KingProjector93 Reviews

The Passion of Joan of Arc (1928)

Mesmerizing silent classic

[8/10 · 10 January 2021]

The film focuses on the trial of French saint and icon, Joan of Arc, a young girl who helped France win several victories during The Hundred Years War in the Middle Ages.Now imprisoned by the English and on trial for heresy by a group of clergymen, Joan fights to justify and defend both her faith and her unique gift. However, the clergy are determined to break her at any cost.

Leading the charge is Maria Falconetti as Joan, who captures just how out of her depth and terrified Joan is in this situation, often with a distraught look on her face, while still giving the role a sense of dignity and commitment, much like Joan's to her faith. The supporting cast is made up of the various clergy and guards, most of whom are of older age, and enhanced by the black and white, giving their pock-marked faces an almost demonic feel. They almost become living gargoyles, and only enhance further just how isolated and helpless our lead is.On a technical level, Dreyer goes for an unorthodox approach for the time.If you've seen any silent films, or just glanced at pictures, they often have the camera pulled far back, more akin to recording a stage show. However, Dreyer goes up close and personal, often utilizing close-ups to give a claustrophobic feel, and combined with some sharp lighting and the lack of make-up on the actors, create an uncomfortable and tense atmosphere. Musically, the film has never had an officially confirmed soundtrack, so there exist many versions. The one I'm basing this review on is the Criterion version, which uses Richard Einhorn oratorio 'Voices of Light', a haunting choral piece that compliments the religious themes and imagery perfectly and adds a surreal dimension to Dreyer's uncomfortable visuals, turning the film into a sensory experience that envelops you utterly.

Naturally, with no spoken dialogue, most of the narrative has to be conveyed by the actors and a couple of title cards here and there. However, don't be fooled by what may sound this archaic: it's actually very effective. The reason being is quite simple: it's a very emotional story, both in terms of reaction as well as presentation. There is an almost beautiful directness that perfectly lets in on how our characters, mainly Joan, feel and think as the trial goes on. Simple nods of the head or movement of eyes tell us what, often times, dialogue can't or if it tries, it's not very effective. Furthermore, it allows us to inhabit Joan's skin and feel what she feels. This is especially poignant when the camera is not on her, and because of the near constant close-ups, you almost begin to feel like you're the one on trial, surrounded by all this angry men. It really cranks up the tension and unease as you watch, which is, frankly, really impressive for a film this old.

What's more, despite the presence of religion, it's not that mystical or fantastical. Rather, the film is more about belief, and how it can be wielded: Joan's belief in her divinity, the clergy's belief in her heresy, the belief Joan instills in others, who may or may not betray her as the story goes on. Regardless if God is real or not, it's the fact that Joan's faith is so incredibly strong that she ultimately is willing to die for it that is the core of the story. This is enhanced by the fact that she isn't some kind of super-woman: Joan does get frightened, and even at one point, comes close to completely breaking down when the pressure gets to her, allowing us to see the human being behind the legend.

However, there are gripes. As I mentioned before, this particular version's musical score can be a little overpowering at times, but even watching a different version, there are still some little 'hiccups'. The clergy, though effectively intimidating, are not much more than one-dimensional villains, and little is made of the richness that is the debate of which side truly knows more about Christianity and faith, though you can write it off as simply being constricted by the time the film was made in. It's well worth at least one viewing for both aficionados of this era, as well as newcomers to film history

Buffalo Bill and the Indians, or Sitting Bull's History Lesson (1976)

Fascinating, playful, but missing Altman spark

[6/10 · 6 May 2020]

A satirical takedown of American Old West mythology, Altman and Alan Rudolph give us a window into the goings on in Buffalo Bill's legendary Wild West Show, and the duel of wills between the showman and Chief Sitting Bull. It's a battle of true history versus fabricated, intercut with a few sidestories and incidental events, as per Altman's love of multistrand narrative.

There's a lot to admire in BB&TIOSBHL - the cast are all game, with Newman as a smug, up-himself version of Bill who is starting to crumble under his own persona; the attention to detail in costumes, sets and choreography sell this little 'proto-Hollywood' of the Wild West Show and highlight the revisionist themes at play, and then there's the satire. Like Altman took the army and music to task, so too does he with America's love of romanticizing its western expansion and subjugation of natives. Where Sitting Bull represents a true, painful history and carries himself with true nobility, wisdom and grace, Bill's show is gaudy, sanitized and full of hot air. Sitting Bull is able to outfox Bill constantly by, in essence, being everything he claims to be and is not. This in turn leaves Bill at a crossroads of denial, doubt and bearing the weight of what he has created. In some ways, the satire remains extremely relevant, given the cult of celebrity and how media can be contorted to present particular versions of events.

Unfortunately, for all that's on its mind, BB&TIOSBHL is really dry and seems undecided if its comedy or drama. Scenes of Bill having breakdowns and references to the cruelties visited upon the Sioux clash with goofier stuff like Bill's opera singer lovers and various camp antics, mired in a tone that starts out as more absurd (exemplified by the opening Playbill-style credits) but remains mostly on the dour side. It always seems like scenes should go higher, being more tense or funnier, and yet never are. In addition, Burt Lancaster is wasted as little more than a glorified thematic exposition machine as the man who helped build Bill up, and never has that meaningful an impact on the rest of the narrative.

BB&TIOSBHL could've been one of Altman's best, a fusion of McCabe and Nashville, but falls short due to what seems like, weirdly, a lack of a cohesive vision for the project. The lofty screenplay lacks punch and wit, exacerbated by the slow pace. Only for Altman and Western satire junkies only.

EXPO: Magic of the White City (2005 Video)

Informative but uninspired

[5/10 · 10 November 2019]

Past and future Classic Game Room host Mark Bussler enjoyed a secondary career of making direct-to-DVD documentaries during the 2000s. One such film covered the 1893 World's Fair, a grand and gaudy celebration of the achievements, and vices, of 19th century America and her global neighbours.

