stephparsons Reviews

A Streetcar Named Desire (1951)

Classic Leigh and Brando.....captivating & impressive

[8/10 · 26 January 2014]

This movie is certainly not a classic for nothing. The acting is stunning (although, sorry Marlon, you weren't the best), the plot riveting and suspenseful, and the sights, sounds, smells and music of New Orleans in the 50s, brilliantly captured. Adapted from Tennessee William's screenplay, it has almost a 'musical' feel about it and one keeps expecting Stanley, (Marlon Brando), to jump up on the kitchen table and burst into song (sadly this doesn't happen as he's too busy glowering menacingly or destroying things). Stanley and Stella (Kim Hunter) are a working class couple living in a seedy part of town but not in the least bothered by the incessant noise, hustle and bustle and habitual punch ups that pop up throughout the film. Stella's somewhat fragile and slightly mad sister, Blanche, (Vivien Leigh), comes to stay with them after being told (or forced?) to take a break from her 'school teaching job'. From the very start, Stanley is suspicious of Blanche and thinks she is hiding an inheritance from the former family estate. Leigh is nothing less than brilliant as the neurotic, flouncy, age-obsessed Blanche, who appears to be living in a by-gone age/fantasy world and, rather mysteriously, has arrived with trunks and trunks of expensive gowns, wraps, stoles and jewelry (which pisses Stanley off even more) and leads him to 'investigate' Blanche's life prior to her move to New Orleans. Although Brandon certainly looks the part in Streetcar - the muscular, attractive, sweaty, working class, 'man's man' - I found his acting just a teeny bit stilted and over-dramatic at times; I'm sure some people will want to kill me for that statement, but it's a risk I'm willing to take. In any case, as the movie unfolds, Blanche's neuroses, fears, desperation and longing for her former youth escalate - as does Stanley's temper. There are no shortages of slanging matches and physical violence between the two (or, for that matter, between Stanley and Stella). Blanche is horrified that her sister is married to such a brute and tries to convince her of his 'commonness'; "He's like an animal!", "there's something sub-human about him!" but, all to no avail; Stella loves him and seems to rather enjoy their rough and tumble relationship - this really irks Blanche. As Blanche tries to convince herself that she's still young and eminently desirable, she descends further into a dream world. Meanwhile Stanley, through his ambiguous 'research', has 'discovered' that all that stuff about Blanche being a schoolteacher and carer to her elderly relatives was a bunch of hooey and becomes convinced, that in reality, her life was much seedier……MUCH seedier. At this point, he ramps up his 'brutishness' and even though Stella tries to stop him, he continues to terrorize the ever-more loopy Blanche. I shan't give away the ending but let's just say the 'truth' about Blanche's former life could open to interpretation - and that's always a good thing in a classy movie. I recommend Streetcar for its authentic New Orlean's ambiance, remarkable and creative cinematography and, above all else, Leigh's no-holds-barred characterization of a woman slipping into the abyss of complete and utter madness. You'll be captivated and impressed, that I promise.

What Ever Happened to Baby Jane? (1962)

Twisted sisters in classic 1960s nail-biter

[7/10 · 5 January 2014]

Well there certainly ain't nothing' to like about Baby Jane, that's for sure! From precocious, spoiled, all singing, all dancing brat, to hateful, spiteful, drunken, crazy woman, Bette Davis pulls off the insufferable Jane Hudson with glowering panache. She stomps, she scowls, she shouts, she rants, she simpers, she pouts and, if that weren't enough, takes great delight in tormenting and torturing her crippled sister, Blanche (whose paraplegia she caused in a drunken rage). There is nothing to touch the aging Jane with her ever so scary make up and bi-polar-esque personality. Blanche (played by Joan Crawford) is also a tour de force in this movie, but as her life is spent almost entirely 'under the thumb' of Jane, she exudes 'victim' and often a rather simpering, precious one at that, which, even if intentional, is a bit annoying to say the least. The sisters' twisted life stories have lead to their current situation with Baby Jane's career fizzling out at a very young age and Blanche's acting career taking off in young adulthood and leading to much success, fame and financial stability. Although, without question, Baby Jane, is a movie classic, watching it with a modern (and possibly jaundiced eye) one cannot but spot numerous plot inconsistencies and clunky screenplay. Why, I ask myself, would Blanche ever, have acquiesced to her bedroom being upstairs?? She's not only a blinking cripple for crying out loud, she's now an imprisoned one! Or has Blanche spent so much of her life deferring to her sister due to pity for the poor dear's failed career, nutso personality, drinking problem etc that she simply can't be assertive? . It's hard to tell, but there are certainly times when one wants to ring Blanche's neck and scream 'stop being so bloody nice to her! She's a ruddy psychopath for Chrissakes!, demand a room downstairs!'

Finally, however, Blanche does wake up and smell the roses; she attempts to 'talk sense' to her demented sister about her (Jane's) 'illness' and the fact that their money is dwindling and shouldn't Jane see a doctor and stop spending so much? This sensible advice, plus Blanche's attempts at seeking help from the outside world, are the catalysts that drive Jane to ramp up her torture routine, and seek ways to bring in some cash of her own. She morphs quickly from shuffling, angry, blotto eccentric to simpering, 'controlled' (but actually madder-than-ever-woman. Blanche finally cottons on that her life might actually be in danger (about time too, you fool) but let's just say her efforts are non too successful . The ending to this movie is a tad confused, baffling and rushed, which is a shame because overall it really is a riveting horror/thriller. Both Davis and Crawford excel in their performances and it's unquestionably a 'must see' for any self-respecting movie buff.

Boy (I) (2010)

Unpretentious, joyous and heartbreaking

[8/10 · 11 December 2013]

Boy - 2010 'Boy', set on the East Coast of New Zealand, will make you laugh and cry. Written and directed by Taika Waititi, who also plays the role of Boy's Father, Alamein,this movies is unpretentious,devoid of self pity and beautifully acted. The eleven year old Boy (played by James Rolleston),lives with his brother Rocky and three Cousins. They are cared for by an Aunt (whom we never see) because their Mother is dead and their Father is 'away'. The family is a self-sustaining little unit and although they get by, it is clear they are on the breadline. Boy is a bright, happy, innocent child who idolizes Michael Jackson and is over the moon when he finally gets to meet his Father. When his Aunt goes away, Boy must run the household with the help of his young brother and cousins. Initially things run relatively smoothly but that all changes when, out of the blue, the brothers' Father shows up with the intention of digging up a cache of money he buried years ago. Boy is spellbound by this Father he never knew,and idolizes his every move. As Alamein becomes more comfortable around his sons and the house, it is clear he is not particularly interested in,or capable of,taking on the responsibility of child care. Much of his time is spent horsing around with his mates, drinking beer, smoking weed, puffing up his ego and desperately seeking sources of money. Boy, who was previously picked on at school and ignored by the girl he fancied, is now bursting with pride as he shows off his Father to the folks of the small town. Boy's attempts at emulating his Father are almost painful to watch but, as the treasure hunt goes on and on, Alamein's self-absorption, petulance, anger,and abuse of alcohol and drugs initiates a dramatic shift in the dynamic between Father and Son.

