timothywalton-31924 Reviews

Kingdom of the Planet of the Apes (2024)

A gorgeous film which is incomplete and too tiresome

[6/10 · 22 May 2024]

And here comes another film which likes to divide its storyline, making an audience sit through slow, long drawn stories split into two films. 'Kingdom' is a film which has flashes of technical brilliance at times, but ultimately fails because it is poorly paced and leaves the audience on a distasteful cliffhanger. Kingdom is a technical marvel because it is a richly textured, gorgeously made film with superlative graphics that rival the likes of Avatar. The details in the picture are immaculate, and the word building sublime. This is a film which is flawless technically, and should leave any audience without complaint in this department. But that film ultimately lets its audience down with its inferior story. The film is saddled with a subpar story that follows the trite movie trope of seeking vengeance and fighting oppression, with a predictable narrative arc. Except it does not completely resolve its central question of whether humans and apes can coexist, leaving a strange ending. There is also the issue of the films uneven pacing. The film has a robust introduction, but slowly becomes more of a slog as the plot progresses. There is too little action, and too little moments of suspense to keep an audience engaged. Overall, while the visuals of this film is a marvel to look at, it suffers from similar problems as Avatar- it is too long, and too weary to keep an audience fully engaged.

Kingsman: The Secret Service (2014)

An enjoyable, fun romp

[7/10 · 27 April 2024]

Kings man is such a great joy to experience because it plays a interesting, satisfying trope- that of the cultured, suave spy. It is obviously a bond-Esque film, but directed and written with such assured hands as to render it engaging and entertaining throughout(which cannot be said for all bond films). The film is also fun because it has excellent action choreography, unrealistic yes, but excellently over the top and satisfyingly brutal. In this movie, one man can fight a hundred, often quite literally, as shown in a glorious church scene where our man ends up the last man standing in a church riot. Although the plot is quite fantastical, the film still manages to retain an audiences attention because it is tautly paced and well acted, especially the performances of Eggert and Firth. All in all, a delightful adventure which should not at all be objectionable.

The Fall Guy (2024)

Thin plot strung over some excellent stunt work

[6/10 · 25 April 2024]

The Fall Guy acts best as a glorious ode to the art of stunt work. Perhaps never before have a film been focused so much on the unseen heroes behind many great films - the stunt doubles delivering shockingly realistic portrayals of the action. And in that respect The Fall Guys succeeds- it's action sequences are delivered flawlessly, and are breathtaking to behold. They climax to a crescendo at the ending, where a several vehicles crash, flip and explode, all in sync with action involving a helicopter in the sky with our main character. Praise should also be given to the films two charismatic leads. Emily Blunt and Ryan Gosling share palpable chemistry and are simply endearing to behold. They are affable, amiable, and funny. But ultimately my problem with this film is that it is unevenly paced, lacks enough humour, and has too thin a plot to retain an audiences full attention. The films firstly takes too long to get its plot started, resulting in a laborious introduction, a sped through mid section, and a bombastic but slightly rushed ending. The film also does not exert its full potential of comedy. The film does not make use of action comedy(as best exemplified by the Jackie Chan films) or a particularly witty script. Indeed the script is rather dull, sometimes trite, and altogether not very sharp or exciting. Then there is the films plot. I can comment not much other than that it is the recyclable convoluted B-grade plots which are common in movies. It is predictable, ludicrous, and quite inexcusable. So at the end of the day, The Fall Guys is a good comedy that acts as a wonderful tribute to the art of stunt work, bolstered by strong, effervescent performances between its two leads. But for movie watchers who do not care much for the films impressive stunts, The Fall Guys will prove to be a rather empty watch. Serviceable, but unexceptional.

Cast Away (2000)

Too slow, too long

[6/10 · 16 March 2024]

Whenever critics or audiences recommend the Tom Hanks classic Cast Away, I inevitably come away scratching my head. There is no doubt Cast Away is a good film, but it has serious flaws that keeps it from achieving greatness. The stuff which has been immortalised into pop culture- Wilson the ball, or Chucks painful attempts at starting a fire- are indeed the stuff of legends. They are sequences which she'd great insight into the human condition- into the innate will to live, the adaptability and adjustability of the human spirit, or into how social interactions are crucial to human survival. But many audiences forget that the "cast away" portion of the film only occupies about 90 minutes in the middle. The tiresome introduction and the laborious conclusion- a conclusion which Dosent conclude much at all- occupies the other one hour of film. Chucks romance with Kelly feels contrived, and the ending does little to offer hope(which is what I think the ending was supposed to do). Then there are the "survivor" sequences. While this middle section does allow Tom Hanks to offer a raw, gritty performance of unvarnished intensity, it is largely dialogue-less, and moves much too slowly for my liking. There is not a great deal of suspense or intrigue to retain an audiences attention. Cast Away then, can only be a film remembered for its memorable moments. Apart from these moments, and an excellent Tom Hanks performance, the film is too long, too slow, and too dull.