Narrated by the sublime Gene Wilder, the film benefits from clear extensive research: Bussler shows us a wealth of archival material to paint a picture of the Fair. Photos, adverts, plans, sketches and even surviving artefacts like an Eidson phonograph. It's all fascinating... until you realize that's all there is. For a film, EXPO is decidedly non-cinematic and clearly made on a tight budget for a specific market at a specific time. Most of it, as another reviewer noted, plays out like a slick but undeniable Powerpoint presentation, which even Wilder's soothing delivery can't mask. What actual footage there is mostly flat stocks of animals or locations around present-day Chicago. There's a reenactment and a belly dancer, but not much else.

Without talking heads from relevant authorities, or much other footage to break it up, the documentary's pacing suffers for it and at nearly two hours is a bit long. By the end I certainly felt informed about the White City, but perhaps not as inspired or enthralled as I hoped to be, or Bussler likely intended. Worth checking out at least once for those with an interest in the era, but a pedestrian production for what was a celebration of human imagination.

Breakfast of Champions (1999)

Not a Champ, I'm Afraid

[5/10 · 23 February 2019]

The long-gestating adaptation of Vonnegut's mad novel finally arrived in '99, with Bruce Willis as Dwayne, a car salesman who just can't get a handle on life and slowly loses his grip. A crossdressing manager at his car dealership, a hopped-up wife, an eccentric musician son and an obssesive fan only compound his woes. Meanwhile, an eccentric old author gets invited to be a guest at a literary festival, celebrating his sci-fi work (published in porno mags). The two's paths collide in an exploration of life, love and worth.

Bob Altman was originally supposed to direct: indtead, it fell to protege Alan Rudolph and the downgrade is apparant. Not for lack of trying, but Rudolph is ill-suited to material as wild and weird as this: the film is at once too odd and yet not odd enough. The film veers from the surreal, especially with Dwayne's growing anxieties rendered with weird graphic and filters, to the satirical as it tackles everything from mindless consumerism to identity to The American Dream and how arbitrary it is. And when it's not either of those, it tries to be more conventional and grounded, with an attempt to graft some kind of 'arc' onto him as a man in a mid-life crisis, wondering what his life is. See an issue?

Lacking a visual style and consistent tone (indeed, despite the cast, it feels like a cheap production), the whole thing comes apart quickly as Rudolph tries to maintain the disparate, almost vignette stylings of the book. However, he lacks Altman's skill at balancing characters and threads, as some end up vanishing for long stretches and add little to the satire. The cast are a mixed bag: veterans like Nolte and Finney are solid, but Willis just isn't right for the material. He's okay in the commercial parodies, but as just Dwayne, he's a little too self-assured and together to buy his cracking.

I suppose trying to review this film is, fittingly, a bit of an odd affair, but there is something about the fact that such a strange mesh of ideas can exist as a major Hollywood film that makes it worth at least one viewing.

Surviving Picasso (1996)

Even Hopkins Can't Save It

[4/10 · 23 February 2019]

Period drama masters Merchant Ivory tackle one of Spain's most iconic artists, or rather, his love life. Francoise Gilot (Natascha McElhone) becomes eloped with the eccentric painter (Anthony Hopkins) during WW2, and the film follows the highs and lows of said relationship as she goes from wide eyed girl to lover to mother of the hot blooded artist's kids.

James Ivory's biopic of Picasso's premiere mistress does have good performances, even if the usually great Hopkins, disappointingly, never fully transforms into the legendary painter and so instead, the film ends up being carried by McElhone as a sympathetic yet ultimately frustrated and abused woman. There are also some welcome moments of humour, usually via Picasso's rather upfront comments & observations about others, and even some inventive flashback sequences that take on Picasso-esque aesthetics with very Cubist rooms and characters.

However, the screenplay never really explores why Gilot or the other women are drawn to and stay with Picasso, despite his duplicitous nature and often angry temperament. The film paints him (hah) as a genius, but also as kind of shameless and a bit of a manbaby, but the why, fame aside, is never looked at in any meaningful way. It's very much the token 'well, it happened in real life, so it's here' card of lazy biopics. Hopkins being given a two-dimensional Picasso doesn't help.

Furthermore, Picasso's art never gets much attention nor examination, missing a great opportunity for parallels and psychological exploration of our leads. This is an unbelievable blunder if you're going to even bother making a film on the man in the first place, as there's a lot of rich subtext to mine and would've helped with defining more of Picasso and his appeal.

Unless you're a Merchant ivory completionist, stick with Remains of The Day.

Tomb Invader (2018 TV Movie)

Alabama Channing and the Temple of Bore

[1/10 · 1 August 2018]

Nearly two decades on and B-move factory The Asylum is still going strong. This time, they cash in on the Tomb Raider reboot with this 'adventure film' about a female archaeologist on the hunt for an ancient Chinese treasure that somehow links back to her dead mother and the future of China itself.

Pitiful is more than descriptive enough of everything here, but then this wouldn't be much of a review if I just stopped there. The acting is uniformally poor all around, with everyone either doing goofball or hardbitten, though Bowling does try as the plucky best friend. The production values, as is the Asylum's calling card, are beyond amateur, with dull SouCal forests... err, I mean ' Asian jungles', stock footage of China aplenty and Playstation 2-worthy CGI for the 'death traps', like a giant spike roll that's SO not like a famous death trap from another adventure film. As a small positive, at least the sound mix was compotent.

The narrative stinks of a first draft, loaded with rambling scenes, bland dialogue and poorly realised characters with little identity. Everything is exposition and, surprise surprise, that means the movie is more interested in tedious talking than treasure hunting or delving into Alabama's connection with her mother and how it shaped her. There's also barely any action or much 'tomb invading' either, aside from the opening and the very end.

Simply put, Tomb Invader is balls. It's sloggish, it's moronic and it's incredibly boring. Everything is so tacky and lazy yet so self-serious that you can't even laugh at it in that quintessential 'so bad it's good' way that is the hallmark of the more enjoyable B and Z movies.

Ready Player One (2018)

Not just a nostalgia-fest

[8/10 · 7 April 2018]

Logan's Run by way of Charlie & The Chocolate Factory, the latest Spielberg romp takes us to 2045. Following economic hardships, the world retreats into the Oasis, a virtual world were anything is possible. The Oasis' creator, long since passed, has left behind three keys that, if found, would give the winner control of his fortune and the Oasis. So it's up to a ragtag groups of geeks to solve the puzzles before an evil corporation does.

