have a good idea what the characters are saying - A Clockwork Orange is a great example - Anthony Burgess' mixture of latin and soviet slang he wrote for the droogs seems to instantly make sense when read or indeed viewed in Kubrick's searing movie adaptation.
However, part of my befuddledment is probably due to the effect most noirs have on me -they almost always reveal more of themselves on a second viewing and are more enjoyable to boot.
So I can't say whether I loved or loathed this - it will take a repeat viewing to confirm that - you'll just have to watch it yourself!
Tuesday, February 27, 2007
Casino Royale
My, it's been a while since I posted anything - mind you, nobody's reading anyway! :D
In the face of the commerical success of the blockbuster-earning Die Another Day but with a stern critical backlash over the film's dodgy script, poor/over-use of Cgi and gadgetry - its a far cry from the grittier Goldeneye - Eon take a brave but risky decison to reboot the Bond franchise - using the - get this - actual Fleming story from the first Bond novel Casino Royale which was previously filmed as a farce starring David Niven, Peter Sellers and Woody Allen.
In this Novel, the novice agent has just earned his '00' status becoming an early, less embittered and more naive MI5 agent.
Martin Campbell (Goldeneye) returns to shoot a Wade and Purvis script based on the book, which is reworked by the magic digits of Paul Haggis (screenwriter - Million Dollar Baby, Crash) which aims to take Bond back to the beginning- albeit setting the novel in a contemporary setting and retaining Judi Dench's 'M' despite the continuity paradox which seems to get lots of people hot under the collar!
Daniel Craig is chosen to play the first Blond Bond and is written off before a single 35mm frame is in the can. To think, back in the day we had to wait till we actually viewed a fucking film before rushing off in a feverish race to fire up the 32k modem and be first onto the world wide web to registe one's disgust. Not now, in this increasingly instant, demanding hell of ours - people now appear to have developed foresight to the extent they can write off a respected actor and a 20 film strong franchise without even waiting to see the trailer, nevermind the whole movie.
Well, I hope those fuckers at craignotbond had a dose of humble pie that gave them the shits as Craig absolutely nails the part and owns the tux and seamaster in a way that only Connery did previously. Strong, physical, rugged but Craig nuances his perfomance with hints of the traits that Bond is known for - traits I'd imagine will be phased in slowly over the next movies following from this reboot. In Eva Green's Vesper, Craig has an exceptional actress to spar with - the scene on the train, the crisp, jousting dialogue clearly Haggis' work, well I'll not spoil it but it's my favourite 'on a train' scene after the memorable exchange between Cary Grant and Eva Saint-Marie in Hitchcock's Bond prototype North By Northwest.
Mads Mickelson makes for an interesting baddie in Le Chiffre, a terrorist banker who bets on the wrong horse and needs to run a high-stakes winner takes all game of Poker at Casino Royale - Texas Hold'em is chosen rather than Baccarat from the book, presumably due to it's wider appeal.
A misjudged reboot could well have done what numerous baddies failed to do and killed 007 off for good, but this movie is an utter joy - crisp action scenes, excellent acting all round, a complex yet fairly realistic plot and a script packed with Fleming-esq scenes - and no road-worthy gondolas or invisible cars in sight.
In the face of the commerical success of the blockbuster-earning Die Another Day but with a stern critical backlash over the film's dodgy script, poor/over-use of Cgi and gadgetry - its a far cry from the grittier Goldeneye - Eon take a brave but risky decison to reboot the Bond franchise - using the - get this - actual Fleming story from the first Bond novel Casino Royale which was previously filmed as a farce starring David Niven, Peter Sellers and Woody Allen.
In this Novel, the novice agent has just earned his '00' status becoming an early, less embittered and more naive MI5 agent.
Martin Campbell (Goldeneye) returns to shoot a Wade and Purvis script based on the book, which is reworked by the magic digits of Paul Haggis (screenwriter - Million Dollar Baby, Crash) which aims to take Bond back to the beginning- albeit setting the novel in a contemporary setting and retaining Judi Dench's 'M' despite the continuity paradox which seems to get lots of people hot under the collar!