Plus One (I) (2019)

A delightfully kooky watch

[7/10 · 15 March 2024]

Plus One is a charming, delightful romantic comedy where almost all its merits come from an exceptional performance and a wonderful script. The entire strength of Plus one lies in the outstanding performance given by the irresistible Maya Erskine- she is hilarious, with a vibrant magnetism that draws any audience towards her. Erskine is helped by a tremendously witty script with a 'Jeremy Clarkson' kind of big humour that Erskine handles brilliantly. She also shares wonderful chemistry with Jack Quaid, who is in a less flashy, though equally important role. But besides the films irresistible leads, Plus One fails to differentiate itself from other ordinary romcoms. It is formulaic, slightly rushed in the end, and a subplot involving Bens father is simply confounding. But if we were to judge thus film within the context of romantic comedy, it is a more than worthy watch- it has a sharpness in its script and superb performances which endears and absorbs the audience, ensuring it remains a (fairly) fresh, enjoyable watch.

Love & Friendship (2016)

Wry, sarcastic, and hilarious

[7/10 · 13 March 2024]

Now here is a film which have divided audiences and critics significantly. Whereas critics have hailed Love and friendship a penetrating, brilliant dark comedy, ordinary moviegoers are certainly not as thrilled. I think a good litmus test for whether one would enjoy Love And Friendship is whether one enjoys the other Austen adaptations, or Austen novels. Most people who like the elegant, circumlocutory dialogue in the Austen novels(and films) would enjoy this film, for this film is extremely dialogue-heavy. Much of the humour is also hidden in the wry, witty dialogue, especially that from Lady Susan. And what a character Lady Susan is. Played by the inimitable Kate Beckinsale, Lady Susan is a master manipulator, a crafting, smug, witty, yet eminently likable character. Kate Beckinsales simply offers a powerhouse performance- she has a beautifully posh, confident voice, with such gorgeous inflexions that really brings the full cunning and the amiability of her character to life. Susan is a glib, eloquent, smooth talker able to wheedle her way out of any difficulty. But perhaps the films main selling point is also its problem- the presence of endless dialogue in this film may prove weary for many viewers. In a script which is so elegantly Austen, that is to say roundabout and difficult to decipher(usually the highlight of any Austen adaptation), having so much dialogue means so much brainwork, and many of the films witticisms may easily fly over a viewers head. The film may also lose some of its enjoyability as its pace slows in the middle section. But on the whole, Love And Friendship should be a treat for lovers of Austen, though it's dialogue-heavy approach, and it's reliance of comedy in dialogue over comedy in situation may prove difficult for some viewers.

Hacksaw Ridge (2016)

Visceral and powerful

[7/10 · 13 March 2024]

Hacksaw Ridge is a welcome return to form for Mel Gibson- it is an impactful, brutal, yet meaningful film which is worth more than a glance. The film is often unflinchingly brutal in its portrayal of the horrors of war and is spearheaded by a powerfully nuanced performance by Andrew Garfield. Garfield's Doss may be small and maybe even meek, but he is a valiant, principled, and extraordinary man of otherworldly heroism. Doss peserveres through abuse by his peers, punishments by his superiors, and most importantly, the disorienting brutality of the battlefield to save countless lives. This is an inspiring story well told and appropriately paced, resulting in an absorbing movie that never becomes dull. But my complaint of this film is in its rather lacklustre first half- I found the romantic subplot to be unnecessary material only included to pander to general cinema audiences. The first half also focuses a great deal on Doss' refusal to bear arms, but the screenplay lacks intellectual insight, repeating the same points over and over again, which may make for a slightly weary or repetitive experience. I find the films main focus is also on the heroics of a combat medic- so it is peculiar that the film focuses so much on this medic being a conscientious object in the first half. The war scenes which comes in teh second half are of course nearly faultless- intricately crafted to a fault, and immensely impactful. Hacksaw Ridge then is a unrestrained, visceral war film which is absorbing and inspiring. An excellent film.

Emma. (2020)

Beautiful reinvention of a classic story

[7/10 · 12 March 2024]

Autumn de Wildes feature debut Emma is like a richly layered wedding cake- it is sweet, delightful, and gorgeous to look at. Emma is approached here with a light, silky touch, which ensures there is not a single sad or tragic moment in the film. The film is airy, humorous, and always playful. This is probably most evident in its confident, immensely likable titular character, played by an irresistible Anya Taylor-Joy. Taylor-Joy is not the first actress which comes to mind to portraying Emma, but she is unexpectedly outstanding. Her Emma is self assured but ultimately arrogant and superior in dispensing her matchmaking advice. She is immature and callous towards the feelings of others- a sheltered play girl who enjoys meddling in the affairs of others. Emma of course undergoes a character transformation and by the end, she realises her flaws, which allows for some moments of drama to seep in. But director De Wilde has ensured these moments of drama are present only as satisfying emotional pay offs rather than over-indulgent melodrama. When we see Emma cry, we feel great satisfaction that our lovable central protagonist has finally realised the error of her ways. This speaks to the perceptiveness of De Wildes screenplay- it is cognisant of the tone of the film. De Wilde has also succeeded in adapting a script that is sharp and with edge. The dialogue is crisp, witty, and always engaging- a must-have for period pieces which are often dialogue heavy.