The beauty of this film is its simplicity, outstanding acting and the combination of matter-of-factness, radiant joy and palpable sorrow expressed by Boy as he deals with the radical changes that befall his family life. If you want to see a thoughtful, intelligent, really well made movie,(and if you don't mind getting the Kleenex out),I thoroughly recommend it.

Vivre sa vie (1962)

Brooding, seedy, chic French New Wave

[8/10 · 11 December 2013]

Now who doesn't enjoy a healthy dose of French, 'Nouvelle Vague' existentialism on a rainy Sunday afternoon? Well, I must confess I was initially a little apprehensive about 'Vivre sa Vie', a twelve tableaux, New Wave film directed by Jean-Luc Godard. Not that I haven't immensely enjoyed many of his other works but the write up on the DVD made it sound far more inaccessible and 'out there' than it actually was. The use of tableaux helped tremendously with the flow and understanding and gave the movie the effect of being more like a play whilst providing a direct view into the mind's eye of the filmmaker.

Vivre sa Vie is certainly less plot driven than character driven - but what do you expect? This is French New Wave people! Essentially one becomes immersed in the life and lifestyle, thoughts, feelings and attitudes of Nana Kleinfrankenheim (played excellently by Anna Karina); a young woman who has left an unhappy marriage, and her child, and is seeking more in life. Apparently Godard specifically chose Karina for his main character believing her lack of acting experience would contribute to her natural 'awkwardness; it did, and very effectively too. Nana is dissatisfied with her lot and aspires to become an actress as she works, with extreme indifference, in a low paid sales position. She finds herself without enough money to make ends meet and that is where her descent into a seedier, harder life begins. Throughout the movie, Nana's personality vacillates wildly between apathy, coquettishness, genuine sadness, sultriness, sheer awkwardness and hard-nosed conviction. I particularly enjoyed the tableaux where she meets an older man in a café and they start a conversation which leads to philosophical enquiry. Although Nana has no knowledge of the subject, her enquiries and questions lead to her philosophizing, albeit for a brief period of time. This is one of the rare scenes where Nana becomes genuinely animated and exuberant and one sees that she is truly an innocent, whose various 'masks' are just that; a way of appearing that she has her life together, knows what she's doing and doesn't care about the consequences.

The cinematography and atmosphere of sa Vie is beautiful, brooding and captivating; some scenes consisting solely of the back of peoples' heads, their reflections in mirrors and their thoughts only spoken in their heads. If you fancy stepping back in time to 1960s Paris, where everyone is impeccably chic all the time, where people seemingly inhale more smoke than oxygen and where one can revel in a fiesta of ennui, seediness, desperation, innocence and stark realism - then you are going to love this movie!

The Wicker Man (1973)

Frosty policeman meets island of free loving pagans!

[7/10 · 13 July 2013]

Wowzers!! I was totally unprepared for the goings on in this movie and thought I'd be settling down to an old, predictable, 'horror' - how wrong I was. The Wicker Man, written by Anthony Shaffer and directed by Robin Hardy, is so bizarre and yet so cunningly clever, it's a truly worthy cinematic experience. Sergeant Howie (played adeptly by Edward Woodward) sets off to a remote Scottish Island to follow up on a 'missing child' case, having received a letter from one of the islanders about her disappearance. Right from the get go we are treated to the outlandish ways of the island folk and let's just say, the straight laced Howie is not exactly welcomed with open arms. It soon becomes apparent that the islanders actively pursue a pagan belief system and are immersed in an unusual lifestyle that involves the worship of nature and pagan Celtic gods, and an open reverence for fecundity, sexuality and fertility - this totally outrages the conventional, god-fearing Sergeant and the more he sees, the more frustrated and irritated he becomes. Imagine his horror at the continual cavorting, sudden bursts of jaunty folk music , and elaborate (and somewhat explicit) fertility rites.

As Howie goes about his business he soon finds, much to his chagrin, that no one is willing to help him in his quest to find the missing girl and that no one will even openly admit to knowing her. This stonewalling, combined with his continual exposure to the islanders' hedonism, just compounds his intolerance and revulsion which I believe is neatly summed up when he hollers at the top of his lungs 'Heathens!, bloody heathens!'. He quickly learns that all residents of Summerisle (including himself) must defer to the charismatic Lord Summerisle (played with panache by Christopher Lee) and although this 'leader' isn't 'worshipped' as such, it is evident that he 'runs the show'.

The artful depiction of ancient British customs, celebrations and costumes are a huge component of Wicker Man, not to mention the islanders' random eruptions into bawdy folk songs. The movie appears to have been casted with a range of unskilled, 'wooden' actors who are not altogether believable and seem big on 'over acting' but, as the plot unfolds, you may well change your opinion as to their 'acting skills'. There are though, without doubt, some genuinely bad actors and some painful attempts at the Scottish accent (apparently the Landlord's daughter's 'accent' was so heinous they ended up dubbing her lines). There are also many seemingly over the top, and obvious, metaphors (think: dead child cakes, numerous phallic symbols, dead hare in a casket, lingering shots of the sun etc).