Daniel Craig is chosen to play the first Blond Bond and is written off before a single 35mm frame is in the can. To think, back in the day we had to wait till we actually viewed a fucking film before rushing off in a feverish race to fire up the 32k modem and be first onto the world wide web to registe one's disgust. Not now, in this increasingly instant, demanding hell of ours - people now appear to have developed foresight to the extent they can write off a respected actor and a 20 film strong franchise without even waiting to see the trailer, nevermind the whole movie.
Well, I hope those fuckers at craignotbond had a dose of humble pie that gave them the shits as Craig absolutely nails the part and owns the tux and seamaster in a way that only Connery did previously. Strong, physical, rugged but Craig nuances his perfomance with hints of the traits that Bond is known for - traits I'd imagine will be phased in slowly over the next movies following from this reboot. In Eva Green's Vesper, Craig has an exceptional actress to spar with - the scene on the train, the crisp, jousting dialogue clearly Haggis' work, well I'll not spoil it but it's my favourite 'on a train' scene after the memorable exchange between Cary Grant and Eva Saint-Marie in Hitchcock's Bond prototype North By Northwest.
Mads Mickelson makes for an interesting baddie in Le Chiffre, a terrorist banker who bets on the wrong horse and needs to run a high-stakes winner takes all game of Poker at Casino Royale - Texas Hold'em is chosen rather than Baccarat from the book, presumably due to it's wider appeal.
A misjudged reboot could well have done what numerous baddies failed to do and killed 007 off for good, but this movie is an utter joy - crisp action scenes, excellent acting all round, a complex yet fairly realistic plot and a script packed with Fleming-esq scenes - and no road-worthy gondolas or invisible cars in sight.
Wednesday, March 09, 2005
Bubba Ho-tep
Bubba Ho-tep
Dir; Don Cascarelli
Act; Bruce Campbell, Ossie Davis
Format; DVD
Elvis lives!
Having switched places with a top Elvis impersonator to retreat from public life, an ageing Elvis now hangs out in the Shady Rest retirement home. Bruce Campbell plays a cantankerous Elvis who, in his dottage, has some regrets - both of things unsaid, and things no longer being as they once were. But when an ancient egyptian Mummy starts harvesting souls of the residents of Shady Rest Elvis must get it up one more time to take care of business - ably assisted by a Black JFK marvellously portrayed by Ossie Davis.
The film is comic in moments but quite often sensitive and deft in it's unpatronising look at old age. Not sure if the die-hard Elvis fans will enjoy it, but Campbell imbues Elvis with spirit, regret and, ultimately, pride. Destined to be a cult movie, quite different to anything I've seen in ages. Budgetry contraints limit it's big-screen impact - although the absence of any Elvis tracks on the soundtrack may be more down to the reticence of those running the Presley estate rather than cost issues, but Campbell and Davis are fun to watch even when they are simply having conversations about biscuits and toilet issues.
Rumours of a better budgeted pre-quel in the pipeline.
Dir; Don Cascarelli
Act; Bruce Campbell, Ossie Davis
Format; DVD
Elvis lives!
Having switched places with a top Elvis impersonator to retreat from public life, an ageing Elvis now hangs out in the Shady Rest retirement home. Bruce Campbell plays a cantankerous Elvis who, in his dottage, has some regrets - both of things unsaid, and things no longer being as they once were. But when an ancient egyptian Mummy starts harvesting souls of the residents of Shady Rest Elvis must get it up one more time to take care of business - ably assisted by a Black JFK marvellously portrayed by Ossie Davis.
The film is comic in moments but quite often sensitive and deft in it's unpatronising look at old age. Not sure if the die-hard Elvis fans will enjoy it, but Campbell imbues Elvis with spirit, regret and, ultimately, pride. Destined to be a cult movie, quite different to anything I've seen in ages. Budgetry contraints limit it's big-screen impact - although the absence of any Elvis tracks on the soundtrack may be more down to the reticence of those running the Presley estate rather than cost issues, but Campbell and Davis are fun to watch even when they are simply having conversations about biscuits and toilet issues.
Rumours of a better budgeted pre-quel in the pipeline.
Tuesday, February 22, 2005
Criminal
Criminal
starring: John C Reilly, Diego Luna, Maggie Gyllenhaal
Dir: Gregory Jacobs
When I watched this recently at the flicks it was only afterwards I became aware that it was a remake, probably good in the sense that I didn't prejudged the film. John C Reilly plays con-man Richard Gaddis, a con-man with so much ice in his veins he sees 'everyone' as marks, even his own family (Gyllenhall plays Gaddis sister Valerie) are no more than nuisances to be avoided unless they can help him with his latest score. Luna's Rodrigo gets dragged in as Gaddis spots potential in his 2-bit casino room con and embark on a day of conjobs in downtown Beverly Hills before an old accomplice offers Gaddis a 6-figure mark...