Despite a 2 hour plus runtime, RPO is a lean, tight and fun ride in Spielberg's own masterful tradition. Indeed, it feels like an evolution from 2011's Tintin: Spielberg gets to play in a virtual world and do all sorts of fun thing relating to composition, take length, scene transition and the action itself. Unbound by practical limits, this means we get some dyanmic setpieces, such as a crazy race through New York, complete with Kong, a floating dance room fight and an epic siege that rivals anything from LOTR.

Author Cline and screenwriter Zak Penn provide a decent foundation for all the excitement, hard reverence for tradition being the name of the game here. Of course, all the references were a big selling point (and are thankfully, never as intrusive as might've been the risk), and have a rather wide gamut beyond 80sgasm, but the structure and the characters themselves are archetypical by design. Broad enough to be quickly recognisable, just detailed enough so you have some investment and thus, feel genuine tension during the action and mystery. Predictable but the context justifies it.

The cast work well within these archetypes, with Tye Sheridan acquiting himself well as, basically, a summation of Spielberg archetypes: a poor dreamer kid who's also a bit of wiz with tech and, despite his awkwardness, has a good heart. Ben Mendehlson is having a ball as the ultimate corporate dick, while the always reliable Mark Rylance turns in a very tender performance as the creator. In fact, his backstory ends up being the most touching stuff in the whole film.

While I think the term is overused, 'hella fun' is the apt descriptor. The Struzan poster should've clued you in as to how retro the film aimed to be, and how much throwback, earnest as it is, you can stomach will dictate how you take in RPO. It's not deep and doesn't offer much meaningful commentary about geek culture (though points for trying to discuss the improtance of not using escapism to live your life), but like an Atari, it just works. B-grade Spielberg for sure, but frankly, that's better than most filmmakers' A.

Victor/Victoria (1982)

Oh What Joyous Times!

[9/10 · 20 June 2016]

A down on her luck singer (Julie Andrews) in 1930s Paris suddenly hits the big time when she is advised by a gay cabaret performer (Robert Preston) to become a female impersonator. However, then having to also be a man pretending to be a woman adds its own set of complications, especially as she starts being wooed by night club owner King Marchand (James Garner), himself on the run from the Chicago mob.

Funny, catchy and even a little portent-giving, Edwards' LGBT musical comedy is a true treat, and one of the man's finest hours as a director and writer. Leading the charge is an absolutely magnetic lead in Andrews, who reminds us why she was one of the great talents of her generation, deftly balancing comedy and drama while proving her singing chops, having to adopt a slightly masculine bass a number of times.

That in turn brings us to the cheeky yet peppy songs by maestro Henry Mancini, which cover a nice variety of different styles with the highlight being the flamenco-spired 'Shady Dame From Seville' and often squeeze a good chuckle or nine in for good measure. Of course, the film's biggest ace is its smart and witty script, which offered a far more balanced look at homosexuality years than was considered even an acceptable thought at the time (especially given how close this was to things like the AIDS scare), as well as rather compelling gender satire that pokes fun at our constructs of what is masculine versus feminine and milks them for all they're worth. And of course, being an Edwards production there is some gut busting slapstick on display too, especially concerning the mob.

Really, do I need to say more? Great people made a great movie about a great subject. Yeah, didn't think so. Just go see the damn thing.

The Four Feathers (2002)

Pretty but Vapid and Tedious

[5/10 · 14 May 2016]

The latest of many versions of A.E.W. Mason 's iconic colonial epic, a young British officer (Heath Ledger) resigns right before his regiment is set to aid British Forces in the Sudan. This is seen as cowardice and he is given four white feathers, including one from his fiancée (Kate Hudson), as a symbol of his desertion. Now he must journey to Africa, reclaim his honour and aid his friend (Wes Bentley) from afar.

Sadly neither very powerful nor epic, the newest 'Four Feathers' is little more than another 'Titanic' romantic history bandwagon chaser. It's biggest strength is the production: Shekar Kapur's (Elizabeth) direction is sweeping and large, enhanced by great costumes, sets and location filming that does make you believe you are looking at colonial Africa, with the last doomed battle a great action showpiece. Veteran James Horner's score, while not among his best, is still competent and gives the needed bombast and emotion to scenes, sometimes more than the screenplay. Its mostly young cast give decent performances, especially the always dependable Ledger as our troubled lead, though Hudson and especially Bentley wade through middling accents, and the rest leave not much of an impression.

And about there is where the positives end: the screenplay, with several writers attached including Bruce Joel Rubin and Hossein Amini, is frankly a snooze for the most part, with thin characterization, lazy symbolism and, honestly, a lack of clarity or focus on its themes or messages. You'd think it'd be mostly dealing with questions about courage and bravery, perhaps even a timely take given Iraq and Afghanistan, but the film diverges into a bunch of other territories including colonialism, faith, identity, social classes, romance and does nothing interesting with any of these. Furthermore, because it is so clunky and cluttered with all this junk, the pacing often suffers, with the middle being a pain to get through as we endure long stretches of Ledger just wandering about the desert. If it was trying to be pensive or deep, it really backfired.

In the end, baring some big battles, this is a safe skip. Its only remarkable feature is how completely and utterly unremarkable it is.

Zorro: The Gay Blade (1981)

Zany for sure. Zucessful? Ehh....

[6/10 · 29 April 2016]

A spoof of one of fiction's most beloved masked men, 'Gay Blade' is what it sounds like: Don Diego (George Hamilton) inherits the mantle of the black garbed champion of the people, only to be injured and now relies on his effeminate twin brother (also played by Hamilton), Bunny Wigglesworth, to thwart evil.

Thankfully free of lame pop-culture references, this straight forward jab at the Zorro mythos still doesn't quite become a legend of its own. Despite a charismatic cast, with Hamilton displaying both comic as well as action chops in both lead roles, and some decent production values that create the appropriate feel of an old Hollywood Zorro picture, the film lacks many hearty belly laughs. Big slapstick setpieces deliver more titters than yucks, and the wordplay isn't especially snappy. Indeed, outside of mocking the theatrics of Zorro, the film has only one other joke in its repertoire: Bunny being gay. This element becomes hit or miss, with a gag about his flamboyant costuming possibly being that side's highlight.