After initially sympathizing with Sergeant Howie and the way he is ridiculed and lied to by the wilfully uncooperative islanders, one begins to finds his staunch, prudish, celibate and rigid brand of Christianity somewhat objectionable, and his intolerance of the islander's customs and beliefs, particularly narrow minded. The juxtaposition of Howie's 'god fearing' ways and the islanders ebullient and, on face value, 'cheerful' worship of nature, is cleverly enacted but, as the movie plays out, the portrayal of these contrary beliefs beg questions such as, is this an indictment of religion (including but not necessarily limited to the Sergeant's and the islanders)? Is it solely an indictment of paganism? Is it pro Christian and anti heathen? And, if that last theory applies, why wasn't Howie depicted in a more sympathetic light? Other interesting elements of the movie include the fact everything we are presented with is seen only through the eyes of Howie so one does start to wonder if his biased, prejudiced view of the pagan folks actually colours what he (and in turn we) see. This notion is exemplified when the Sergeant is in his room at the inn and, in the next room, the Landlord's daughter is stark naked, dancing around in a highly suggestive manner and repeatedly slapping the wall (yes….. that bit was weird). Howie leans up against the wall and you see his perspiration and pained expression of unfulfilled desire as he battles with this 'sinful' temptation. However, you then realize that a) he didn't know she was naked, and b) he didn't know there was 'dirty dancing' going on. Was it all just a figment of his imagination? And if so, how much else of what he saw on that island was conjured up by his mind's eye?.

In conclusion, if you want to watch a well thought out, creative, totally non-generic movie that may generate much discussion - and if you appreciate strange, off the wall and sometimes bizarre film-making - oh yes, and if you can handle an eyeful of naked, nubile young women prancing and dancing around - you're gonna love it!

Catwoman (2004)

Black-leather, big bosoms, predictable plot

[3/10 · 6 July 2013]

Well it's not much wonder that this particular brand of 'Cat Woman' was a box-office flop. Bob Kane (the original creator of 'the cat' (DC Comics) in the late 30s, has now 're-developed' (or let's just cut to the chase - 'sexified') his Cat Woman character and frankly in this day and age, when we are at least expected to give a nod to equality, that annoys me.  And so we are presented with a 'feline superhero' (played by Halle Berry) who bears little resemblance to the Cat Woman of the original franchise and wears a lot less clothes.  Yes, they tried (feebly) to show a bit of her 'bad cat' side but on the whole, she is portrayed as a do-gooding vigilante, writing wrongs and beating on the bad guys (again, a wild departure from Cat Woman's original role as traditional villain, burglar  and oftentimes adversary of Batman).  In this bland, 2004 offering, Cat Woman has basically morphed into just another superhero, much akin to Batman, Superman, Spiderman et al (but with an unavoidable cleavage issue). I'm not really sure how much of the corny, 'overdone-ness' of this movie is an attempt to pay homage to DC comics (at which it fails miserably), or more a reflection of the writer and director's lack of a creative approach, either way, it sucks.  With the advent of an array of newly conceptualized, updated, sleek, less clichéd DC characters in recent years, Cat Woman seems to have been left in a bygone era where it was acceptable to portray female superheroes as erotic entertainment - presumably to 'pull' a male audience with all that  shiny black leather and unavoidable bosom flaunting.  I'm afraid to say that the obvious, (oh so obvious...) 'plot' is on a par with poor Cat Woman's one-dimensional personality . Patience Phillips/Cat Woman (Halle Berry trying her best I suppose, considering the paucity of her role), appears as a downtrodden, bullied artist working for a dodgy beauty products company whose aim is to increase and maintain their target buyers (middle aged women) with a beauty serum that will keep them young forever (just so long as they don't stop using it; then, of course, their faces will fall off, or at the very least, all the 'disgusting' flaws, wrinkles and ravaged of time will catch up with them. This aspect of the storyline makes the assumption that audiences agree that middle aged women are 'passed their prime' and have nothing to look forward to but the terrible affliction of ageing.  This film was made in 2004 for crying out loud! - have we not moved on from the conjecture that once a woman reaches her 40s and beyond, she is 'past it' and must either skulk in the shadows for the rest of her days (because she's too hideous to be seen) or 'fight ageing' as if she were fighting the war on terror?!  Anyway, putting these infuriating, sexist details aside (if one can), the plot is as follows:  Patience saves a cat (of the Egyptian Temple Cat breed if you really want to know); is 'killed' by her evil boss when he discovers that she overheard his diabolical plot re: the beauty serum;  mysteriously comes back to life (with the help of another bunch of cats); is awarded 'cat superpowers' for her trouble and goes on to wreak revenge on said boss (and anyone else she deems to be a baddie).  It goes without saying that oodles of leather, perky (barely contained) breasts and long whips are involved in this sub par tale and I have to conclude that  Pitof's Cat Woman is an uninspired, banal, chauvinistic waste of time and unless you have a leather fetish and really don't care about plot lines, interesting characters and intelligent cinema, I'd suggest you give it a wide berth.

3.5/10

This Is England (2006)

A powerful slice of 1980s England

[9/10 · 26 June 2013]

This is England is a powerful, biting, dark, (yet captivating), 'slice' of 1980s England encompassing the political/socioeconomic climate and the disaffected youth and subcultures that arose as a result. Set in a depressed Midland's town, a year after the Falkland's War, England's focus is Shaun, a twelve year old boy played outstandingly by Thomas Turgoose, who lost his Father in the war. Shaun, who lives with his unemployed Mother on a grim housing estate, endures bullying and becomes an outcast among his peers who make fun of his unfashionable clothes and, more pertinently, his dead Father. This is the catalyst that leads Shaun to accept the friendship of a local gang of skinheads who take pity on him and offer the attention he's been craving. The gang, lead by Woody, (Joseph Gilgun), seem harmless enough at first and Shaun enjoys being its youngest member and discovers a sense of belonging, along with his newly acquired 'skinhead uniform' .

England does a top notch job in its portrayal of the early 80s, through grainy montages of significant events and political turmoil; attention to the fashions and subcultures of the times, and a soundtrack truly faithful to Britain in the early 80s. It cleverly immerses watchers in a significant era where Thatcher ruled with her infamous iron fist; unemployment was rife; and conditions were ripe for the National Front to spout its rhetoric under the thinly veiled guise of 'English pride', successfully gaining support and endorsing ultra nationalism while turning a blind eye to the resulting mindless violence. When Woody's mate Combo is released from jail and forces the gang to choose between his way (a loose interpretation of the NF's agenda), or Woody's way (basically living in harmony with his friends, including those of other ethnicities), Shaun, outraged by Combo's declaration that the Falkland's War was 'invented' by Thatcher and that those who died in it lost their lives for nothing, takes a stand against him and in doing so actually gains Combo's respect and goes on to be schooled in so-called 'English pride' by Combo's gang. Shaun is too young and naive to really grasp what he is being made to 'stand for' but is hooked by a sense of 'belonging', and the praise and attention he receives transform Combo into something of a father figure in Shaun's eyes.