The rest of the cast also does admirable work in Emma. Johnny Flynn is excellent as the sensitive, mature, wise Knightley who share wonderful chemistry with Emma. They complement each other well and it shows. Mia Goth, Miranda Hart, and a hilarious Bill Nighy, just to name a few, are all good in their respective roles.

To continue with the wedding cake metaphor, Emma is also gorgeously filmed. Its colours of the English countryside are vibrant, saturated, and full of brilliance, along with intricately crafted costumes which are simply striking. In terms of visuals, Emma is a veritable feast for the eyes- an unrestrained explosion of colour.

Regardless, Emma is not without its flaws. Many have complained about how it truncates Jane Austens source material but that is not an issue at all for me. Rather my problem with Emma is that its first half has too little plot and too much exposition. It takes too much time to introduce its many characters and set up the relationships between them. This creates an imbalance with the second half, which is exuberant, taut, and flies by with ease. I would also have liked to see Emma and Knightley spend more time together to fully develop their mutual attraction.

On the whole, Emma is a charming, breezy and warm watch. It is a frothy comedy, beautifully filmed, brilliantly acted, and competently written. Other than my misgivings with its first half pacing and lack of screen time between its central couple, I find Emma to be a deliciously joyous film which is a worthy adaptation of Jane Austens classic.

The Holdovers (2023)

A gorgeous seasonal piece with outstanding writing

[7/10 · 12 March 2024]

The Holdovers marks a magnificent effort from director Alexander Payne which may even turn out to be his best film. This is a film which is so sensitively yet enjoyably crafted, a film that lays bare its intentions so earnestly. The Holdovers succeeds because it is written with care and depth. It is largely a character and dialogue driven piece, and Payne recognises that good dialogue and a meticulous screenplay is absolutely crucial. Paynes script is littered with enjoyable witticisms, and while the film may not have many laugh-out-loud moments, it is still a breezy, airy watch bound to draw many chuckles. The characters for this movie are also intricately written. Paul Hunham is a particularly electrifying character- a cynical, curmudgeon, Dr House-esque character who uses cynicism as a shield against his insecurities. He is hilarious and extremely endearing, which is to actor Paul Giamattis credit. Giamatti gives an outstanding performance as Hunham- he fleshes out the character's excellent writing fully, resulting in a portal which is Depply layered and multifaceted. Giamattis Hunham undergoes significant character development- he realises that not all of the students in the school are entitled, rich, insufferable brats. He realises this by spending time with Tully, who is smart but troubled, with a father in a mental institution and a mother who is always absent. The Hunham at the start of the film- presumptuous, cynical, and dismissive of the students- would most definitely not have done what Hunham does at the end. Payne achieves this transformation cleverly with the characters of Mary and Tully. Mary helps alters Hunham mindset slowly by being a more compassionate foil. Tully meanwhile acts as sort of a son which Hunham never had. This is why The Holdovers is such a satisfying piece- it is the story of a trio who help each other become better versions of themselves. It is also made with a nostalgic period setting which blends perfectly with the seasonal Christmas tones. My only complaint is that the film is a little long, though that is merely a Personal preference. Alexander Paynes The Holdovers is a humorous, light movie with outstanding writing which will easily charm, delight, and absorb any audience.

The Purple Rose of Cairo (1985)

A sweet movie that is overly slight

[6/10 · 11 March 2024]

The Purple Rose Of Cairo is one of the highlights of Woody Allen's filmography, and I can see why. It is light, sweet, and explores meaningful themes of fantasy versus reality. But dare I say it, it is also a little dull. While this is undoubtedly an airy film, I find it particularly funny- I found the script lacked edge and wit, and the dialogue was quite pedestrian. This is definitely not the caliber of writing seen in other Allen masterpieces like Annie Hall or Manhattan or even Love And Death. The plot I'm Purple rose is also probably overly slight. Other than the main events(of a movie character jumping out into real life), not much happens in this film. The relationship between Tom and Cecilia is not fully explored(I suspect that doing so will transform the tone of the film into a Much more serious drama), and neither are its themes of fantasy and reality. I much preferred a later Allen effort, Midnight In Paris, which was more beautifully filmed and delightfully crafted. Overall, Purple Rose Of Cairo is sweet and light, with an excellent Mia Farrow performance, but it is too empty and slight for me to be totally invested in the film and its characters.