Add to that, the film is slow paced, and this mean whenever there's not a fight or a gag, the film does become a tad dreary as its actual plot is not especially compelling and is clearly more a platform for said fights and gags. It's essentially a boiled down version of the future 'Mask' and the prior 'Mark' films smooshed together.

'Gay Blade' is by no means a terrible parody, with a consistent enough chuckle rate to never be boring, but it never exploits its swashbuckling antics like its distant nephew, 'Robin Hood: Men in Tights', would over a decade later.

Les Misérables (1998)

You know what? This is pretty good.

[8/10 · 1 April 2016]

One of many versions of Victor Hugo's iconic epic, this late 90s version sees Liam Neeson as Jean Valjean, a 19th century convict who is given a chance for redemption, despite the persistence of the law-obsessed Inspector Javert (Geoffrey Rush), when he must raise the child of the lowly Fantine (Uma Thurman), Cosette (Claire Danes), amidst various changes and turmoils in France, culminating in the student revolt in Paris.

While its ending will have Hugo purists boiling with rage, Bille August's adaptation still manages to be a very fine film in its own right. Its immediate strength is its all star cast's great performances, especially Rush and Neeson in the two central roles, playing off each other perfectly as the kind hearted Valjean and the ruthless Javert. Thurman, following 'Batman & Robin' and 'The Avengers', does make up for it here with a nuanced and kindly performance as Fantine, while Danes' Cosette, though a little more bitchy than other versions, still conveys that sense of goodness and hope that is so central to the character.

Production-wise, it's exactly what you'd expect. August' direction is sweeping and large, enhanced by design work and location filming that does make you believe you are looking at early 19th century France, and in the midst of horrid prisons and bloody street battles during the revolution. Veteran master Basil Poleadours' score is also nicely varied, going from booming and romantic, to intimate and sombre as we journey with Valjean as he reclaims his life.

Rafeal Yglesias (the same man behind the great screenplay for Peter Weir's 'Fearless') does a workman like job of adapting and condensing the notoriously thick book, mainly focusing on Valjean's journey here and dialing back on a lot of the socio-political commentary of Hugo's work. This is a double edged sword, as it does permit more than a handful of genuinely emotional moments that tug at the heart without being too sappy, and focuses the story more around Valjean and his quest for redemption, but it also means that most of the supporting cast are cut or severely reduced (the Thernadiers are on screen for a few moments, and Marius and Enjorlas get collapsed into one character, among a number of other changes) and again, a lot of the bigger ideas in 'Les Mis' are more in the background. And well, the ending is going to irk purists, which is all I'll say.

But despite that, this more base take on 'Les Mis' still worked as an engaging period drama with really tight pacing and a good emotional undercurrent. It may not be definitive, but it is entertaining

The Greatest Show on Earth (1952)

Old fashioned fun

[7/10 · 10 March 2016]

The film that inspired Steven Spielberg, this grand DeMille drama set against the thrills and spectacle of a 50s circus gives us a behind the scenes peek at the unlikely bunch that put on all sorts of shows for the public. These include the under pressure manager (Heston) his girlfriend/wannabe starlet (Hutton), world class trapeze artist The Great Sebastian (Conrel Wilde) and Buttons, the clown with a mysterious past (Stewart).

Corny, melodramatic and cliché though it may be, this circus tale from, fittingly, one of Hollywood's greatest showmen is not without charm or a sense of fun. A game cast all embrace their larger than life roles well, with Stewart shining as both the funny yet poignantly tragic Buttons. And as expected of DeMille, the film offers tons of great, large scale spectacle (including but not limited to elephants, aerial acrobatics and the famous train crash that actually still holds up okay as a tense action scene), all set to some very cheery, smile-inducing songs to create an old fashioned type of charm and warmth that carry the picture over its weaker points.

The disdain against the film's win back in 1952 stems from being seen more as an arbitrary honouring of the aging DeMille, and 'Show's' sketchy plot, stretched to over two hours, and stock characters don't do it any favours in trying to defend its title. It's all very routine soap opera that, were it not for all the wonderful sights and osmosis surrounding it, would be really by the numbers and uninspired. Plus, there is some shoddy 'early greenscreen/keying' done for some stunts which stick out painfully, However, in spite of all that, I was left with a smile on my face by the film's end. Films like this define terms like 'feel-good' and 'they just don't make 'em like this anymore'.

All the King's Men (2006)

Truth brings all mediocrity to light

[5/10 · 20 February 2016]

Not a remake of the 1949 film, but a more faithful adaptation of Robert Warren Penn's iconic novel, Steve Zaillian's (Schindler's List, Searching For Bobby Fischer, The Interpreter) take tells the story of politician Willie Stark (Sean Penn). Set in 50s Louisiana, the film documents Stark's humble beginnings, rise to power as governor, and final downfall, from the perspective of journalist Jack Burden (Jude Law), who gets drawn into Stark's ever murkier world.

Crucified by critics on release, I found this to be a very 'split' film. The good first: It's photographed and scored beautifully, and despite accents, the all-star cast are predictably effective, with Penn delivering the needed bombast and passion of the corrupted governor. Law is good too as a disillusioned journalist fighting his own demons, especially an old flame and her brother, played by Winslet and Ruffalo respectively, also solid. We even get Hopkins and the late Gandolfini in supporting roles as a powerful judge and Stark's first ally, though both don't get much to do and feel more like novelties.

Now, its narrative is where things get really hazy: Drifting between political corruption with Stark, and Burden's own personal story of manipulation and loss, the shift is not handled very smoothly at all. The story seems meandering and unfocused most of the time, with Burden's tale taking a little more precedence over Stark's. Not only does this cut away from some great potential allegory and parallels with modern politics, but it feels like the shades of grey are where Zaillian should be most at home. In 'Schindler's List', he handled that extremely well, but here, once he gets into office, he pretty much right away becomes a two faced weasel, which regardless of accuracy to the novel, doesn't make for terribly dramatic or smooth screen storytelling.

As for Burden's story in and of itself, it's okay, but again, it feels like its detracting from where the story should be focused on. Yes, there is some parallel between how both men let down people, and they are tied together because they factor into Stark's political schemes, but it just drags and, again, doesn't feel like that's where the heart of this story should be. What works in a book doesn't always translate to screen, and this type of sprawling, laid-back narrative feels better consumed over the course of chapters.

