Tag Archives: My Cousin Vinny

A Week In Film #530: Here we are again

The Revenant
Well built drama about the travails of fur trader Hugh Glass in the frozen expanses around the upper Missouri in early nineteenth century America. Excellent cast – DiCaprio, Hardy, Gleeson, Poulter, Forrest Goodluck, Paul Anderson – and excellent crew, led by director Alejandro G. Iñárritu.

My Cousin Vinny title screenMy Cousin Vinny
Fun-filled fish-out-of-water comedy from Jonathan Lynn (scripted by Dale Launer). New York goombah type Joe Pesci desperately trys to bring his community college law education up to speed with the wily ways of a small town Alabama court, where his cousin and his cousin’s friend (Ralph Macchio and Mitchell Whitfield) face a murder rap thanks to a perfect storm of circumstantial evidence and misunderstanding. Plenty of things going on, great supporting cast – Marisa Tomei as Pesci’s brash hairdresser/mechanic girlfriend, Fred Gwynee as a weary judge, Lane Smith a good ole boy prosecutor.

Free Fire
Another imaginative genre-stretcher from Ben Wheatley and Amy Jump, oozing with enthusiasm, even if it doesn’t quite land the perfect punch. A bunch of dodgy types meet up in a warehouse for a distinctly not-exactly-legal arms deal; then it all kicks off. The limitations of the form are obvious – once the shooting starts it is much of a muchness. But there’s a decent troupe of players (Brie Larson, Cillian Murphy, Armie Hammer, Sharlto Cooper, Michael Smiley, Babou Ceesay, Enzo Client, Noah Taylor), and everyone throws in their all.

Ghost Stories
Nice little old fashioned portmanteau horror from Andy Nyman and Jeremy Dyson (based on their stage show), with three interlinked spooky tales – a security guard trapped in a haunted old asylum, a teenager who runs over the Devil, and a soulless rich man beset by a poltergeist. Proficient chills and spills. With Paul Whitehouse, Nicholas Burns, Martin Freeman, and Nyman himself as the protagonist of the connecting narrative.

Home Alone title screenHome Alone

The Captive
Emotionally flat, frustratingly fractured potboiler about an abductor of children (Kevin Durand), the parents of one of his victims (Mireille Enos and Ryan Reynolds), and the pair of cops (Rosario Dawson and Scott Speedman) searching for him. Muddled and overblown from Atom Egoyan.

The Loft title screenThe Loft
One of those saucy Euro erotic thrillers where Hollywood took a sniff, liked the smell, and offered the director (Erik Van Rooy in this instance) the opportunity of remaking it for the American audience. Architect Karl Urban and three married pals (Wentworth Miller, James Marsden, Eric Stonestreet) secretly share an upscale shagpad in a newly built apartment block. All is going swimmingly until they find a dead woman in there chained to the bed. Silly, full of potholes and less than pleasant characters, but totally watchable.

A Week In Film #370: FINALLY

L’Assaut title screen
L’Assaut AKA The Assault
Dramatisation of the 1994 hijacking of Air France Flight 8969 by fundamentalists of the GIA during the peak of the Algerian civil war. Director Julien Leclerc (whose Gibraltar-set true crime thriller The Informant I rather enjoyed) keeps things moderately taut, though the bizarre choice to wash out virtually all of the colour is distracting, and much of the plot seems retroactively retooled to reflect 9/11, Munich, the United 93 legend and the likes of Zero Dark Thirty.

The Ghost
Rapey Roman Polanski directs Robert Harris’ potboiler about a ghost writer (Ewan McGregor) assigned to write the memoirs of a Blairish former British PM (Pierce Brosnan) facing war crimes charges with efficiency if little of his past flair. Competent but hardly a classic.

Tinker, Tailor, Soldier, Spy title screen
Tinker, Tailor, Soldier, Spy
Swedish comedy troupe veteran Tomas Alfredson seems an odd choice to boil down le Carré’s sprawling, byzantine first true Smiley meisterwerk into a two hour big screen feature, but he managed to convey much of the weight of the source material. A great cast (Oldman, Hinds, Hurt, Strong etc) certainly help the viewer skate over the odd choices of concision (moving locations, changing nationalities and so on), but ultimately the film does not deliver the tension-filled promise of the teaser trailer. Tom Hardy does make an impeccable Ricky Tarr, though.