My Neighbor Totoro (1988)

Difficult to rate

[6/10 · 11 March 2024]

Every now and then a conundrum emerges when a film like My Neighbor Totoro comes to the screen. This is a film which is so clearly and pointedly aimed solely at children, so the difficulty arises in how to judge such a film. I have not been a child for quite some time, Neither am I a parent who might know more about such matters, so I cannot possibly claim to know what children like or dislike. So I will try to judge this film based on who I am now and how I myself respond to this movie. Hence what I can say is this- My Neighbor Totoro is a magical, whimsical film full of playful and childish moments. This is one of the greatest children's films out there, and it succeeds spectacularly as a film aimed at the under 12 category. But for me, this film is overly childish, and not particularly captivating. The movie is largely plotless, and too little screen time is devoted to the movies icon- Totoro himself. Rather what we get is too many scenes of the sisters running about, fooling around, or arguing with each other. For a 90 minute film, My Neighbor Totoro felt too unbalanced- too much time is given to the sisters, and too little time given to the grey, fuzzy, adorable titular character. The film is of course still beautifully drawn, bright, colourful, and rich with detail. Miyazaki's meticulousness in his animation can be seen clearly, and while I definitely prefer his later feature Spirited away, My Neighbor Totoro is still charmingly simple, innocent, and authentic in its style of animation. Which is all the more such a shame(for me) because a more robust plot, along with greater focus on Totoro himself would have made this film much more enthralling for me. Instead, what we get is a difficult film to judge- a magical masterpiece for children, but a bit of a bore for the adults.

The Worst Person in the World (2021)

Well acted, though slow and unexciting

[6/10 · 1 March 2024]

My biggest problem with The Worst Person In The World is that it is so obviously a film which tries to be different. It is not a conventional Romantic dramedy with a predictable arc and heartwarming resolution. It is something different altogether- like its central character Julie, the film is messy and unstructured. It is a tumultuous character piece on a character which has a chaotic mid life crisis at 30, a woman who dosent know what to do or why she's here. But my misapprehensions lie with this- this is a film billed as an exploration of Julie's existential crisis, yet it focuses almost exclusively on her love life. By subverting the classic romcom story arc, director Trier has created a messy, confusing film where a lot of time is spent in serious arguments and discussions between Julie and her partner(whether Akxel or Eivvand). The film is not so much a slow coming of age tale or story of self discovery- rather it is a chronicle of the chaos and the uncertainty in Julie's life, and I failed to see much progression from this chaos, even when nearing the end. My second problem with the film is that for a film which relies so heavily on dialogue, the dialogue is only sometimes revelatory, sometimes insightful. Other times it is artificially profound, not exactly banal, but still quite dull. But of course, the main attraction in this film is Julie herself. Remake Reinsve gives a powerhouse performance as Julie- Reinsve is very pretty, and she possesses the star quality which allows audiences to immediately focus on her in any scene. She is also a marvellous actress- her expressions and mannerisms betray a world of pain, of uncertainty and trepidation for the future. She is not the classic "messy girl" character- Reinsves Julie is a woman with depth, flaws, vulnerabilities, and multi faceted emotions. Triers cinematography also deserves praise- he expertly uses aperture settings to create well curated bouquet effects which are stunning. His photography so Oslo is also beautiful- the city is sunny, vibrant, and full of energy. On the whole, The Worst Person In Teh World failed to Engage me entirely, though I enjoyed certain sections, in particular a section which so brilliantly showcased the effervescence of first love. The other bits of this film just felt too dull- too plotless, too tragic, and too messy. This is another one of those great films I couldn't enjoy.

Clue (1985)

Convoluted, silly, and kinetic

[6/10 · 24 February 2024]

The first word which comes to mind when watching Jonathan Lynn's clue is "kinetic". This is a film where so much goes on at the same time that makes me dizzy trying to follow the pieces of the action. This goofiness, this silliness, and this hectic movement is perhaps the films greatest flaw- that it is essentially a film with a very robust introduction and conclusion but a very flat mid section. Its mid section essentially consists of characters running around and screaming about as several frenzied developments take place. This leads to a feeling that too much yet too little happens in this section- a great amount of detail and plot is rushed through, causing the audience to only retain some of this information. But there is still much to like about Clue. It's cast of colourful characters are exciting and brilliant, with uniformly superb acting, and of course an inimitable Tim Curry headlining this ensemble cast. The film also has an inventive three ending conclusion, showing the cleverness of Lynn's screenplay- that the information he has revealed in the film could very well fit in satisfactorily with three different outcomes. The films goofy wit, while over exaggerated in some places, is still a welcome addition, and several of Lynn's trademark wit(from Yes Minister) is evident in the film. On the whole, Clue is an amusing, funny whodunnit which can keep an audience engaged not because of its plot, but because of its colourful characters and unique humour. Lynn's screenplay is definitely clever, but it still requires a good amount of refinement such that his information is presented more clearly and less hurriedly to the audience.