Reilly is excellent here, dominating every scene of the film with his hulking presence and consistently cold, calculating and scheming con-man. Luna gamely keeps up although neither his acting, or his character, have the same conviction. Nicely paced, inventive film which, unless you've seen the original Nine Queens manages to take twists and turn that make for an enjoyable ride. Good support work from Gyllenhaal and a very effective display of brevity by Peter Mullan who plays Hannigan, Gaddis' latest and biggest mark...
Well worth catching.
starring: John C Reilly, Diego Luna, Maggie Gyllenhaal
Dir: Gregory Jacobs
When I watched this recently at the flicks it was only afterwards I became aware that it was a remake, probably good in the sense that I didn't prejudged the film. John C Reilly plays con-man Richard Gaddis, a con-man with so much ice in his veins he sees 'everyone' as marks, even his own family (Gyllenhall plays Gaddis sister Valerie) are no more than nuisances to be avoided unless they can help him with his latest score. Luna's Rodrigo gets dragged in as Gaddis spots potential in his 2-bit casino room con and embark on a day of conjobs in downtown Beverly Hills before an old accomplice offers Gaddis a 6-figure mark...
Reilly is excellent here, dominating every scene of the film with his hulking presence and consistently cold, calculating and scheming con-man. Luna gamely keeps up although neither his acting, or his character, have the same conviction. Nicely paced, inventive film which, unless you've seen the original Nine Queens manages to take twists and turn that make for an enjoyable ride. Good support work from Gyllenhaal and a very effective display of brevity by Peter Mullan who plays Hannigan, Gaddis' latest and biggest mark...
Well worth catching.
Sunday, February 20, 2005
In Good Company
In Good Company
Starring: Dennis Quaid, Topher Grace, Scarlett Johannson
Dir: Paul Weisz (American Pie, About a Boy)
Having enjoyed Weisz 'human' touch he brought the otherwise irredeemable teen-sex genre - he actually cared about characters as much as he did the requisite rude gags in American Pie, and also being a big fan of his treatment of Nick Hornby's About a Boy I was anticipating his next movie a lot.
Quaid is excellent as the middle-aged veteran Ad Sales Manager for Sports America, juggling managing his team of ad sales executives and his role as a family man. All this changes when 26 year old Topher Grace replaces him as top man when he is installed as part of a corporate take-over. Grace espousing a neat line in corporate bullshit and hi-powered office insincerity - a little boy lost but faking it well with a nice line in patter )almost a modern day version of Malcolm McDowell's Mick Travis - well the Travis from the first two reels of Lindsay Anderson's seminal satire O Lucky Man!) - it's a bit of a casting in-joke that the marvellous McDowell gets a cameo as the Owner and CEO of the huge global mulitnational corporation that buys out Quaid's magazine.
Scarlett Johannson appears as Quaid's university going daughter and, whilst I feel playing a supporting role as Quaid's teenage daughter is a step back for her after her mature, spellblinding work in Lost in Translation she still manages to dominate the screen both with her ability and in her disarming, fine charm and beauty. To say I love her just for her acting ability would be a bit of a lie.... (If the missus is reading this, two words: Viggo Mortensen)!
Weisz keeps the cinematography intimate and simple, allowing the characters to come to the foreground but I just couldn't warm to Grace, I think he may be better suited to comic roles - whilst I appreciate his character is meant to be shallow and lost he does not really nuance his protrayl in order to convey the lost, nicer guy struggling to get out. Actually, I was kinda hoping that Malcolm McDowell, in his uncredited cameo, would go into mad-Professor mode and rip his head off his yuppie shoulders! I suppose he does redeem himself eventually.
For the most part a satisfying, fairly well rounded movie with realistic characters which bears up well on repeat viewing. I reckon Weisz is shaping up to be the next Woody Allen but he needs a slightly more balanced script although there were some good belly laughs from the row next to mine whereas I found it humorous rather than laugh out loud. Maybe I should have had what they had instead of popcorn?