In the end, the film isn't boring or lazy, and I don't think it's the abomination the critics branded it as, but it just feels like Zaillian is juggling too many things. Had he focused the story on Stark and really gone into examining the backstabbing nature of politics, we could've gotten something, while not incredibly original, much more effective and gripping. As it is, it just amounts to a whole bunch of 'okay', and nothing more.

Midnight in the Garden of Good and Evil (1997)

Voodoo and Hoodoo abound

[7/10 · 8 February 2016]

Clint Eastwood directs this tale of murder, society and deceit set in Savannah. Wealthy socialite Jim Williams (Spacey) invites writer John Kelso (Cusack) to cover one of his highly esteemed parties at Christmas. However, complications arise when a man, an acquaintance of Williams' is shot following an argument over money. Kelso decides to stick around and write up the case, but is there more going on here than meets the eye? Guilty of overstuff, Eastwood's adaptation of the novel is well acted and directed, but several elements, most prominently a voodoo shaman (hence the story's title), go nowhere or add to the themes of power, relationships and prejudice. At two and half hours, it just feels like screenwriter John Lee Hancock didn't know what else to cut (apparently, the one trial of the film was four in reality), and so there are strands here that simply don't add to the main thrust of the narrative as we learn more about what really happened with Williams. The voodoo aspect is maybe 10% of the film, and is honestly only here because it explains the title, and an event that happens later in the film that has an alternate explanation.

Still, those elements don't entirely eclipse a fairly engaging legal drama, giving you a decent lens into the investigation and methods of the trial, as well as a stellar performance from Spacey. He's alternately charming and smooth, a man you'd like to be around, yet you sense something's amiss and that's there more going on under the surface. Plus, the film has a good sense of humour about itself, be it with Williams or with Lady Chablis, a transgender performer who has ties to the victim and often plays around with Kelso, including a pretty fun bit in an ER.

In the end 'Midnight' is in the mid tier of Eastwood's filmography: well made and entertaining, but bloated and maybe needed a rethink or different writer to tighten it up. Still, it's leagues better than 'J. Edgar' or some of his recent works.

Daisy Miller (1974)

Amusing, cheeky and pleasant

[7/10 · 21 January 2016]

Based on Henry's James novella, Peter Bogdanovich brings us a period dramedy about American high society in Europe of the 19th century. Daisy (Cybill Shepherd) is a strong willed young heiress, a woman out of her time who isn't afraid to tease and flaunt authority figures as well as men, much to the chagrin of 'polite' society. Fresh faced yuppie Frederick Winterbourne (Barry Brown) tries to wrap his head around this unusual young woman as they tour around the beauty of Italy and France.

While it may be dramatically lacking, there's something breezy, cheeky and appealing about Bogdanovich's once maligned film, much like its title character. Off the bat, the production values are stellar: it's sumptuously photographed with excellent period detail as we go around the sun drenched country and old cities of South Europe. Also, Bogdanovich doesn't shy from long takes, allowing actors to build up a lot of chemistry and back and forth between them as they banter about society and the landscape, which of course, masks their real intent. James' writing, adapted by Frederic Raphael, is laced with subtext while being rather amusing, especially by the usually stuffy nature of period pieces.

Now, one thing made fun of back during the original release was Shepherd's performance, seen as too ditsy and airy, but I disagree. Shepherd's skills as a comic actress allow her to be somewhere between cunning and insolent, as befitting such a character, and she works well with the far more straight, traditionalist Brown as Winterbourne. Supporting them capably are the likes of Cloris Leachman as Daisy's dotty mother, Mildred Natwick as Daisy's stern aunt and especially Eileen Brennan as the prim, snobby socialite Mrs Walker who serves an ideological counterpoint to Daisy and does it superbly.

What ultimately does hold back 'Daisy Miller' is, ironically, the material itself: it isn't terribly cinematic, beautiful as the landscape is. James' story is very heavy on dialogue and situation as opposed to action, making it feel more like a stage play in style than a screenplay. 90% of the film is characters just waxing philosophical and discussing gossip and combined with the comic slant, does take down any real dramatic stakes as there's not much to lose for our lead other than 'respect'. Bogdanovich seems to have embraced the cheek of Daisy moreso than any sort of deeper satire of social structures and the pomp of Americans which the story clearly leans towards. That being said, it was still rather enjoyable. Long before the Merchant Ivory years made frills and carriages a must for cinema, a sense of humour and the strong cast make this pleasant, if not particularly demanding, viewing.

The Seven-Per-Cent Solution (1976)

Freud meets Holmes? Oh yeah!

[8/10 · 1 January 2016]

Delving into pseudo-history, Watson (Robert Duvall) gets a drug addicted and neurotic Holmes (Nichol Williamson) to see the father of psychology, Sigmund Freud (Alan Arkin) in a last ditch effort to cure him. However, Holmes must also work a case involving a shady foreign magnate and a beautiful young actress (Vanessa Redgrave), not permitting resurfacing demons to get in the way of his powers.

Star Trek veteran Nicholas Meyer's Holmes tale is a fun and surprisingly smart ride. The combination of two geniuses like Holmes and Freud actually lead to some really fascinating scenes as the two size each other up, each intrigued by the other's somewhat unorthodox methods and beliefs, as well as contrast their behaviours. This is supported by the rapport between a subdued and pensive Arkin, and a maverick Williamson who can veer from pathetic and crumbling to imposing and commanding at the drop of a deerstalker. Indeed, the film explores a darker and much more human side to Holmes than most adaptations, delving into his past and the depths of his childhood that later informed his crime fighting abilities.

Now this is not to say everything else is a slack: Duvall holds a decent British accent and is suitably supportive and patient as Watson, Redgrave is doe eyed and rather nervous as the troubled actress, and veteran Herbert Ross directs with a swift hand and tight pacing, taking us from the fog of London to the monuments of Vienna and even the top of speeding trains for the climax in good time. Really, complaints are fairly minor, and are simply circumstantial of this type of production: Laurence Olivier is wasted as a rather weak and whiny Moriarty, little more than a cameo, and the film could've gone even more introspective with Holmes and Freud had it not also been bound to being a moderately budgeted adventure thriller, especially in its second half.