Silver Linings Playbook (2012)

Excellent but not very entertaining

[6/10 · 24 February 2024]

A film like Silver Linings Playbook presents perfectly the age old dilemma about film. Should film be good because it is entertaining, or because it has artistic value. Whereas in most cases entertainment value is inextricably intertwined with artistry, In silver Linings playbook, the two are distinctly bifurcated. The truth is that I enjoyed Silver Linings, but not because it is an easy or particularly exciting watch. The film is very dour, filmed very conventionally, and much Too slow, too tepid for my liking. It deals with a difficult subject matter unconventionally- whereas the film is never overtly unflinching in its portrayal of mental illness, there is always an uneasy tension between the central characters which permeates most of the film. The result is a movie that is largely humourless and very messy. I also find fault with the screenplay, which may get banal, and does not offer me new insights into the world of mental illness. For a film which is heavy on dialogue, this could be a disappointment. Artistically however, the film is a triumph, due in large part to its outstanding cast. Bradley Cooper , Robert De Niro, and many of the supporting characters like Chris Tucker are all superb. The film also delves into the father-son dynamic between the junior and senior Pat, which is interesting. Then there is Jennifer Lawrence, in a bravura performance which some her the Oscar for Best actress. Her portrayal of the assertive, domineering, but ultimately vulnerable and damaged Tiffany is finely layered, nuanced, and painfully believable. Lawrence is gifted with a deep mellow voice which she uses to great effect, combined with perfectly judged expressions and mannerisms. She is able to convey beautifully well a multitude of expressions- agony, pain, indignation, and of course, bliss, as the film progresses. First rate work from a first rate actress. Lastly, the ending of the film deserves praise. It is simply done but effective in its emotional catharsis- it does not overindulge on flashiness or long drawn suspense, rather opting for a straightforward approach that befits the two hours of film preceding it. It is memorable and a wonderful ending to a meaningful story. But my problem still remains- Silver linings playbook is a difficult film to watch. This is because it is earnestly and realistically portrayed- qualities which are normally good but in this case may sap entertainment value from this movie. It deals with a topic which may not resonate with many people. It is also quite slow in its pacing, very moody, and sometimes explosive. Personally, I like watching films because they make me happy, or make me excited, or make me anxious about what happens next. Which is why is can only admire, but cannot fully enjoy the excellent film which is Silver Linings Playbook.

Pretty Woman (1990)

An inferior Notting hill

[6/10 · 17 February 2024]

When looking at the filmography of Julia Roberts, two classics inevitably pop up at the top, They are two films which are very similar in plot, but vastly different in style and execution. Roberts' first massive hit was of course Pretty woman, a tremendous success at the box office and beloved by audiences then. But by far and away my favourite Julia Roberts film is 1999s Notting hill, which I feel is a better, improved version of the more workmanlike Pretty Woman. Pretty Woman's flaws are that it lacks the classic, wry, self deprecating British humour which permeates Notting Hill. It is a very formulaic, predictable Cinderella story of a prostitute and a billionaire. Such a concept may be intriguing on first sight, but the film shows it becomes predictable very quickly. There is a sort of meet cute between Edward and Vivian, Vivian struggles to adapt to the high society Edward inhabits, there is of course a contrived conflict separating the characters in the middle, and the central couple make up in the end- all pretty standard stuff. Honestly this is quite fine by me- Notting hill does too adhere to this romantic comedy formula. But the issue with Pretty woman is that it is not well written. It's screenplay is not particularly witty, and there are sections of banal dialogue which plague certain parts. The film is also not very funny, in that the situations it's characters get into are unimaginative and frankly quite boring. The movie also lacks an oft undiscussed aspect of film criticism- atmosphere. Notting hill has a magical, yet earnest atmosphere courtesy of its beautiful cinematography. Thomas Crown(another film featuring a billionaire) is splendidly slick and suave. But Pretty woman has a dated, gritty 90s aesthetic which is too dark, and not very pretty to look at. Beyond its flaws however, it is still important to recognise this as Roberts' big break. Roberts is excellent in pretty woman- she is wonderful as the strong willed, uncouth, yet gorgeous prostitute who is perfect for Edward. Richard Gerre also plays Edward well with a Harrison Ford-esque straight laced charm, though i would have preferred more comedy in his performance. Overall, I did enjoy pretty woman, but it is a dated film which is formulaic, only sometimes funny, sometimes charming, with a good Julia Roberts performance. In comparison, I found Notting Hill to be a formulaic film that holds up splendidly well today, is hilarious, and to be a film which exudes enormous charm, with an outstanding Julia Roberts performance. The problem with pretty woman then is this- that it is not Notting Hill- once you have watched Notting Hill, this films flaws becomes ever more salient.