England not only astutely conveys the mood, political atmosphere, subcultures and zeitgeist of the early 80s, it does so with unparallelled verve and attention to detail. This birds eye view 'retrospective' will resonate with anyone who came of age in the era of The Falkland's War and experienced the government's efforts to 'distract' the general populace from the recession by enlisting the military to exert its might in re-capturing a 'British territory'. This 'call to arms' is reflected in Combo's right wing zeal but when his fanaticism goes too far and causes grievous injury to a friend, both he and Shaun get a wake up call and the subterfuge of 'English pride' is shattered and exposed for what it really is.

Some of the subtleties of England may well be lost on a North American audience, but I don't think this diminishes its power, mesmerizing script, and well thought out screenplay. Yes, It may be rather bleak, and certainly disturbing in parts, but don't let this put you off. If anything, you will come away from England with a sense of satisfaction - and that's all I'm going to say. I urge you to watch it and see!

Diabolique (1955)

Classic Clouzot suspense!

[8/10 · 15 June 2013]

A classic, psychological thriller with a totally unexpected twist at the end! Diabolique, directed by Henri-Georges Clouzot, the French master of suspense, stars Michel Delassalle as Paul Meurisse, a sadistic and abusive headmaster, Vera Clouzot as Christina Delassalle, his frail, long suffering wife, and Nicole Horner as Simone Signoret, the bitter 'ex' mistress.

Signoret is brilliant as Nicole; sultry, sulky and cynical; she 'chums up' with Vera in a plot to dispense with her husband, a nasty character by all accounts, for whom it is very hard to drum up any compassion. Apparently Diaboliques was the inspiration for Hitchcock's Psycho and one soon sees why. Christina and Nicole are diametrically opposite characters with only one thing in common: their hatred for the malicious and cruel Michel. Christina is decisive and clear about what 'must' be done, Nicole is beaten down, world weary and 'ill', one presumes from the emotional abuse and infidelities she has endured throughout her marriage, and 'flip flops' about their diabolical plan. In the end she is persuaded, and they lure Michel to his demise; tranquilizing and drowning him and then dumping his body in the school swimming pool. It is at this point that the plot seems to have been fulfilled and one can only wait in suspense for Michel's bloated corpse to rise to the top of the pool and for the two women to celebrate their freedom and live out the rest of their days in contentment. However, things aren't as they seem, and when reports and sightings of Michel begin, Christina becomes increasingly paranoid and appears to be on the verge of a nervous breakdown. Nicole has no patience for Christina's panic and anxiety and the two argue, threatening to expose each other as the perpetrator of Michel's murder. Has Michel really arisen from the dead as a taunting, vengeful ghost? Is Christina going insane? How can he possibly be alive when we saw him drowned , weighted down by a heavy object, eyeballs bulging, before he dies? And that's where the unexpected and brilliant twist comes in, which I shan't give away because I want the clever suspense and well crafted plot of Les Diaboliques to be enjoyed by all. If you love Psycho, you'll love Diaboliques and you will see why it caused such a sensation upon its release in 1955.

The Child (2005)

Captivating, bleak realism at its best

[8/10 · 11 June 2013]

A captivating 'peephole' into welfare-life in Belgium's dark under belly, L'infant is a unique movie in its stark realism, intentional lack of a musical backdrop, and limited, authentic and sometimes painfully awkward dialogue. It centres around a young, poor couple - Bruno (Jeremie Renier) and his girlfriend Sonya (Deborah francois), and their meandering descent from 'carefree' love. They are seen play fighting and horsing around many times at the beginning of the movie and their lack of meaningful (or any) dialogue lends itself to the sense of childishness, youthfulness and naiveté that characterizes them both. Bruno thinks 'working is for fools' and sporadically brings in money from petty criminal activities carried out with the help of his underage 'gang' of disaffected school boys. It is clear from the start that Bruno is immature, thoughtless, impulsive and self-obsessed, and one cannot help but be contemptuous of his unawareness of others' needs or feelings. When Sonia shows him their baby son for the first time, Bruno shows next to no interest in the baby. Although one sees his fondness for Sonia, his immaturity does not allow him to see beyond the moment, or beyond the next opportunity to make 'easy' money. Neither Sonia or Bruno grasp the 'reality' of having a baby nor how it will impact their lives; Sonia, however, bearing the brunt of the responsibility and having, it appears, some maternal instinct cannot escape that reality as readily as her lover. Even so, she is painfully unaware of the extent of Bruno's recklessness when she gives him the baby to 'take for a walk'; Bruno seizes upon this as the ultimate money-making opportunity, and seeks out an illegal, underground 'adoption agency' where he can sell their baby and make more money. His naivety is apparent in his total astonishment at Sonia's reaction to this shocking misdemeanour and his desperate pleas - 'but the money's for us! We can have another one (baby)'. These puerile words seal his fate in Sonia's eyes.

L'infant, despite its minimalism, harsh realism and dismal portrayal of life, is nonetheless entrancing and engrossing; from extended 'road-crossing' scenes, to Bruno's realisation that he really has over-stepped the line and must return to the criminal 'baby adopters' to get his child back. It is here we see that beneath his brash, indifferent, superficially carefree exterior is a child-like, fearful young man, very much in love with Sonia, and totally unhinged by her contempt for him. Even after a nail bitingly suspenseful scene where Bruno retrieves the child, he is still backed into a corner by his foolish actions and helplessly sucked into a vortex of blackmail, violence and censure. He is now very much a tiny fish, swimming against the current, in a large and vicious pond. One realises that maybe Bruno, all along, is 'L'infant'; so foolish and infantile his actions, and so desperate his desire for forgiveness and acceptance. L'infant's cinematic naturalism, sparse dialogue, suspenseful scenes, and bleak realism make it a great film for the discerning movie goer.