In that sense, 'Seven Per Cent' may have benefited remaining a book rather than a film, but what we got was still very good and one of my favourite film versions of Doyle's master sleuth.

The Hound of the Baskervilles (1959)

Hammer's Hound howls triumphant!

[8/10 · 14 December 2015]

Master sleuth Sherlock Holmes (Peter Cushing) and his aide Watson (Andre Morell) are engaged to investigate the strange death of Sir Charles Baskerville, the latest in a long line of victims of his family's terrible 'curse'. Watching over the last in the family's line, Sir Henry (Christopher Lee), Holmes ventures onto the forbidding Dartmoor moors to unravel the enigma of the demon hound.

The first Holmes adventure in colour, Conan Doyle's most popular story gets the Hammer treatment: blood, boobage and atmosphere. The film very effectively creates a sinister atmosphere of dark mansions, foggy moors and the monstrous howl in the depths of night, while ramping up the violence from the original story (including maulings, burning, attempted rape and a cave in), though never to the point of cheap exploitation and tastelessness, but in fact enhancing the Gothic ambiance Hammer is known for.

What classes up the production, first off, is the great cast: Cushing is a near pitch perfect Holmes from the page: mercurial, thorough and a touch arrogant but always aware of the bigger picture and the risks involved. Morrell, the first new screen Watson since Nigel Bruce, ditches the classic bumbling for a stout and reserved military man who, though not as bright as Holmes, is still capable and determined to the case. Lee is in a rare sympathetic role as the last Baskerville, and gives it a fitting aristocratic bearing while making him more down to earth and even a touch bolshy.

The second key point is a mostly tight screenplay that effectively condenses Doyle's story without making it a less compelling mystery that straddles the line of the supernatural very well. It does a good job at keeping the Hound as a background menace, building up to it slowly, while taking us through the steps of Holmes' investigation and his methods as we see him piece the affair together. If there are gripes here, is that there are some strands that go really nowhere and are more there just for quick thrills (like an element of human sacrifice, or the dubious portrayal of a key character that is never brought up again), and well, when you finally see the Hound... don't get your hopes up. Even for the time, it's rather a damp squib. Regardless, if you like your Hammer or classic horror in general, and love a suspenseful adventure yarn, this is a good 'un.

Speed Grapher (2005)

Smile for the camera... averageness with a few bright sparks is caught in the lens.

[7/10 · 1 December 2015]

From Gonzo comes a 24 episode anime about a retired war photographer, Saiga, who investigates oddities in government affairs, and comes across a premier 'pleasure club', the Roppongi Club, that caters to every vice of Japan's ruling elite. The main attraction is the young Goddess, in reality the heiress of the powerful Tennozu Group, Kagura, who can bestow a gift that unlocks ultimate desire. When given to Saiga, he acquires the power to destroy with his camera lens, and rescues the girl. Now on the run, they must figure out what their 'power' really is, and foil whatever the true agenda of the Tennozu Group is...

While it may never reach maximum potential, 'Grapher' offers an enjoyable conspiracy thriller with a sci-fi flavour to make for engaging viewing. The animation is decent, as well as adequately dynamic for the action set pieces when Saiga battles others who have 'the gift', but it often feels under-detailed and corner cuts are fairly obvious. The dub voice cast are strong, with Chris Sabat and Monica Rial leading the charge, and the characters, leads for both the heroes and villains, themselves do share a strong camaraderie, while the side villains that populate most of the series are having a ball chewing scenery (including a super stretchy ballet diva, a widow who eats diamonds, a spidery dentist and even a politician-turned-living sound system), which does help carry the show over its weaker points.

From a writing standpoint, 'Grapher' is very much a cut and dry action-thriller anime with a high concept twist, mixing in revenge, politics, science gone awry and the futility of warfare and the rampant consumerism of modern society. Ambitious but the execution, while not bad, never feels exceptional and is built from extremely familiar elements (including but not limited to a cynical lead with PTSD, a voluptuous police detective girlfriend (complete with oh-so subtle symbolism with her guns), the theatrical gay friend, meek schoolgirls, all power corrupts, villains with a tragic backstory that also tie in with our lead and double crosses up the whazoo from just about everyone) that trap the series in a mostly repetitive monster of the week format, as well as a repetitive arc structure where Kagura is taken, Saiga gets her back, they flee for a time, and then she gets snatched again.

Indeed, the action and monsters almost end up detracting from the social commentary and lower the bar on the whole, not helped by seemingly one note villains who don't start to really develop until the last third of the show. Here is where 'Grapher' does come into its own and crank the emotions and commentary into gear, but it does feel a tad late to the party. It still kept me engaged, however, its fast pacing, characters and desire to stay on point helped overcome its familiarity. However, it's not something I would really crave to have a second go-around with.

Steins;Gate (2011–2015)

One Of The Finest Pieces Of Animated Television Anywhere

[10/10 · 13 November 2015]

Self styled 'mad scientist' and geek Rintaro Okabe/'Hooin Kyoma' stumbles across the murder of scientific starlet Makise Kurisu during a lecture on time travel. Following a strange temporal 'event', Okabe sees her alive and is desperate to figure out how this is possible, enlisting her in the 'Future Gadget Laboratory' (his little club) and working on his microwave time machine.

One of the finest anime I have ever watched, 'Stein;s Gate' is the antithesis of your typical goofy fanservice fest, offering a smart and often touching take on the power and side effects of time travel. The foundation is absurd for sure, and the show's sense of humour has no problem mining that, but when we get to the members using the technology to alter their lives and in the process, change the world around them, the show pulls no punches. This is amplified by the fact that we have a strong and likable lot of characters that make up Okabe's entourage: the eccentric lead, the smart but somewhat high nosed Kurisu, the loveably sweet Miyuri, tech and online geek Daru, the silent and reserved Moeka, the timid & transgendered Lukako, the excitable waitress Faris and the high spirited tomboy Suzuha. They all compliment each other well and as the series progresses, you really get behind them and why they want these changes, some of which do tug hard at the heartstrings.

