Monthly Archives: August 2018

A Week In Film #511: Chute

The Package title screenThe Package
Not great, not terrible post-Superbad millennial American Pie-style teen comedy, about some friends who go camping, a dick that gets cut off, and their attempts to retrieve and reattach said dick. Directed by Jake Szymanski and featuring a bunch of people I’ve never seen before: Daniel Doheny, Geraldine Viswanathan, Sadie Calvano, Luke Spencer, Eduardo Franco, Sugar Lyn Beard, Michael Eklund etc.

Lone Survivor title screenLone Survivor
Peter Berg and Mark Mark and their Yankee Doodle Dandy Does Bravo Two Zero.

Ella Enchanted
Non-realistic (well, obviously) interpretation of Cinderella, with Anne Hathaway in the lead, Hugh Danny as the prince, Cary Elwes his evil uncle, Minnie Driver and Vivica A Fox as fairies, Joanna Lumley the wicked stepmother, Lucy Punch and Jennifer Higham the mean stepsisters, and so on. Decent enough from director Tommy O’Haver.

Mechanic: Resurrection
Not exactly terrible sequel – the ridiculous plot is proper silly B-movie, penny dreadful or yellow press territory, but sort of enjoyable. The State is back as accident-man-for-hire Arthur Bishop, now being blackmailed into offing targets for some super villain played by, err, the son of that bloke from London’s Burning. Directed with some nice set pieces by German director Dennis Hansel, who did Die Welle.

A Week In Film #510: Mixed

Paul title screen
Silly, fun comedy about a pair of British SF geeks (Simon Pegg and Nick Frost) who go to America to first attend San Diego ComicCon, then go on a ufology road trip/pilgrimage across the south-west in an RV…Only to accidentally pick up an alien hitchhiker by the name of Paul (Seth Rogen), who has a bunch of Secret Service agents on his tail. Not in the league of Spaced/Shaun/Fuzz or even End, but still amusing. Directed by Greg Mottola, who did Superbad and Adventureland.

Spy Game title screen
Spy Game
Imagine Tony Scott trying to do John Le Carré, and this is what you would get. Fucking awful, I mean, plenty of professional skill in the execution, just very little in the cerebral department. Nothing in this film makes narrative sense. Pointless swooping shots. Needlessly bleached out photography. Stupid plot. Excellent cast largely wasted (Charlotte Rampling, Benedict Wong, David Hemmings, Stephen Dillane – all criminal underused, whilst Brad Pitt and Robert Redford do their thing out front).

The Shining
Kubrick’s tangential adaptation of Stephen King’s horror novel, with would-be writer Jack Nicholson going mad whilst serving as an off-season janitor to a huge hotel in remote, mountainous Colorado, which would be fine but for the whole being a bit to murderous towards his family (Shelley Duvall, Danny Lloyd).

La La Land title screen
La La Land
Okay, so this did not really grab me- the opening song-and-dance number was quite nice, but very swiftly people were talking about jazz and acting auditions, and I kind of switched off mentally, and before I knew it the end credits were rolling. Yet reading the Wikipedia summary, it kind of sounds interesting. Maybe I’ll give it another try some day soon.

Mississippi Burning title screen
Mississippi Burning
If it wasn’t for the fact that it totally bastardises actual history, then Alan Parker’s historical procedural about a pair of FBI agents (Willem Dafoe as the smart, young, ‘modern’ G-Man from the northeast, Gene Hackman as an outwardly more lackadaisical, old-fashioned Southern shit-kicker) investigating the (real life) murder of three young democracy activists in 1963 Mississippi by Ku Klux Klan members would be more enjoyable.

China Moon title screen
China Moon
Straight forward neo-noir by long-time cinematographer John Bailey, with Ed Harris as an experienced police detective who falls for an unhappily married Floridian (Madeline Stowe). There’s a nice sort of mini-twist. Benicio Del Toro is good as Harris’ lazy young partner.

A Week In Film #509: Folks

L.A. Confidential title screen
L.A. Confidential
Curtis Hanson’s adaptation of James Ellroy’s 1950s-set crime novel fizzes with period flavour, nudges up to film noir without really going in two-footed, and gives us a relentless, multi-layered thriller that jumps between protagonists seemingly on a whim.

Great cast – Guy Pearce, Russell Crowe, Kevin Spacey, James Cromwell, Kim Basinger, Danny De Vito – and unfussy direction are aided by a punchy pace and a lack of pretentiousness.

Jaws title screen
Spielberg’s original big hit, with fidgety ex-city cop Roy Scheider trying to enjoy his new sinecure as police chief of an upscale New England tourist town with a hungry new visitor. Throw in some snappy editing to hide a chunky puppet, Robert Shaw and Richard Dreyfuss jostling with each other for prominence, John Williams’ score, and some well-judged thieving from Hitchcock’s palette, and you have a full 10/10.

The Pledge title screen
The Pledge
Sean Penn directs Jack Nicholson as a just-retired cop haunted by a child’s murder.

A Time To Kill
John Grisham adapted by Joel Schumacher, and you know where that’s going – certainly not the go-to team you’d think of first if you wanted a thoughtful, sensitive treatise on America’s inability to face up to slavery and racism. Still, watchable-enough courtroom dreck, with Matthew McConaughey, Samuel L Jackson, Kevin Spacey, Donald Sutherland, Patrick McGoohan, Oliver Platt and, um, Brenda Fricker.

The Client
Schumacher’s previous effort in taking Grisham to screen, and in much the same ball-park when it comes to subtlety. With Brad Renfro as a young trailer trash kid who witnessed a Mob-related violent death who secures the services of lawyer Susan Sarandon in the face of attempts by Federal legal hot-shot Tommy Lee Jones to secure his evidence.

The Gambler (2014) title screen
The Gambler (2014)
Remake by Rupert The Escapist Wyatt and William The Departed Monaghan of Hollywood sex-pest James Toback’s 1974 movie about a nihilistic academic and his gambling addiction. Mark Wahlberg in the lead is actually pretty good, backed up by his star student Brie Larson. Michael K Williams and John Goodman are larger than life as a pair of shylocks who lend him money he can’t pay back.

A Week In Film #508: Talk

The Negotiator title screen
The Negotiator
Sam Jackson as an expert police hostage negotiator forced to pull some rabbits out of the hat when he finds himself framed. Bonkers and tacky – my favourite blend for a highly watchable thriller. Good, clichéd, trope-stuffed stuff from F Gary Gary, with a cast crammed with the likes of Kevin Spacey, David Morse, JT Walsh, Ron Rifkin, John Spencer, Paul Giamatti, Michael Cudlitz, Dean Norris and Paul Guilfoyle.

Self/Less title screen
So/so near future body shock thriller from Tarsem Singh, with sick tycoon Ben Kingsley buying a new body to live longer from shady high-end body swap company. He’s pretty stoked to end up injected into Ryan Reynolds’ buff physique, but all is not quite what it seems. Solid.

Jason Bourne title screen
Jason Bourne
Paul Greengrass has a third bite of the cherry, and to be honest, it’s starting to smell a bit rotten. Very much sale old, same old – jitter cam fights, spying on the spies, moody pouting etc. Tommy Lee Jones gets the ageing spook boss gig, Vincent Cassel’s the main Asset, Riz Ahmed a tech bro who’s out of his depth, and Alicia Vikander as a fast-track CIA cyber specialist. Julia Stiles returns, and there’s various locales to run around in – but it all feels like a retread.