Drive (I) (2011)

A mash up of thriller and 'artsy'/alternative movie genres; not sure if it quite succeeds at either

[6/10 · 24 May 2013]

I can't really decide whether I liked or loathed this movie. I think a typical lover of thrillers will probably be disappointed as will a typical lover of 'artsy'/alternative films. 'Drive' really is a mash up of the two genres but it's hit or miss as to whether it succeeds at either. Ryan Gosling's acting certainly doesn't disappoint and, despite a weak and rather clichéd script, he portrays 'Driver' excellently (an introverted stunt car driver whose minimal verbal style is both unusual and at times rather awkward to watch). The pros of this movie boil down to its intelligent directing; well filmed and thoughtful scene settings and, of course, the understated acting by the main characters, Gosling and Carey Mulligan. The cons however, teetered on the brink of ruining it for me; the hackneyed script (in which the characters reel out the same old clichés that every other mobster says in every other bad mobster movie and the fact that one of them basically spells out the plot for the audience, despite its simplicity, just in case you didn't 'get it'). But, the worst crime of all though that Drive perpetrates is the ridiculous 'celebration' of 'blood and guts' in glorious Technicolour, carried out with a no-holds-barred in-your-face brutality ; gallons of the red stuff spurt at every opportunity, and bone-crunching nastiness has you questioning the Director's motives (was he really aiming for a display of 'pornographic violence'?). Yes, we all know 'mob movies' involve violence and it's not a pretty sight, but does it have to be flaunted, with such gross attention to detail? I don't think so. And this endlessly gratuitous violence is where 'Drive' nearly drove me away. There are many ways to covey brutality in a film, I just don't get why Daniel Monzón (the Director) chose to focus on the obvious ones and have his cameras honing in on all the nasty knifings, pouring blood, and bone crunching savagery. My other issue with 'Drive' (although minor compared with the blood and guts) is the soundtrack. Whoever chose it was obviously trying really hard to be 'different' but sadly missed the mark and all that warbling about 'heroes' and 'human beings' was frankly a bit embarrassing - not the most intelligent of choices. However, despite the flat script and gratuitous violence, 'Drive' is not an unintelligent movie and Driver is not a one-dimensional character. The driving scenes are phenomenal and yet not 'over done' or over extended; Driver's skills on the road are a great contrast with his introverted, self-effacing personality. Mulligan's character is also understated in a good way but occasionally verges on 'vacant'; she has little to say and her emotional responses are perhaps too muted.

Gosling is by far the star of this show and saves it from being a bad, run-of-the-mill mobster thriller. I would not necessarily recommend 'Drive' as a 'must see' film, but I would suggest it as worth viewing for its un-Hollywood portrayal of an ordinary man who gets caught up with the mob and reveals another side to his character that enables him to stand up against mindless bullies and extortionists. If you don't mind blood-spattered scenes and can overlook the underwhelming script, you just might get something out of 'Drive'. Maybe.

The Amazing Spider-Man (2012)

Good special effects but nothing to get exited about

[5/10 · 24 May 2013]

Well I have to say, this wasn't a horrific movie , (it wasn't a great one either). I rather liked Andrew Garfield as Peter Parker and thought he brought more of a 'comicy', lighthearted feel to the role. I suppose it was inevitable that we had to go through all the clichéd bullying scenes where poor wimpy Parker is beaten up by the most stereotypical bully known to man (I felt very sorry for Chris Zylka who played the bully, Flash Thompson, I don't know Zylka from a hole in the ground but I think he should give the scriptwriter and director a good roughing up for making him cough up such corny, done to death lines and scenes ). Another inevitability was all the bright, shiny, futuristic technology at Oscorp, the lab of Dr Curt Connors, Parker's father's former partner and the stereotyped human/animal gene splicing caper but I suppose there's not much to be done about that if one wants to stick to the original Marvel Spiderman theme, I just felt it could have been portrayed more subtly and less unoriginally.

It was fun to see Spiderman swinging from the skyscrapers and saving people left right and centre and all those reptiles skittering about but, yet again, the cops aversion to the 'vigilante' AKA Spiderman was portrayed in such a hackneyed way it made me want to scream. There's 'sticking to the original story' and there's writing and directing with a complete lack of creativity and I'm afraid The Amazing Spiderman falls into the latter category. So, all in all, lots of fun bits and good special effects but nothing whatsoever to get excited about.

Harry Brown (2009)

Grim, gruesome and excellently acted

[7/10 · 24 May 2013]

Starring Michael Caine and a load of other people I don't know but all of whom did a good job. Harry Brown is a kind of 'vigilante does the job the police should have done' movie; very satisfying, gruesome, and excellently acted. Harry (Michael Caine) lives on some god-awful council estate somewhere in the UK (London?) and has to witness the pointless violence, vandalism and drug wars carried out by the local youth. He seems to take it all in his stride until his friend, Len, is knifed to death by the notorious youth. Harry's wife recently died and the loss of Len is, for him, the last straw. It turns out that Harry was in the Marines many years ago so he decides it's time to take the law into his own hands. First he takes a walk through the extremely dangerous subway tunnel that he usually ignores, a youth who tries to mug him for his money gets knifed by Harry. His next stop is the 'home' of some of the sickest looking heroin addicts known to mankind. After a few scenes of the absolute grossness, futility, and nastiness of their lives, Harry is shown the guns he has come to buy. There is a very sick looking girl lying on the sofa and Harry repeatedly asks the young men to call an ambulance; they ignore him. When Harry has had enough he stabs one of the men in the hand and ends up shooting them both; he then leaves with the girl, a bag of money and the men's jeep. He drops the girl off at the hospital. The police have visited harry a few times and as the movie goes on, start to suspect him of the 'vigilante' killings. Harry starts to spy on the gang of heroin addicts/dealers from the burnt out shell of his friend's house. He soon identifies the ring leader (having seen a video of the killing of Len that one of them took on his cell phone). To cut a long story short, Harry becomes the ultimate vigilante, his whole purpose in life (as he's got nothing left to lose) is to get rid of the gang that rules the estate by fear and violence. Eventually the police identify the main players and organize a raid on the estate, it ends up being a riot. Meanwhile the policewoman puts two and two together and realizes that Harry is the vigilante. She and her partner go to the estate to arrest harry. Upon arrival they are badly injured by youths using cars as missiles and Harry helps them into the local pub. It turns out that the pub landlord is the king pin and his nephew is the one that killed Len. The landlord and nephew kill the policeman. They then go to kill the policewoman; Harry manages to save her and both Uncle and nephew are killed. Harry escapes serious harm. The film ends with a big gathering of the police big wigs, uniforms etc. The woman police officer leaves in disgust as the pompous police chief says that they (the police) cleaned up the estate. She knows that harry was the vigilante but she won't turn him in as he saved her life and saved the estate. A great movie, bit of a duff ending with the police gathering though.