However, it is Okabe's story that is the most grueling, as 'Stein;s Gate also acts as a more fantastical coming of age story as he remembers every change in the timeline, and how he must step up for his friends, as well as solving Kurisu's murder. He goes from petty manchild to a far more mature adult by the end and it can be very harrowing. How'd have thunk this could come from the inventor of a microwave & phone based time machine? And the rest is no slack: the animation is subdued but full of nuance and detail, refreshing for a sci-fi show, the music is often sombre but never overpowering or melodramatic, and the voice cast are tremendous, with J. Michael Tatum on the English front giving a career best performance as Okabe. Frankly, I have practically no genuine complaints or issues to speak of, save for maybe the last episode being little more than perfunctory sugaring of an already satisfying ending, but even then, it still has enough laughs to get by. Honestly, I cannot sing the praises of this show enough: drop whatever you are doing, and go see this show. It is criminally underrated, and of the best animated television series to come out in the last decade, as well as technically one of the good, if not great, video game adaptations.

The Hound of the Baskervilles (2002 TV Movie)

Watson, I deduce unremarkability

[6/10 · 24 October 2015]

Sherlock Holmes (Richard Roxborough) and his aide Watson (Ian Hart) are engaged to investigate the bizarre death of Sir Charles Baskerville, the latest victim of his family's horrible 'curse'. Watching over the last in the family's line, Sir Henry (Matt Day), Holmes ventures onto the forbidding Dartmoor moors to investigate the demon hound.

Before Cumberbatch and Moffat, the BBC tried to reinvigorate Holmes with this 2002 TV film, amping up the action, atmosphere and body horror of Conan Doyle's most famous novel, and with mixed results. Right out of the gate, the film's first problem lies in its lead: Roxborough, while not terrible, doesn't make for a terribly distinct Holmes. He doesn't exude intelligence, mania, authority or a sense of control like many other interpretations have, and as a result does deflate the proceedings, never fully commanding the scenes the way a Holmes actor ought to.

The second issue is a confused mission statement: the screenplay mostly condenses Doyle's story well, and straddles the line of the supernatural very well, if not enhances the whole contrast further with a well handled a séance sequence, but adds a few things. Turning more low key elements like an interrogation of a cabbie into little action scenes, as well as changing bits of structure and characterization from the various cast, would likely annoy purists, but then throwing things in like Holmes' drug addiction (which honestly is never properly explained in the context of this film) really only makes sense to those already familiar with the books, so just who is the film made for? And the third is the actual Hound which, while in terms of design is actually fairly effective, a nightmarish hyena-dog-tiger hybrid, the CG even in '02 leaves much to be desired, and comes off as a tad rubbery and not meshed well with the environment.

All these issues do knock down what is otherwise a fairly decent mystery thriller: the cast are good with Richard E. Grant chewing scenery as the devilish Stapleton, and director David Attwood does a good job at creating an uneasy and haunting atmosphere on the moors, keeping the Hound as a background menace, building up to it slowly while it howls in the fog. However, such details do not deter the facts of the case: this Hound never rises higher than being, purely and undeniably, elementary.

The Chamber (1996)

Light as the gas

[5/10 · 10 October 2015]

Based on the novel by legal thriller king John Grisham, 'The Chamber' deals with a hotshot young lawyer Adam (O'Donnell) who must defend his racist KKK grandfather Sam (Hackman) from the long standing death sentence for the supposed bombing of a Jewish legal firm. However, despite his grandfather's protests and nastiness, Adam suspects something bigger at work...

Despite sleek direction and Hackman's stellar work as a despicable Klansman, 'The Chamber' feels like a lot of hot air. A film built around uncovering secrets and rocking the Mississippi boat wastes time on alluding to threads that are never explored, including possible corruption, political backstabbing and racial tensions, instead of focusing on the core story of a man coming to terms with his family's dark past. It's in the interactions between Sam and Adam that the film feels its sharpest, as despite their disdain, they do gradually grow closer to each other over the course of the film as both face less than pleasant aspects about their family history, and O'Donnell and Hackman work well together.

When it's not there, however, the film just seems more interested in building up to nothing. There's a whole chunk devoted to a local KKK leader (played by Raymond J. Barry) that seems to imply him having some sort of influential power, and characters love going on about how Adam doesn't want to 'go digging into this', but in the end he gets taken in like a regular thug, so what was the point of making seem like the big bad? Indeed, any thread related to possible discussion of the still strong tensions among groups in the South is little more than window dressing, which is a real pity. I suspect replacing Bill Goldman with Phil Alden Robinson (credited as Chris Reese) during the writing had something to do with how choppy this script feels.

Never boring, thanks to our cast (even Fray Dunaway as a ditzy Southern Belle isn't too bad) and veteran director James Foley handles tension with a sure hand, but it dramatically feels as light as the gases in the titular room.

The Devil Is a Part-Timer! (2013–2023)

Want Fries with this?

[7/10 · 29 September 2015]

From White Fox comes a 13 episode anime based on the popular light novels about when the Devil comes to our world... and works at a fast food joint. Sadao/Satan has been vanquished in a great war in his mystical homeworld of Ente Isla, and with his top general Ashiya by his side, flees to modern Tokyo, where he works part time at MgRonald's (geddit) while trying to recover his magic.

Undeniable fluff, 'Part-Timer' still offers a few fun spins on fantasy anime and slice of life stories to make for pleasant viewing. The animation is often lively and colourful, as well as dynamic for the odd action scene, the voice cast are lively, and the characters themselves do share a strong camaraderie which helps carry the show over its weaker elements. They are by and large really likable youths and a lot of fun to be around, especially the dynamic between the dethroned Sadao and his arch enemy, the 'Hero' Emilia, who tries to keep up their archetypical battle and ends up coming off as more petty and savvy than her supposed 'enemy' as they slowly grow closer, whether they want to or not.

From a writing standpoint, 'Part-Timer' is very much your prototypical slapstick wacky anime comedy (complete with the token fanservice friendly cutie of the group, and boy are the creators not shy of milking that...), but they are some neat little twists. Not only are the 'villain' and 'hero' in the same boat and have to adapt to their new, more mundane environment, but the way they apply their fantasy background allows for some fun gags, such as Sadao's leadership and tactics when trying to compete with a rival restaurant, or treating a mere barbecue like some grand village burning. The subversion of the usual good vs. evil is the heart of much of the comedy, as well as the drama as these characters function in society and take onboard new world views and it's handled fairly well. However, depth doesn't extend much beyond that, and there are some other issues: at just 13 episodes, it's a little short for this kind of story, leaving the world of Ente Isla and bigger questions about good and evil largely unexplored in favour of domestic hijinks and pop culture nods. Plus, the show doesn't have much in the way of a grand villain or arc, and when it does come up, it's usually resolved within two episodes and the villains are more comic than threatening, so stakes nearly feel that high. Drama is not the focus, but it does leave the show with less 'meat' than I would like.

