A Week In Film #538: Fading memories

The Equalizer
Reboot of the 80s teatime vigilante show, with Denzel in the lead and Antoine Fuqua directing. Absolutely no substance, but sort of surprisingly watchable.

Live And Let Die
Moore takes over as Bond, and it’s full of (ever so slightly racist) vim.

Far better than Diamonds, definitely not one of the best, but with plenty of memorable set pieces (gator farm, bus chase, night glide onto the island, flying lesson, funeral cortege, Solitaire’s reading, the train fight) and memorable characters (Mr Big, Kananga, Baron Samedi, Tee Tee, Whisper, Rosie Carver), it’s just the crap masterplan (cheap smack) and slight, sorry, MASSIVE RACISM and MISOGYNY and smirking ol’ Moore that let’s it down. (And JW Pepper, obvs.)

Definite plus points: Wings theme song, Yaphet Kotto, Jane Seymour, Tee Hee’s claw, all the white characters are basically arseholes and dickheads.

Get Out
Superb social horror from Jordan Peele, which goes in fully committed, two-footed, studs out on racism and smug white liberals. A great cast, led by Daniel Kaluuya and Allison Williams, and some genuine wrong-footing of the audience.

When Harvey Met Bob
So-so recreation of the organising of the Live Aid concert, with Domhnall Gleeson impersonating faded pop star Bob Geldof, and Ian Hart relatively straight as the man whose help he needs to pull it off, impresario Harvey Goldsmith. Nothing exceptional, but some warm performances. Directed by Joe Dunlop from a Nicholas Renton script for Irish telly.

Behind The Curve
Bonkers flat earthers are given enough rope to hang themselves in a narration-free documentary.

The Man With The Golden Gun
Guy Hamilton’s fourth and final bite of the Bond cherry, and despite having Christopher motherfucking Lee as the baddie, it’s pretty pants.

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