The Reader (2008)

Powerful, moving, 'coming of age' movie

[7/10 · 24 May 2013]

A powerful and, dare I say, moving story of a boy's coming of age and first sexual and romantic involvement with an older woman. Set in Germany, the film moves between 1950s and the 1990s. A young man, Michael Berg (played by David Cross) reads voraciously to the woman of his obsession, Hanna Schmitz, (played by Kate Winslet), in between lots of sex, and awakens in her a love of the written word; she however is illiterate. After her abrupt and unexplained departure, Michael is forced to get on with his life. Some years later, as a law student (now played by Ralph Fiennes), he sits in on a trial of Nazi guards, one of whom is Hanna Schmitdz, the woman he met at 15. She is one of a group of 6 ex Auschwitz guards trying to defend themselves against heinous war crimes. Michael is shocked and disgusted to see his former lover in such a setting and, even though he holds the knowledge that could absolve her, remains mute throughout the proceedings. Consequently, Hannah is sentenced to 20 years in prison. At some point during her incarceration, Michael begins to send her tapes of stories he used to read her. This brings some light into her life and eventually she teaches herself to read. At the end of her sentence, Michael is the only 'friend' Hannah has and is summoned to help her when she is released. He is prepared to sort out the practicalities she will need for life on the outside but his resentment prevents any further kindness or involvement. The story does not have a happy ending but Michael tells Hannah's story to his daughter which serves as a cathartic process for both of them. The movie was well done and I liked the fact that is wasn't obvious in its themes.

A Murder of Crows (1998)

Pedestrian, predictable and uninspired

[4/10 · 24 May 2013]

Pedestrian, average, predictable, uninspired and badly acted; that about sums up 'A Murder of Crows'. It gave me a bad case of 'movie ennui' and made me think that perhaps I should take a break from watching movies (or pay more attention when selecting them). Cuba Gooding Junior, (who wasn't awful but ……..), plays Lawson Russell, a successful Lawyer who 'snaps' after defending one too many sleazy, guilty, rich clients, and is disbarred. Russell's quite non-plussed about this and goes from lawyer to purveyor of fishing trips in Florida, hoping he might, some day, get around to writing 'that novel'. His job brings him into contact with an old man (who is so obviously a young man with loads of fake wrinkles and make up - god, you'd think in this day and age they'd have the technology and know how to either do it properly or simply hire a real old man) - and guess what? The old man gives him a manuscript to read and then dies promptly before Russell can return it. I really need say no more about the plot as it's quite obvious what happens next. Yes, there are a few 'twists' (but you could see them coming a mile away, even if you were blind, deaf and had just had your head chopped off) so there's no real need to see the ending of this middle-of-the-road work of mediocrity. Although Gooding Junior was 'ok' in the acting department at the start of this film, as it wore on he seemed to just give up (as the script writer and director had presumably done). If you're looking for a movie that requires no thinking, no surprises, no interesting screen play, and no great actors, then 'A Murder of Crows' just might fit the bill. The only thing I can really recommend about this movie is the 'acting' of the police, detectives, agents, bailiff etc - their performances are SO bad, you might get a good chuckle (for about 2 minutes)

7 Seconds (2005 Video)

Cinema at its worst - Highly UN-recommended

[2/10 · 24 May 2013]

So boring, bland, embarrassingly awful, under-whelming and badly acted was '7 seconds', that I happily dozed off halfway through with not one whit of guilt (I usually like to see a film through to the bitter end before pronouncing such a damning indictment). The only cast member with any acting ability was Wesley Snipes and even he appeared lacklustre and weary in this miserably concocted heist 'thriller' (I use the word in the loosest sense of the meaning). Set in Romania, no visual attention was paid to any of its natural and cultural assets, history, art or scenic beauty; we were only 'treated' to scenes of the inner city of some drab, faceless, 'Eastern European' country filled with dull, clichéd characters lacking any iota of personality. The one-dimensional plot dragged along like a month of wet Sundays as one set of gangsters chased another set of gangsters who had (yawn) accidentally stolen an expensive painting from an armoured 'brinks' vehicle - that's about all I remember (or care to remember) of it and it would be a waste of your and my time in saying much more about this ill-conceived plot. The few attempts at humour were wincingly painful, the visuals dull and colourless, and the acting cringe-making. I do hope the script writer and director (Simon Fellows) are now in hiding and have made a written promise (in their own blood) never to subject the public to another of their ill-fated attempts at film making - and I do hope Wesley Snipes has recovered from the ignominy of appearing in such a bunch of drivel. Unless you're an insomniac looking for a cure for your sleeplessness, DON'T watch this movie!

Never Let Me Go (2010)

Nice acting, shame about the unoriginal premise

[6/10 · 12 May 2013]

Nice acting, shame about the unoriginal premise (and much of the plot).  A whole load of people seem to have been cloned(?) for the sole purpose of having bits of them 'harvested' to help the rest of the  'real' people live longer, healthier lives (sound familiar?).  One  presumes it's set in a 'parallel universe' where everything is a bit the same as real life but quite a bit different.  I have to admit the acting was thoughtful, 'real' and (mostly) unpretentious (although Carey Mulligan's dreamy, gentle, sensitive, doe-eyed calmness could drive you batty at times).  The thing about Never Let me Go is that it begs questions; many questions!  Why did none of the 'clones' rebel?  Why didn't they run away?!  Who was stopping them?  Why were they so accepting of their fate?  Why were they all so vague and dreamy and unquestioning?.  Obviously the writer intended it to be a bit vague, and for the viewer to make his or her assumptions, but it came across as more of a 'plot fault' - how can we believe these individuals have no way of escaping their fates if you don't show us some indication of what would happen if they dared to rebel?  People get brainwashed all the time,  but even some of those lured into the Moonies manage to get out for crying out loud! .  This  'brave new world' was just too undefined to be believable; some 'regular' people obviously felt badly for the clones,  others just accepted them as a necessity of life.  The whole premise was over familiar and under-explored  and the 'world' so vaguely presented it was hard to drum up much sympathy for the hapless clones.  Did I care?  Not really.  It's been done before and sure, they all had nice accents, and funny old-fashioned clothes and were very gentle and proper but the only point this movie made was:  clones are human too, live and feel emotion as like 'normal' humans and die as normal humans (albeit a bit sooner).  Moral of story:   unethical treatment of clones enables regular humans to live a bit longer - sad innit?

