Christian Bale and Christopher Nolan pull off the Batman reboot with aplomb. Bit long, bit meandering, but plenty to commend.
3.10 To Yuma (2007)
Decent stab at remaking the 1957 Elmore Leonard adaptation, with James Mangold directing a tale not dissimilar to his own 1997 Cop Land, about an unlikely man standing up to do the right thing.
Quiet rancher Christian Bale is determined to take murderous bandit Russell Crowe to the railroad and thence to gaol, despite his own son (Logan Lerman) having no faith in him. A well-made, old fashioned kind of Western, with good supporting performances from the likes of Ben Foster, Peter Fonda, Dallas Roberts, Alan Tudyk, Gretchen Mol and Luke Wilson.
Bruce Willis as a former big city police negotiator turned small town sheriff who finds himself embroiled in an armed kidnapping and siege. Some interesting bits (nods to Die Hard, for instance), but despite undoubted skill, French director Florent Emilio Siri, who so impressed with Nid De Guêpes, seems a little lost at sea here, certainly with the performances.
After The Sunset
Silly, not very engaging romantic comedy-thriller, with retired jewel thief Pierce Brosnan and paramour Salma Hayek pursued by FBI agent Woody Harrelson to the Bahamas.
30 Days Of Night
British music video director turned feature helmsman (his debut was the decent Hard Candy) has a crack at a vampire comic adaptation, where the action takes place in an Alaskan town just entering into its annual sunless season. An efficient ensemble cast (Josh Hartnett and Melissa George as estranged married couple forced back together by circumstances, local redneck Mark Boone Junior, Danny Huston as the lead vampire), but a meandering plot which doesn’t work the time angle very well. Nicely shot, though.
The Bourne Identity (1988)
Richard ‘Kildare’ Chamberlain and Jaclyn ‘Charlie’s Angels’ Smith in roles later played on the big screen by Matt Damon and Franka Potente in this eighties mini-series version of Robert Ludlum’s shonky spy novel. In places it works better than the Liman/Greengrass version, though overall it definitely shows its age and inferior budget, and too many of Ludlum’s crappy subplots and pointless characters survive the edit. Still, Anthony Quayle makes a fun appearance as a randy French general, and Denholm Elliott as a lush who cares for the amnesiac Bourne in the beginning.
Tim Burton’s take on the masked vigilante comic book character, though blatantly seen through the half-remembered filter of the 60s live action TV show. Jack Nicholson chews up scenery in an overpaid, puffed-up cameo, somewhat overshadowing Michael Keaton’s rather good lead. Kim Basinger gets in the way, and whilst blasphemously uncanonical, Sam Hamm’s script is fun.
Joseph Vilsmaier’s fine German war film, a grim depiction of life on the Eastern Front, with a factory battle that throws back to Peckinpah’s Cross Of Iron. A strong cast includes Thomas Kretschmann (latterly known for Der Untergang, U-571, Wanted, Valkyrie, King Kong, Transsiberian etc), Dominique Horwitz, Sebastian Rudolf and Sylvester Groth.
Dead Man’s Shoes
Shane Meadows and Paddy Considine cement their creative partnership with a perfect film, a Midlands-set Western that escaped the director’s grasp when he was given too much money to play with the previous attempt.
A redemption film skillfully camouflaged as a vengeance picture, full of believable characters and genuine shocks.