A Week In Film #262: More ‘Flixin’

As Good As Dead title screenAs Good As Dead
A bit of a hidden gem, helmed by Jonathan Mosseck, whose only other directorial credit is for a TV show hosted by the man who designed Princess Diana’s wedding dress…

It’s New York. Cary Elwes is a porky, cantankerous photojournalist who has a strained relationship with the mother of his kid, and is holding out against a gentrifying landlord in his rent controlled apartment. Then a bunch of redneck loons – a terrifying Frank Whaley, plus Matt Dallas and eventually Andie McDowell – turn up and demand a bit of the old retribution.

Yes, it’s a bit a of a flashy twist thriller, there are some weak moments, but it is far better than some of the idiot commenters on IMDb would have you think. Not going to set the world of film alight, but few films do. On the other hand this has modest aims and achieves them, efficiently and competently.

Bad Company title screenBad Company
Promising set-up: under-a-cloud ex-CIA agent Laurence Fishburne joins private sector spooks doing black bag jobs for cash. Unfortunately, despite a nice noir feel, the odd directorial flourish from Damian Harris, and a cast that includes Ellen Barkin, Frank Langella and Michael Beach, it doesn’t gel.

Metro title screenMetro
Eddie Murphy as a police hostage negotiator, sme heists, money laundry, shout precinct lieutenant, etc. Not as wisecrackingly-good as Beverly Hills Cop, not as gritty as Beverly Hills Cop 3.

Competent mediocrity from Thomas Carter, whose big hit was anti-Nazi jazz resistance youther Swing Kids.

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