Starring: Dennis Quaid, Topher Grace, Scarlett Johannson
Dir: Paul Weisz (American Pie, About a Boy)
Having enjoyed Weisz 'human' touch he brought the otherwise irredeemable teen-sex genre - he actually cared about characters as much as he did the requisite rude gags in American Pie, and also being a big fan of his treatment of Nick Hornby's About a Boy I was anticipating his next movie a lot.
Quaid is excellent as the middle-aged veteran Ad Sales Manager for Sports America, juggling managing his team of ad sales executives and his role as a family man. All this changes when 26 year old Topher Grace replaces him as top man when he is installed as part of a corporate take-over. Grace espousing a neat line in corporate bullshit and hi-powered office insincerity - a little boy lost but faking it well with a nice line in patter )almost a modern day version of Malcolm McDowell's Mick Travis - well the Travis from the first two reels of Lindsay Anderson's seminal satire O Lucky Man!) - it's a bit of a casting in-joke that the marvellous McDowell gets a cameo as the Owner and CEO of the huge global mulitnational corporation that buys out Quaid's magazine.
Scarlett Johannson appears as Quaid's university going daughter and, whilst I feel playing a supporting role as Quaid's teenage daughter is a step back for her after her mature, spellblinding work in Lost in Translation she still manages to dominate the screen both with her ability and in her disarming, fine charm and beauty. To say I love her just for her acting ability would be a bit of a lie.... (If the missus is reading this, two words: Viggo Mortensen)!
Weisz keeps the cinematography intimate and simple, allowing the characters to come to the foreground but I just couldn't warm to Grace, I think he may be better suited to comic roles - whilst I appreciate his character is meant to be shallow and lost he does not really nuance his protrayl in order to convey the lost, nicer guy struggling to get out. Actually, I was kinda hoping that Malcolm McDowell, in his uncredited cameo, would go into mad-Professor mode and rip his head off his yuppie shoulders! I suppose he does redeem himself eventually.
For the most part a satisfying, fairly well rounded movie with realistic characters which bears up well on repeat viewing. I reckon Weisz is shaping up to be the next Woody Allen but he needs a slightly more balanced script although there were some good belly laughs from the row next to mine whereas I found it humorous rather than laugh out loud. Maybe I should have had what they had instead of popcorn?
Saturday, February 12, 2005
Octopussy
Octopussy
dir John Glen,
starring Roger Moore, Maud Adams, Louis Jourdan, Steven Berkoff
This is one of the lesser regarded 007 adventures, and I'm slightly at a loss to know why. There's an effective, if convoluted, plot involving a renegade Soviet Union General, treasure smuggling, a circus and an atomic bomb! Louis Jourdan makes a good, if effette, baddie and Steven Berkoff overacts to marvellous effect as a renegade Russian army General hell bent on bringing Nato to it's knees even if it means nuking half of West Berlin to do so.
There is, it has to be said, some cheesyness in the film ("fill her up please") and despite the fantastic setting of the Summer Palace in India the script uses a lot of lazy stereotypes in this portion of the film - Vijay playing the 007 theme on his snake chanter, the comments about curry etc coming over as a little xenophobic . But there's a lot to enjoy, the plot never relents, there is always a prevailing sense of threat that is built from the first scenes when 008 is ruthlessly knifed in the back by one of the two kinfe-throwing twins from Octopussy's circus and it builds right until the 'bomb' scene, there's a brilliant stand-off between Bond and General Orlov, a very exciting fight on top of the speeding circus train and the car chase/race to defuse a bomb with a brilliant car chase in which Bond nicks a local's Alfasud and hangs the back end out something lovely whilst being pursued by what seems like half the West Berlin police (I've loved that car ever since that scene- "Nein, meine automobile").
The stunts performed in the end scenes boggle belief, frankly, and would probably never be done by live actors in this age of cgi. My belief is that the Bond series can continue to stand-out by ignoring cgi actors for stunt work - when you know a stunt was really performed it gives it a lot more impact (for an example how not to do it, see the cgi work on Die Another Day particularly the surfing scene).