Real Steel (2011)

Big robots pounding each other's heads for two hours....

[2/10 · 12 May 2013]

A movie that has no pretences beyond unadulterated action. This film consists of great big towering metal robots, (a little too akin to Transformers if you ask me), fighting (although robot fighting seems to makes it a tad less 'gratuitous' - but not much). Real Steel is yawningly predictable, way too long (over two hours of 'robot-on-robot action……yaaaaaawn), did I mention predictable? After the first 5 minutes you know exactly what's going to happen so unless you like big metal things pounding each other's heads for 2 hours, you may as well turn it off at that point. There was a feeble attempt at a 'plot', Hugh Jackman did a reasonable job of acting (considering he didn't have much to work with), the kid (Dakota Goyo) wasn't too cringe-worthy and Evangeline Lilley, playing Bailey Talet was OK in a 'cookie cutter' kind of way.

Contempt (1963)

New wave French realism - with lots of 'French emotions'!

[8/10 · 12 May 2013]

Directed by Jean-Luc Godard, Contempt is a 'new wave' French film full of 'French emotions' and rather a lot of unhappy and/or weird people. It stars Brigitte Bardot and Michel Piccoli as Camille and Paul Javal, a young couple ravaged by marital and emotional difficulties and in the case of Camille either low self esteem or mental illness and an anger management problem. Paul (a screen writer) has his demons too and it's hard to figure out if he's a nice guy with a crazy wife or a sly and manipulative guy who has driven his wife crazy - and that's the crux of this movie. Contempt. The contempt that Camille feels for her spouse, the contempt her spouse feels for the crass American film Producer, Jeremy Prochosh (played by Jack Palance) who wants to commercialize Fritz Lang's Ulysses. The difficulty with this movie is that it's unclear whether the problems Camille and Paul had in their relationship existed prior to Paul's involvement with Prochosh and co. However, Camille's insecurities are showcased in the opening scene. What 'Contempt' does best is realism, and one of the most striking scenes involves Camille and Paul arguing (for what seems like hours) as they go about their business in their apartment; walking past each other, getting dressed, preparing dinner etc. The ending is unexpected but then again perhaps not if one takes Paul's interpretation of the Odyssey to heart? 'Contempt' certainly lives up to its title and is well acted, entertaining (in a voyeuristic way), and makes you uncomfortable because the acting is so 'real'.

Unstoppable (2010)

Predictable, but fast-paced, fun, high-speed entertainment

[6/10 · 12 May 2013]

Yes it was predictable and veered not one hair from all those mindless action/disaster movies but, this fast-paced, fun flick about a runaway train actually made for a pleasant hour and a half of jaunty, high speed entertainment.  The theme of the runaway, unmanned train that threatens to mow down innocent citizens, cause catastrophic explosions and decimate large parts of the US may be a hackneyed one, but the end result was unpretentious, action packed and mostly without corny scenes or embarrassing overacting.  Denzel Washington, who plays Frank, the veteran engineer of the train that sets out to stop the 'unstoppable' was as chilled as a bowl of iced cucumber soup and seemed genuinely relaxed and happy, as if he just strolled onto the set, didn't do an iota of preparation for the role and was just having himself a dang ol'  good time.  Chris Pine, playing Will, the 'green' Conductor was a little more earnest but didn't overplay his role and maintained a reasonably understated demeanour throughout.  I have to confess that when  the movie  started I thought, oh god, I can't face this, it's going to be SO painful and SO predictable and SO trite but, even though it was indeed predictable (and of course stereotypical of its genre), it was fast, it kept moving and, most importantly of all, it wasn't too long!  Oh happy day!  An action movie that knows how to move and when to stop!  Mercifully there were no scenes involving bloody, mangled corpses and, even though it was easy to figure out the various attempts that would be made to stop the 'coaster' from its path of destruction, there were a few moments that kept you guessing.  An 'easy watching' but entertaining  action movie that did not annoy me in the least; and that is a BIG compliment (believe me).

Winter's Bone (2010)

Inexorable gloom - not recommended if you need cheering up...

[6/10 · 12 May 2013]

This movie will leave you wondering what happened to the last two hours of your life (unless you enjoy being depressed out of your skull whilst gazing at morbid winter scenery and dysfunctional, nasty people for extended periods of time).  There's no doubt it's well acted in an understated, life-is-crap-and-then-you-die kind of way, but as my co-watcher pointed out the main character(s) were no worse or better off than when  the movie started; so it leaves one wondering, what was the point of it all?.  It runs at the same cheerless, ugly, hopeless pace throughout, other than one scene that is slightly more depressing and ugly than the others.  Set  in the US in a 'Meth Mountain' type community, every character is either addicted to meth, selling meth, vying for top-dog-seller-of-meth, or immersed in a living hell because of meth.  The main character, 17 year old Ree, played by Jennifer Lawrence, has the thankless task of caring for her younger siblings because her mother is paralysed with depression and her father's done a runner (a result of meth-related crimes of course).  Ree is informed by the police that if her father doesn't show for court she will lose the house and land as he put it up as bond for his bail; this initiates Ree's 'quest' to find her father.  Unsurprisingly all the neighbours are unhelpful, miserable, mean, violent, hard-bitten red necks who'd just as soon wring your neck as offer assistance - apart from one girl who is Ree's only friend.  In between violent and unsavoury encounters with people wearing lots of plaid, camouflage and/or fleece with the kind of patterns you only see in isolated rural communities, Ree must cook and care for her family, chop wood, hunt squirrels for dinner etc.  After she is beaten up by some of the wizened, hard-as-nails women, threatened by a nasty, greasy frightening man, and generally met with extreme suspicion and paranoia by all those she encounters, the women finally take pity on her (if you can call it that) and row her out to a secret destination where her father is purported to be.  The final scene of the film is the only time we are treated to a hint of a smile from Ree as she realizes that the utter grimness and inexorable gloom of her life is permitted to continue.  Big whoop.  If you need cheering up, avoid this one like the plague.