Palm Springs (2020)

Energetic dramedy strangely written

[6/10 · 1 January 2024]

Palm Springs is a wonderful, sun drenched, time loop comedy with sentimental moments, but I find it still lacks the outrageous humour of Groundhog day, or the sweet sentimentality of About Time. By all measures, it is competently directed, well acted, and blessed with an original screenplay. Instead of having only one central protagonist be trapped in the time loop, we know have 2 people(which the story primarily focuses on) people trapped. The story also has an expert Nyles, who has been trapped in the loop long before the film starts, and a novice Sarah, with much less experience. Andy Sandberg is terrific as the nihilistic Nyles, while Cristin Milioti is also excellent as the desperate Sarah. But despite the films 90 minute runtime, it lacks the explosive humour of Groundhog day because the film avoids the entertaining, though trite cliches involved with extracting full potential of comedy in its time loop premise. While the film does have some amusing moments, what we get for the most part is more like a character exploration of the films two leads. The film practically courses with Adrenalin- it reduces the derivative moments in its oft Produced time travel loop story into mere montages, instead choosing to focus on such character exploration. But Palm Springs may fail to capture an audiences attention when delving into these character driven scenes because it lacks witty, or particularly incisive or clever dialogue. I think there is no doubt this film has lost of energy, and it may well be focusing its energy on the correct places, but the results might not be as sharp or as satisfying as I hoped. Of course, most of Palm Springs is well made, and even its problematic moments should not be particularly objectionable, never overwhelmingly dull because of fine acting work from its talented cast. A sunny, upbeat, energetic film worth a watch.

The American President (1995)

Very watchable and enjoyable

[7/10 · 1 January 2024]

The American President has more than just a whiff of conventionality and predictability in it, but it still remains interesting, enjoyable, and amusing thanks to a competently executed screenplay and excellent performances. The American President is excellent because it has a taut, very lean screenplay which disposes of any silliness of unnecessary scenes. As a result the film runs with excellent pace and their boredom never creeps in at all. My most common complaint with films like this, which marries its characters personal life's with their professional ones, is that often films becomes clunking handled, where the plot driving the necessary conflict in the romcom arises from matters related to their occupations rather than their personal lives. In fact that was my problem with Broadcast News, and it is to screenwriter Sorkins credit that this is not a problem here. Despite the president being supposedly a man with essentially no personal life, the screenplay is able to cleverly navigate this theme of delineating the two spheres. Whereas the central conflict of this film still arises from the leads' differences in their professional lives, their professional lives are interesting, intriguing, and well presented, and the resolution recognises such a delineation. This film also has wonderful performances from the two appealing leads. Michael Douglas, a splitting image of his father, the legend Kirk Douglas, is suave, witty, and charismatic. He shares good chemistry with Annette Bennings Sydney, who manages wonderfully her role- She is adorable and likeable though there is still no doubt Sydney is a strong willed, assertive, fully formed woman. Sorkins screenplay also has several profound insights on the difficulty of being commanded in chief, a scene about janitors and proportional response being a particularly memorable moment. All I can say is Sorkin is a master at writing, and his screenplay here is consistently excellent material. Overall, The American President is a very enjoyable, likable romcom that contains good insights about politics. It is a charming, competently managed film.

Wag the Dog (1997)

Outrageous, wry, though improbable

[6/10 · 31 December 2023]

Wag The Dog perhaps has not aged well in that it's premise of a fake war, of the great ease the government can pull the wool over the eyes of its people, is quite preposterous, especially now with the advent of the internet. The films dialogue is always outrageous but to me, not very biting, not very funny. It is quite dry and quite ridiculous. I much preferred the profane satires of Armando Iannuci, or of Alexander Payne. The direction of the film also goes in the way which Dr Strangelove does, though I have always found films like Wag The Dog to flail because it lacks the bombastic overacting, the hilarious sharp script, and the completely overblown fantasty world of Dr Strangelove. What we have here is a fairly, though not totally unrealistic situation played straight and played seriously, which fails to capture my attention.

Strangers on a Train (1951)

Good stuff but a tad unbelievable

[6/10 · 30 December 2023]

Strangers On A Train is a taut, thrilling murder film, but I find it inferior to most of Hitchcocks other works. The films flaw is in its premise itself- it seemed quite improbable that the police would believe a raving lunatic over a sane man, and that planting a lighter days after a murder can possibly be much admissible evidence to convict and try Haines. The film is also oddly structured, in that the plot moves rather slowly in the middle hour or so, and the true climax of the film, the really suspenseful, thrilling bits are the last 30 minutes of film. I find that Hitchcocks movies can be so,it into two kinds- action adventure espionage tales normally with a bit of wit and humour in them(North By Northwest, thirty nine steps, lady vanishes) or more serious thrillers with excellent dramatic acting(Notorious, Man Who Knew Too Much, Vertigo). Strangers On A Train falls squarely into the latter category, but its plot lacks enough tension, and its characters lack enough interpersonal relationships to truly ground and humanise the story. Notorious had a serious love story, Man Who Knew Too Much a family kidnapping story, and Vertigo and obsessive love story. Perhaps this film is most similar to Rope, but I find Rope to be more tautly constructed and more suspenseful. Of course, strangers on a train does have outstanding performances, notably the chilling, psychopathic portrayal of Bruno. It also has beautiful cinematography by Robert Burks. But ultimately, this story felt too cerebral, without a touching romance or drama to ground and humanise the story much.