Moore does look his age in this one and was perhaps right to hang up his PPK after this - only to be coaxed out of retirement by EON for one last film....
dir John Glen,
starring Roger Moore, Maud Adams, Louis Jourdan, Steven Berkoff
This is one of the lesser regarded 007 adventures, and I'm slightly at a loss to know why. There's an effective, if convoluted, plot involving a renegade Soviet Union General, treasure smuggling, a circus and an atomic bomb! Louis Jourdan makes a good, if effette, baddie and Steven Berkoff overacts to marvellous effect as a renegade Russian army General hell bent on bringing Nato to it's knees even if it means nuking half of West Berlin to do so.
There is, it has to be said, some cheesyness in the film ("fill her up please") and despite the fantastic setting of the Summer Palace in India the script uses a lot of lazy stereotypes in this portion of the film - Vijay playing the 007 theme on his snake chanter, the comments about curry etc coming over as a little xenophobic . But there's a lot to enjoy, the plot never relents, there is always a prevailing sense of threat that is built from the first scenes when 008 is ruthlessly knifed in the back by one of the two kinfe-throwing twins from Octopussy's circus and it builds right until the 'bomb' scene, there's a brilliant stand-off between Bond and General Orlov, a very exciting fight on top of the speeding circus train and the car chase/race to defuse a bomb with a brilliant car chase in which Bond nicks a local's Alfasud and hangs the back end out something lovely whilst being pursued by what seems like half the West Berlin police (I've loved that car ever since that scene- "Nein, meine automobile").
The stunts performed in the end scenes boggle belief, frankly, and would probably never be done by live actors in this age of cgi. My belief is that the Bond series can continue to stand-out by ignoring cgi actors for stunt work - when you know a stunt was really performed it gives it a lot more impact (for an example how not to do it, see the cgi work on Die Another Day particularly the surfing scene).
Moore does look his age in this one and was perhaps right to hang up his PPK after this - only to be coaxed out of retirement by EON for one last film....
Moonraker
Moonraker
dir Lewis Gilbert
starring Roger Moore, Michael Lonsdale, Lois Chiles
I have to confess that I first saw this movie when I was 11 years old at a cinema on a holiday camp and was enraptured - I think it was probably my first big screen Bond (of course, I'd seen several on the telly on Christmas/Boxing day.
Having rewatched it recently, I have to say I still enjoy it. For although it does have some grating, high camp moments (Bond's gondola/car contraption, Jaws 'falling in love) it has some brilliant set-pieces, captures the then pioneering spirit of the NASA Space Shuttle launches and ties them into the plot. Bond, for once, has to do some actual detective work and manages to visit some stunning locations - Venice and Rio de Janiero amongst them. Bond's appeal being so universal that EON were able to convince the Rio inhabitants to put on an early carnival dress rehearsal as a memorable backdrop to the warehouse/Jaws setpiece.
On first viewing, I honestly did not guess what Drax (brilliantly underplayed by the marvellous screen presence of Michael Lonsdale) was planning so the end reel of the film was quite a surprise. Mention must be given to Derek Meddings special effects - done without motion-stop computer cameras, and by shoving the negative back through the camera umpteen times, the model work is both convincing and effective. Little wonder Meddings got an Oscar nomination for it.
A little Camp, but a marvellously entertaining yarn.
DVD quality is good, excellent extras including, as with all 007 dvd's, a feature length making of.
dir Lewis Gilbert
starring Roger Moore, Michael Lonsdale, Lois Chiles
I have to confess that I first saw this movie when I was 11 years old at a cinema on a holiday camp and was enraptured - I think it was probably my first big screen Bond (of course, I'd seen several on the telly on Christmas/Boxing day.
Having rewatched it recently, I have to say I still enjoy it. For although it does have some grating, high camp moments (Bond's gondola/car contraption, Jaws 'falling in love) it has some brilliant set-pieces, captures the then pioneering spirit of the NASA Space Shuttle launches and ties them into the plot. Bond, for once, has to do some actual detective work and manages to visit some stunning locations - Venice and Rio de Janiero amongst them. Bond's appeal being so universal that EON were able to convince the Rio inhabitants to put on an early carnival dress rehearsal as a memorable backdrop to the warehouse/Jaws setpiece.
On first viewing, I honestly did not guess what Drax (brilliantly underplayed by the marvellous screen presence of Michael Lonsdale) was planning so the end reel of the film was quite a surprise. Mention must be given to Derek Meddings special effects - done without motion-stop computer cameras, and by shoving the negative back through the camera umpteen times, the model work is both convincing and effective. Little wonder Meddings got an Oscar nomination for it.