Exit Through the Gift Shop (2010)

Quirky & enchanting - a delightful collision between the worlds of two men

[8/10 · 12 May 2013]

An enchanting collision between two worlds; a man obsessed with his video camera, and the elusive life of the street artist.  Exit Through the Gift Shop is viewed through the lens of the hyper but lovable Thierry Andre (or so we're lead to believe) who is never without his camera and becomes driven to follow his street art idols, day and night, through the streets of London, Los Angeles, and New York.  Thierry is sweet, self effacing,  totally eccentric (some might say, bonkers) and one can't help but like the little chap.  His energy levels are so astounding it begs the question  - is he on drugs and if so, where can I get some?!  He is able to pursue his passion mainly, it appears, because of his really understanding wife  who seems to do ALL the child care, housework, cooking, maintenance etc  with minimal complaint, while he scampers off to film everything in his line of vision.  A chance encounter with the famous but secretive British street artist, Banksy, excites Thierry enormously and leads him to follow the man, with his video camera, everywhere he goes.  Banksy, despite usually insisting on a high degree of anonymity, warms to the little Frenchman and allows him into his secretive world.  What is so charming about this film is that one has no sense of where it's going, no sense of how long it will go on, no sense of a plot and no sense of how it will end; it is just a delightful, non stop tour of two men's passions and how they collide, switch places, and live every moment of their lives pursuing their dreams to the hilt with not a worry or care.  This is living! (unlike the boring, humdrum, grinding drudgery that the rest of us pitiful rat racers go through).  That's the magic of this film - energy and passion and the drive to go with it and run.  I was genuinely amused, entertained, educated, invigorated, captivated and impressed.   I want to be a street artist and a filmmaker when I grow up!

Case 39 (2009)

Sad, predictable horror flick

[5/10 · 12 May 2013]

This movie is yer typical, run of the mill, highly predictable, paranormal thriller/horror flick (thankfully devoid of blood and guts) but also extremely short on anything approaching scary.   Renee Zellweger plays an overworked social worker, Emily, who gets involved in a case where extreme child abuse is being meted out on an innocent little girl by crazed, wild-eyed parents - but nothing is quite what it seems (yawn).  What I found particularly horrifying about this movie was actually Zellweger herself whose blotchy skin, annoying pipsqueak voice and half-open eyes made you want to yell 'speak up and stop squinting!'  but I suppose the Casters had their reasons for choosing her for the role (no one else would do it maybe?).  Anyway,  Emily gets predictably outraged by the abuse and wants to foster this poor child and give her the love she's been sorely lacking.....once the child is settled in her home, however, it's time to let the bad times roll!  It doesn't take a rocket scientist to figure out that there's something disturbed and just plain wrong about the 'innocent' Lillith as, one by one, people close to Emily start to kick the bucket it in various nasty (and silly) ways.  (The silliest and most memorable being Emily's friend, a child counsellor, who is attacked by a million rampaging hornets and is left writhing about helplessly on his bathroom floor).  Due to the horrific nature of the abuse that Lilith's parents were committing, they are sent to a maximum security mental hospital but eventually, as Emily realizes that maybe, just maybe, they were just protecting themselves when they tried to 'do in' Lillith, she turns to them to find out more.  It turns out that the 'innocent' Lillith is some sort of demon (surprise, surprise!) with a penchant for killing which explains why the parents stuffed her into the oven like a Thanksgiving turkey and tried to roast her.  After just about every character in the movie has been stabbed, burned, mutilated, stung or garroted, Emily faces her fears and drives herself and the demon Lillith off the end of a pier, then escapes from the car and leaves the evil demon to drown (but not before some predictable and rather feeble foot grabbing and wrangling by Lillith who has now transformed into a hairy handed demon).  Emily, of course, escapes and swims to freedom and only at this point of the movie does one have any sort of existential thought such as 'oh dear, she survived but everyone she ever cared about is dead' but you soon forget that and move on.  Case 39 is basically a sad, predictable, horror flick with nothing memorable or original about it (apart from the oven and hornet scenes).  Best avoided unless you like  dull stories starring creepy children and the even creepier Renee Zellweger.

The Ghost Writer (2010)

Roman Polanski must have been having a really bad day...

[4/10 · 12 May 2013]

Directed by Roman Polanski (what was he thinking?), starring Ewan McGregor and Peirce Brosnan.  The Ghost (Ewan McGregor) is asked to write an ex British PM's memoirs.  This was a convoluted, badly acted, badly scripted film with Ewan looking and sounding totally bewildered and bored (and wondering why he was foolish enough to accept such a role).  Nothing really happens, there is no action to speak of, the attempts at 'suspense' are really duff and to be honest, I'm not sure why I bothered sitting through the whole thing. The Ghost Writer is a true white elephant of a film that was trying to appeal to a North American and British audience but failed miserably on both counts.  Boo!

I Am Love (2009)

Artsy, elegant, Italian extravaganza-of-a-movie

[7/10 · 12 May 2013]

A huge, artsy,  elegant Italian extravaganza of a film featuring immaculate, expensively stylish clothing, a big rich family and the 'power of love'.  In a nutshell, the mother falls in love with one of her son's friends, they meet secretly and have lots of sex with frenetic insects and windblown flowers waving about in the background.  Son figures out his mother is having an affair, they have a tiff, she follows him outside and he falls in the swimming pool and dies.  Family distraught; big funeral; wife tells hubby she's in love with Antonio, hubby says 'you no longer exist'.  They go home, wife packs a bag (or rather, maid packs it for her) and she leaves, but not without giving a meaningful look to her lesbian daughter - the only one who 'understands' true love?  The end.  Very enjoyable to watch what with all the gorgeous clothes and Italian scenery but a disappointingly unclear ending.  What happened?  Does she set up house with lover boy?  Do they live happily every after? Was the moral simply 'find true love and bugger your family'?   Arrg!   I must know more!

Solitary Man (2009)

Long, pointless & rambling

[5/10 · 12 May 2013]

Long, pointless, rambling movie starring a wizened and disturbingly wrinkled Michael Douglas, as a relentless philanderer who decides to pursue and bed countless young women after his doctor tells him there may be something wrong with his heart.  The hours slowly stumble by as we are subjected to unsavoury images of Douglas 'seducing' countless women, in a bid to show off his 'technique' garnered from years of sexual experience.  As expected, his life ends up in tatters when he can't find work, can't pay the rent, is forbidden contact with his grandson, and is turned down by a woman.  Not really sure what one's meant to make of the anticlimactic, obvious, and rather lazy ending other than that maybe he finally realizes the shallowness of his ways.  Frankly I didn't care what happened to him in the end and felt it would have been more exciting if his heart had exploded in glorious Technicolour.