Despite those complaints, it still kept me engaged. Its comical and trope-aware mindset helped overcome its lack of innovation or daring, and it has an energy that's tough to resist. Plus, its lack of finality does leave this world open to more exploration compared to most anime, and I certainly won't be against rejoining this lot for a second round!

Wholly Moses! (1980)

Thou Shalt Not Be Funny!

[2/10 · 26 July 2015]

Basically, 'Life of Brian' but with the story of Jesus swapped out with that of Moses. It tells the unfortunate tale of Herschel, an Israelite born around the same time as Moses, and whom he often crosses paths with over the course of his unlucky life as he goes about under the mistaken assumption of being 'The Chosen One'.

Toothless and mostly void of laughs, 'Wholly Moses' is such a waste of potential. Think the trend of lazy spoofs started with the Wayans? Oh no, even as far back as the 80s, we have a film built almost completely lame wit and even lazier slapstick, and when it tries to have a plot, it's just a nothing more than an excuse to stitch a bunch of different sketches together, all vaguely connected with the Old Testament (for no real reason, we're suddenly in the middle of David and Goliath, and then in Sodom) under a rather tepid 'what-if' telling of the Exodus story. Remember how 'Life of Brian', on top of being inventive and wacky, also discussed and satirized religion and the fanaticism that comes from it? 'Wholly Moses' has absolutely none of that, despite the premise being ripe for it with having a protagonist always conflicting with his faith.

Despite the all star comedy cast, no actor can salvage it, with Moore going through the motions as the lovable dweeb Herschel, while surrounding him in thankless cameo roles are the likes of Madeline Kahn, Dom Deluise, John Ritter and Richard Pryor, but they're on screen so little and the parts are so inconsequential it begs the question of why bother. SNL veteran Gary Weis' direction is lax and in no way tries to replicate the scope of old Biblical epics, draining even more life from the already bland gags. Even the score by Patrick Williams, while taking on an appropriately Egyptian flavour, never aspire to be more than kooky, and again, is a waste of a good musician. It makes me yearn more for John Morris' mastery of parody scores.

Honestly, I just can't think of more to say. 'Waste' really is the best word to sum this up, and the people involved should know and can do better. What could've be 'Brian' by way of Mel Brooks just amounts to a plod with no spine and even less joy. It says something when the little Moses segment from Brooks' 'History of the World' is better than this near two hour film.

Lost Soul: The Doomed Journey of Richard Stanley's Island of Dr. Moreau (2014)

Are We Not Men?

[8/10 · 7 July 2015]

The 1996 adaptation of one of my favourite H.G. Wells story, starring Marlon Brando and Val Kilmer, was not well received to put it politely, and its production even less rosey. Well, 18 years later, a documentary goes behind the scenes to unravel how a young indie filmmaker got his shot at Hollywood big time, and what was a dream project became every filmmaker and studio's worst nightmare.

A sort of surreal affair, 'Lost Soul' mixes brand new interviews (the big draw being the notoriously elusive Stanley), archive footage and photos/concept art to tell of how this young British talent tried to fulfill a lifelong dream to adapt and update Wells' tale of science gone awry, and damn is it engrossing. There are no holds barred and spades are called spades as the cast (and many different crew, from ADs to managers to even extras) recall just how much of a hell things were, even in pre-production, as well as the pain that was Brando, replacement director Frankenheimer, and especially Kilmer. Stanley himself, with his deep voice and unusual appearance, a sort of hybrid of Indiana Jones and a voodoo shaman, is fascinating to watch as tells his misadventure with a slight hint of bitterness but also a sort of sage wisdom about it.

Of course, director David Gregory is smart enough to not let this turn into just one big slog of talking heads. He regularly breaks it up with an assortment of visual treats, including the magnificently disturbing concept art and storyboards for Stanley's original vision, archive footage of the shoot and the grotesque makeup effects of the beast people, even new material recorded at the now overgrown location. The whole thing is underscored by a sinister soundtrack that adds to the nightmarish feel as you journey on and more and more goes wrong, even on occasion referencing witchcraft and unusual phenomena.

In terms of complaints, I don't really have many, save for maybe the lack of remastering of some archive footage, the soundtrack can sometimes go a little over the tip, and the film does taper off towards the end and doesn't dwell on the film's reception and legacy as much as I would've liked. However, it is firmly Stanley's story, and a great watch for fans of film and filmmakers.

Spies Like Us (1985)

Mediocre Comedy Like This

[4/10 · 2 July 2015]

A pair of knuckleheads get embroiled in international affairs as America's worst spies. Of course, their dispatch is deliberate, as they are being used as decoys for the real operation, shipped off to be nothing short of glorified target practice for the less than friendly groups over in the Middle East.

Aggressively pedestrian, this mid 80s John Landis offering lacks spark, wit or even hard laughs. A shame as Chase and Aykroyd make for a decent team, and the plethora of cameos make for a cute novelty (including a quickie from one of my heroes, Terry Gilliam) for cineasts. It's even directed competently, with nicely varied locations and production values that feel like they belong in a proper spy film: secret bunkers, the arid lands of the Middle East and the snow drenched hills of Russia.

However, all of this is null and void if the funnies just ain't coming, and despite Ackroyd having a writing credit, most of this film is other leaden wordplay or poorly timed slapstick that conceptually, should be funny (like a gag involving a jet, or another involving missiles) but somehow, it just doesn't click. Comedy is a really subjective thing, but given the film's lowly reputation, it's obvious I'm not alone here. And when it's not either of those, it's just a retread of old spy film tropes that have already been parodied 1001 times before and far better, and it does nothing new or amusing with them to make the revisit worthwhile.

Honestly, beyond the cameos and the odd, rare chuckle, Spies Like Us is a rightfully forgotten title from Landis' extensive catalogue. It says something when I'm craving Beverly Hills Cop III over this.