A little Camp, but a marvellously entertaining yarn.
DVD quality is good, excellent extras including, as with all 007 dvd's, a feature length making of.
Racing Stripes
Racing Stripes
Voices of Franki Muniz, Dustin Hoffman, Whoopi Goldberg, Snoop Dog et al.
This tale is basically Babe but with a Zebra who wants to be a race horse as opposed to a Pig who wants to be a sheep dog!
Set on a farm next to a race-horse training complex, Stripes the Zebra wants to grow up into a race-horse but must overcome the prejudice of the racing stallions and the reservations of his human rescuer/owner. As in Babe the human characters take a back seat to the collection of farm animals who help Stripes in his quest - amongst others Dustin Hoffman as a weary old pony, Whoopi Goldberg as a knowing goat and Joe Pantoliano in a brilliant turn as a would-be goodfella pelican who thinks he's a goose. The bairn thought the two cg animated flies were absolutely hilarious. Good family fare, albeit not terribly original, and it doesn't overstay it's welcome too long.
Voices of Franki Muniz, Dustin Hoffman, Whoopi Goldberg, Snoop Dog et al.
This tale is basically Babe but with a Zebra who wants to be a race horse as opposed to a Pig who wants to be a sheep dog!
Set on a farm next to a race-horse training complex, Stripes the Zebra wants to grow up into a race-horse but must overcome the prejudice of the racing stallions and the reservations of his human rescuer/owner. As in Babe the human characters take a back seat to the collection of farm animals who help Stripes in his quest - amongst others Dustin Hoffman as a weary old pony, Whoopi Goldberg as a knowing goat and Joe Pantoliano in a brilliant turn as a would-be goodfella pelican who thinks he's a goose. The bairn thought the two cg animated flies were absolutely hilarious. Good family fare, albeit not terribly original, and it doesn't overstay it's welcome too long.
Thursday, January 27, 2005
National Treasure
National Treasure
This movie seemed to attract very derisory reviews, somewhat unwarranted I felt.
Perhaps reviewers are often looking for the next classic - the next Seven Samurai or Citizen Kane and, when they find a formulaic, yet enjoyable, blockbuster they feel duty bound to rip it to shreds. Fact is, a lot of things in life are enjoyable without being the pinnacle of their genre or art form. Like a bucket of KFC chicken, then, this movie hits the spot very nicely.
Nicholas Cage is on fine form here, Diane Kruger shows much more spirit than in Troy and Sean Bean does his usual job as the token British bad guy (always the Brits, eh?). Sure, the characters don't undergo any great internal journeys in this type of movie - it's a Bruckheimer film after all, but serve to drive forward the story. Think of this as a hidden treasure film, with a dash of Ocean's Eleven mixed in with a yarn that could have been lifted straight from The Da Vinci Code (but let's face it, masonic conspiracy theories have been doing the rounds for centuries - see Indiana Jones and the Last Crusade for another example).
If you don't easily get sucked into the story in this type of film, find it hard to suspend belief, or need your characters more fleshed out you might well hate this.
But it's a good 'blockbuster' type film that entertained myself, the missus and my 10 year old son. Films like this are invaluable to Mum's and Dad's!
This movie seemed to attract very derisory reviews, somewhat unwarranted I felt.
Perhaps reviewers are often looking for the next classic - the next Seven Samurai or Citizen Kane and, when they find a formulaic, yet enjoyable, blockbuster they feel duty bound to rip it to shreds. Fact is, a lot of things in life are enjoyable without being the pinnacle of their genre or art form. Like a bucket of KFC chicken, then, this movie hits the spot very nicely.
Nicholas Cage is on fine form here, Diane Kruger shows much more spirit than in Troy and Sean Bean does his usual job as the token British bad guy (always the Brits, eh?). Sure, the characters don't undergo any great internal journeys in this type of movie - it's a Bruckheimer film after all, but serve to drive forward the story. Think of this as a hidden treasure film, with a dash of Ocean's Eleven mixed in with a yarn that could have been lifted straight from The Da Vinci Code (but let's face it, masonic conspiracy theories have been doing the rounds for centuries - see Indiana Jones and the Last Crusade for another example).
If you don't easily get sucked into the story in this type of film, find it hard to suspend belief, or need your characters more fleshed out you might well hate this.