The Last Detail (1973)

Pretty good but never hilarious

[6/10 · 30 December 2023]

The Last Detail is good because it celebrates a universal theme- the camaraderie and kinship of men. It is very profane and made in a very 70s style of filmmaking- gritty, grey, and realistic. The trio of leading men are all good. Jack Nicholson is excellent as the brash, vulgar, and slightly unhinged Buddusky, while Otis Young does fine work at the considerably more level headed straight man Mulhall. Randy Quaid is also great as the timid, meek Meadows. But ultimately this films humour seemed dated for me, and while the Script garnered a few chuckles from me, it was never sharp enough to incite any laugh out loud moments. I also felt the film to be at least slightly slow by todays standards. That is not to say I did not enjoy this film, only that I did not like it as much as I hoped. Overall, The Last Detail is filled with excellent performances and a profane, sometimes funny script. Not precisely my cup of tea but still worth a watch.

About Time (I) (2013)

A more wholesome but less entertaining Groundhog Day

[7/10 · 29 December 2023]

Whenever a director makes a time travel story, there would be inevitable comparisons to Harold Raims classic and groundbreaking 1993 film Groundhog Day. About Time, perhaps Richard Curtis' most sincere(and probably best) film, is a sort of repeat of Raims 1993 classic, only done more sentimental and of course less funnily. Just as a foreword: I do not think About Time is as enjoyable as Groundhog Day, nor is it as charmingly acted. But the two are quite different movies, and as something more serious(but still sweet), About Time succeeds. About Time is firstly different in that it is not exactly a romcom- while the focus of the film is on Domhall Gleesons Tim and Rachel McAdams' Mary, there is a great deal of screen time devoted to the subplot involving Tim and his family. This is a clever move by Curtis because a full two hours devoted to only two characters would be grating, overlong, and trite. With this romcom- family drama blend, there is a significant amount of heartwarming, tender, sweet moments which is bound to charm the audience and retain their attention. Curtis has also succeeded in picking the right actors to carry this story. I can find no fault in any of the performances by the talented cast; they are all uniformly outstanding. Not that the material is ever particularly weighty, but it still is rare to see faultless performances by all cast members, Domhall Gleesons and Rachel McAdams in particular are excellently charming, sharing exquisite chemistry. Bill Nighy also does superb work as a loving, wise father with great appeal. In fact, the entire cast is populated by eminently likeable and endearing characters, and Curtis deserves credit for eschewing the oft followed trope of inventing artificial, contrived hurdles, whether in plot or through an antagonist. Another aspect I liked about the film is that it has a fluid, natural pace, which keeps audiences interested because of unexpected developments in plot. Of course, Curtis enjoys making sugary films, and this film may be overly saccharine for some. The film feels like A fairy tale- there are no arguments between characters, and London is filmed gorgeously(though rather idealistically). But for me this sweetness is balanced well by the bitter consequences of the plot- having spent considerable screen time building up our affection for Tim's father, the movie closes with a bittersweet, though optimistic ending. Besides, if viewers want a realistic, gritty depiction of everyday life in the movies they watch, why not pop on a documentary. Movies are there to tell a story- it can be beautiful, it can be grim, it can be sentimental, it can be sweet, but it cannot be uninteresting, it cannot be boring, it cannot be unenjoyable. With its unashamed charm and heartwarming wholesomeness, I can find few happier ways to enjoy 2 hours than watching Richard Curtis' About Time.

About Schmidt (2002)

Quite languid and uninteresting

[5/10 · 29 December 2023]

About Schmidt perhaps represent my nightmare and my dream both at the same time. My nightmare because it has everything I hate in a movie like that- it has unnecessary sentimentality, poor, banal writing, and a slow, languid, odd pacing. But despite all these deficiencies, the film represents my dream because it has a phenomenal Jack Nicholson in a wonderfully against type performance which he nails perfectly. Watching About Schmidt, I could not help but feel it to be painfully slow and not at all funny. It is oddly paced, taking a full hour before things get started. It is also primarily a character journey, but it falls because our central character is not given any interesting things to do. It is, like Schmidt himself, dull, uninspiring, and depressing. The dialogue is also trite and quite banal, lacking the edge require to retain the attention of audiences. As a result This is became film which got me bored very quickly. Perhaps the only redeeming aspect of About Schmidt is the brilliant performance by Nicholson. He proves himself to be a cinematic legend, with great range and versatility. Often type cast into playing bad tough guys, he offers a strikingly realistic portrayal in About Schmidt. Nicholson never over acts, and as a result his portrayal is restrained. But it is also powerful, a poignant portrayal of a man who is not exactly depressed, but also not happy. Schmidt is a man who is pretty emotionless and stoic, lonely but just able to cope by and live each day as it slowly passes. A wonderful performance. But certainly not enough to save this languid, clunky, dull movie.