But it's a good 'blockbuster' type film that entertained myself, the missus and my 10 year old son. Films like this are invaluable to Mum's and Dad's!
Bad Santa
Bad Santa
What a refreshingly non-pc film this is, an utter joy.
Funny as hell and even ruder - Santa's coming to town and he's doesn't give a fuck if you've been naughty or nice!
Features Billy Bob Thornton as the eponymous Bad Santa and Tony Cox as the rudest, angriest 'little person' ever. Thornton delivers with a sardonic performance.
The soundtrack is fantastic too, featuring some well-known classical and operatic pieces. The scene when Santa and his Elf are, respectively, knocking ten bells out of a Safe and a Shop Mannequin to gain access to the stores bumper Christmas takings and an out of reach necklance (ordered by the Elf's demanding frog-mouthed girlfriend), in time to the hammer stirkes of the Anvil Song is a classic.
Not one for Aunt Mavis, perhaps, but a brilliant Christmas film. The polar opposite of the brilliant but somewhat saccharine A Wonderful Life - yet it manages to deliver a similar 'feel-good' finale.
What a refreshingly non-pc film this is, an utter joy.
Funny as hell and even ruder - Santa's coming to town and he's doesn't give a fuck if you've been naughty or nice!
Features Billy Bob Thornton as the eponymous Bad Santa and Tony Cox as the rudest, angriest 'little person' ever. Thornton delivers with a sardonic performance.
The soundtrack is fantastic too, featuring some well-known classical and operatic pieces. The scene when Santa and his Elf are, respectively, knocking ten bells out of a Safe and a Shop Mannequin to gain access to the stores bumper Christmas takings and an out of reach necklance (ordered by the Elf's demanding frog-mouthed girlfriend), in time to the hammer stirkes of the Anvil Song is a classic.
Not one for Aunt Mavis, perhaps, but a brilliant Christmas film. The polar opposite of the brilliant but somewhat saccharine A Wonderful Life - yet it manages to deliver a similar 'feel-good' finale.
Tuesday, January 04, 2005
The Return of The King extended edition
The Return of the King extended edition
format: DVD Director: Peter Jackson
Having got this boxset (including the Minas Tirith minature) for Christmas I was desperate to watch it, but decided to wait and watch it as part of a Lord of the Rings marathon (and it's some marathon to watch all 3 extended versions of these films back to back - over 11 hours)!
What was already a masterpiece of a film, which builds on all the strands and events built up during Fellowship and The Two Towers and delivers the payback in buckets - improves in this extended edition giving more room for character moments and some breathing space - although the running time is a little indulgent.
However, Jackson is clearly and confidently into his stride in this instalment - mixing the small, personal moments with the huge Battle of Pelinoor Fields. This battle is so rich in detail, epic in scale yet Jackson managed to find moments for each of our heroes during the melee. Seeing Gandalf orchestrate the defence of Gondor against Denethor's growing madness, watching the two unlikeliest 'warriors' in Eowyn and Merry triumph against the odds is such a brilliant moment. But, then, the film is riddled with such moments - the Ride of the Rohirrim, the Lighting of the Beacons, Shelob's silent stalking of the terrified Frodo, Sam rising to the occasion.
Jackson exquisitely melds all these moments and intercuts between them expertly. The film has been accused of starting slowly, and to have too many endings and it still does in this cut. Paradoxically, the longer running time, and the countless little details and extended scenes, do round out the slightly bloated movie.
I still wonder whether the Smeagol scenes at the beginning could have been shown when Smeagol/Gollum plots to kill the Hobbits, allowing Gandalf and King Theoden's showdown with Sauraman to be re-instated to it's rightful place at the beginning of the movie.
Many had their doubts that Jackson - or indeed anyone - could deliver these trilogies - the book was unfilmable, Jackson and Weta did not have the experience with CGi etc - yet Jackson and his team not only filmed the unfilmable, they also delivered one of the most entertaining, richly detailed 'epic' blockbusters of modern times, marrying indie film-making with state-of-the-art special effects to great effect.
Christmas just won't be the same without a Lord of the Rings film to look forward to - next year I won't even have the extended edition of one of the movies to eagerly await!
Still, this Trilogy is so good I can easily see myself sitting on Boxing Day eating curried left-over Turkey enjoying this trilogy in full once more! :)
format: DVD Director: Peter Jackson
Having got this boxset (including the Minas Tirith minature) for Christmas I was desperate to watch it, but decided to wait and watch it as part of a Lord of the Rings marathon (and it's some marathon to watch all 3 extended versions of these films back to back - over 11 hours)!
What was already a masterpiece of a film, which builds on all the strands and events built up during Fellowship and The Two Towers and delivers the payback in buckets - improves in this extended edition giving more room for character moments and some breathing space - although the running time is a little indulgent.
However, Jackson is clearly and confidently into his stride in this instalment - mixing the small, personal moments with the huge Battle of Pelinoor Fields. This battle is so rich in detail, epic in scale yet Jackson managed to find moments for each of our heroes during the melee. Seeing Gandalf orchestrate the defence of Gondor against Denethor's growing madness, watching the two unlikeliest 'warriors' in Eowyn and Merry triumph against the odds is such a brilliant moment. But, then, the film is riddled with such moments - the Ride of the Rohirrim, the Lighting of the Beacons, Shelob's silent stalking of the terrified Frodo, Sam rising to the occasion.
Jackson exquisitely melds all these moments and intercuts between them expertly. The film has been accused of starting slowly, and to have too many endings and it still does in this cut. Paradoxically, the longer running time, and the countless little details and extended scenes, do round out the slightly bloated movie.
I still wonder whether the Smeagol scenes at the beginning could have been shown when Smeagol/Gollum plots to kill the Hobbits, allowing Gandalf and King Theoden's showdown with Sauraman to be re-instated to it's rightful place at the beginning of the movie.
Many had their doubts that Jackson - or indeed anyone - could deliver these trilogies - the book was unfilmable, Jackson and Weta did not have the experience with CGi etc - yet Jackson and his team not only filmed the unfilmable, they also delivered one of the most entertaining, richly detailed 'epic' blockbusters of modern times, marrying indie film-making with state-of-the-art special effects to great effect.
Christmas just won't be the same without a Lord of the Rings film to look forward to - next year I won't even have the extended edition of one of the movies to eagerly await!
Still, this Trilogy is so good I can easily see myself sitting on Boxing Day eating curried left-over Turkey enjoying this trilogy in full once more! :)
The Two Towers extended edition
The Two Towers Extended Edition
format: DVD Dir: Peter Jackson
Watched this yesterday as part of the missus and my Lord of the Rings marathon. This extended cut does open up the film a lot, filling in some very important back story regarding Boromir, Faramir and their father Lord Denethor - detail which not only informs Boromir's actions in Fellowship but also resonates through Return of the King. One can only surmise it must have hurt Jackson to have to cut such a scene. Why could the Siege of Helms's Deep not lose a couple of minutes, or even some of the worthy, but a little dull, Treebeard scenes been edited down a little to fit it in? Still, all is present in the extended 'fans version' of the movie. There are some editing problems with this film - noticeable at Helms Deep when the negative has clearly been reversed to avoid stage line problems - watch Aragorn draw his sword with his left hand. Still much to love about this film, the music is wonderful, we are introduced to various important characters and places including the wonderfully realised horse-kingdom of Rohan. Theoden's 'exorcism' is very nicely handled. And, as any 2nd part of a trilogy should do, whilst Jackson manages to finish on an optimistic note, it leaves you desperate to see the third instalment.
format: DVD Dir: Peter Jackson
Watched this yesterday as part of the missus and my Lord of the Rings marathon. This extended cut does open up the film a lot, filling in some very important back story regarding Boromir, Faramir and their father Lord Denethor - detail which not only informs Boromir's actions in Fellowship but also resonates through Return of the King. One can only surmise it must have hurt Jackson to have to cut such a scene. Why could the Siege of Helms's Deep not lose a couple of minutes, or even some of the worthy, but a little dull, Treebeard scenes been edited down a little to fit it in? Still, all is present in the extended 'fans version' of the movie. There are some editing problems with this film - noticeable at Helms Deep when the negative has clearly been reversed to avoid stage line problems - watch Aragorn draw his sword with his left hand. Still much to love about this film, the music is wonderful, we are introduced to various important characters and places including the wonderfully realised horse-kingdom of Rohan. Theoden's 'exorcism' is very nicely handled. And, as any 2nd part of a trilogy should do, whilst Jackson manages to finish on an optimistic note, it leaves you desperate to see the third instalment.
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