As Good as It Gets (1997)

A (Slightly) inventive romance

[6/10 · 28 December 2023]

As Good As It Gets is a romcom with good charm and outstanding performances, though I am not sure it is quite for me. My first complaint is that this film is at least slightly derivative- its story is essentially a predictable redemption arc for its neurotic, slightly unhinged, bigoted, and misanthropic central character. The stuff with the dog, the initial rejection, a later rejection, and the final inevitable acceptance is all standard stuff, things which can be seen a mile away. The other problem with the film is that whereas typical romcoms would like their leading men to be endearing, our central character here is brash, rude, and socially inept. I feel the screenplay could have at least toned Melvins character flaws down, perhaps making him more like a Dr. House character- someone who is still likable but deeply flawed. My last issue is with the disconcerting age gap between our leads, though this point is alleviated by the excellent performances of our leads. Indeed, our two leads give wonderful performances. Jack Nicholson is brilliant as the crass, impertinent, obsessive compulsive freak Melvin, who undergoes changes because he falls in love with Helen Hunts Carol. The two share good chemistry even though Nicholson is old enough to be Hunts dad. This is because of strong, sincere portrayals aided by wonderful writing. The characters are well written with good depth- Melvin is one who shows repentance due to love, while Carol is strong willed, assertive, and straightforward in expressing her emotions. The dialogue, while veering into sentimentality at times, is of a high caliber on the whole, thanks to insightful observations and good dialogue tailored and personalised to the characters itself. Overall, As Good As It Gets probably won't result in laugh out loud moments, but it is still a competently written, well acted, relatively breezy way to spend 2 hours. Worth a watch.

The Favourite (2018)

HAHHAHAHA what?

[7/10 · 28 December 2023]

Well, who knew a lesbian story set during imperial England could be so funny. Indeed The Favourite surprises because it is excellently written, never shying away from anachronistic vulgarities and a honest but painfully brash and hilarious sense of humour. For Lanthimos, this is probably standard stuff. But by mainstream Hollywood conventions, this is bold, creative, and inventively funny. The backstabs, the plotting, the connivance are all approach is a cynically funny way. The Favourite is also perhaps notable for being a film where the females are the ones in power. The trio of leading women are all excellent in their portrayals. Olivia Colman is wonderful as Queen Anne, playing an unhinged, infantile, and uninterested queen. She is emotionally unstable but extremely powerful- the worst combination for her subordinates, but the best combination for our entertainment. Rachel Weisz is likewise brilliant as the conniving, scheming Lady Marlborough. Marlborough is the secret puppeteer who pulls the queens strings and her approach is evil, almost Machiavellian in her manipulation of the queen. But perhaps the most fascinating character is Abigail, played by the magnificent Emma Stone. The story could be seen as the transformation of the initially meek Abigail into a plotting, morally bankrupt schemer who becomes the queens Favourite. Initially Abigail plots to ensure her continued survival, but her lust for power eventually turns her into something more sinister. I think to say Lanthimos is a unconventional director would be a massive understatement. But The Favourite, crazy as it is, is genuinely funny, dripping with wry cynicism, and very enjoyable. This film has a great deal of mainstream appeal, and is a pleasure to watch.

Broadcast News (1987)

An insightful, technically competent piece

[7/10 · 27 December 2023]

I think Broadcast News is a wonderful film, and I find it to be an effective, insightful eye opener into the world of News production. It details teh daily triumphs and travails of everyone involved in news production- from the reporters to the producers to the anchor himself. Perhaps the shows most memorable scene is a tense, brilliant sequence where Tom has to confidently helm the news about a Libyan plane, with pressures from Jane in his ear, from how he presents himself, and unexpected occurrences. It is a Wonderful sequence which is gripping and exciting. The trio of leading actors are also great. William Hurt is excellent as Tom, a dashing suave anchor with ravishing charisma. Albert Brooks is also fantastic as the very fair minded, professionally competent, though socially less capable Aaron Altman. But of course by far the standout in this film is Holly Hunters performance as Jane. Jane is a very interestingly character- she is at times adorable, but also painfully lonely in some scenes, and angrily rash in others. She is a fully formed woman with impeccable professionalism and ethics, but is also deeply flawed as she is rash and emotionally volatile at times, with a bossy, superior attitude. A likeable character in the less, but a realistically flawed one. My only objection to her characterisation is that she may be written as a sort of journalistic puritan, perhaps an anti-sensationalism attitude taken to the extreme. I cannot testify to the experience of others, but my experience watching the film at least, was that the film felt more sympathetic towards Tom than towards Jane in the end. For all the distributors marketing by branding Broadcast News as a rom com, I cannot help but feel it played out more as a straight laced drama. While there are lighter moments in the film, the movie still felt like a slightly dramatised, though still straight piece about what happens inside the newsroom. It is also not so much a romance film in that our films leads do not spend much time with each other, and it seems their romance is built on admiration(or in the end, disdain) of our characters professional careers and values rather than their personal lives. The script has edge but is not the wittiest I have seen, and while there are no heavy dramatic moments, there are also no hilarious comedic moments in this film. Personally, my interest could not be retained by the films focus in the newsroom and their characters. But I do not doubt that there is definitely an audience out there who will be more engaged by the interesting happenings inside a news studio. Technically, Broadcast news is a triumph as it features superbly written characters, and great insights, not over dramatised, but decently entertaining into a broadcast newsroom. Broadcast news more than deserves my recommendation.