Formosa Betrayed title screen
Formosa Betrayed
While no The Killing Fields, Adam Kane’s tale of Taiwanese political corruption – and Washington’s complicity – does at least avoid both cynicism and easy answers. James Van Der Beek is the FBI Agent who ends up in Taipei following leads after the murder in Chicago of a Taiwanese journalist.

My Cousin Vinny title screen
My Cousin Vinny
Fun comedy drama about a barely-qualified New York Italian lawyer (Joe Pesci) who heads down to Hicksville, Alabama to defend his cousin (Ralph Macchio) and his pal (Mitchell Whitfield) who have somehow got themselves accused of murder.

The cast is great, round off with the likes of Marisa Tomei, as Vinny’s mechanically-minded girlfriend, Fred Gwynne as the suspicious judge, Lane Smith as a good ol’ boy DA, and countless others, all seemingly enjoying themselves under the direction of Jonathan Lynn and working with Dale Launer’s script.

Walesa title screen
Walesa. Czlowiek Z Nadziei AKA Walesa: Man Of Hope
It’s a shame to see Wadja’s artistry diminish with every new film – this one told me next to nothing about Walesa, except he is/was a bit of a dick, and Catholic. Too much flag-waving, and not enough engaging with the audience.

The Eichmann Show title screen
The Eichmann Show
Plodding dramatisation of the story of the television coverage of the war crimes trial of SS bureaucrat Adolf Eichmann in Jerusalem in 1961. Worthy but unexceptional, with Martin Freeman and Anthony LaPaglia essentially laying the same roles they always play – constipated and shouty. Very pedestrian when compared with director Paul Andrew Williams’ previous efforts London To Brighton and The Cottage.

Silenced title screen
Strong old-style documentary by James Spione about the Obama’s pursuit of three security/intelligence community whistleblowers – John Kiriakou, Thomas Drake and Jesselyn Radack.

No Way Out title screen
No Way Out
Journeyman helmer Roger Donaldson has a proper fair go here, with a remake of a 40s noir thriller. Sean Young is grand as a sort of femme fatale, Gene Hackman chews scenery as Secretary of Defense, but then our hero is Navy guy Kevin Costner, who gives off no sexual energy and runs like a fat kid’s dad on Sports Day. I enjoyed the silly twist, but too much of the film is taken up with a dull ‘close down the Pentagon!’ sub-plot. Still, George Dzundza in an electric wheelchair! Iman in a bit part! Will Patton attempting the record for most campy psycho screen villain ever!

Enemies Closer title screen
Enemies Closer
Pete rhymes is well past his glory days with this barely workmanlike action thriller in which Tom Everett Scott(!) is our Ex-Special Forces Guy Hero Who Doesn’t Like To Talk About It, currently working as a park ranger when some Bad Guys (led by vegan terrorist Jean Claude Van Damme, who seems to be having a ball, though wobbles about like he’s got Parkinson’s) wreck his wilderness peace as they try to recover Some Drugs. Basically, boring.

Assassination title screen
I’m a sucker for low-rent, throwaway 1980s Charles Bronson actioners, but this is definitely not one of the best. Charlie is a Secret Service agent detailed to protect the new First Lady (oh look, it’s Mrs Bronson, Jill Ireland!) who, naturally takes against him from the start. There’s a plot to kill her, some terrorists and zzzz… Boring, pointless, unconvincing action scenes and oddly flat chemistry between the two leads (though Jan Gan Boyd as a colleague of Bronson fizzes) do not bode well, and it’s clock-watching all the way through the second half.

A real turkey from director Peter Hunt, who previously gave us the best sixties Bond (On Her Majesty’s Secret Service) and the best Roger Moore non-Bond (Gold), was well as showing his editing chops on the likes of The IPCRESS File and most of Connery’s 007 outings.

’71 title screen
French director Yann Demange’s first big screen effort – after UK TV like Charlie Brooker’s Dead Set and the Top Boy series – is a confident and accomplished effort. We’re in Belfast, 1971, stranded in the unfamiliar streets of a hostile city along with young squaddie Jack O’Connell, after a riot separates him from his unit. Strong support from the likes of Killian Scott, Barry Keoghan and Charlie Murphy (all Love/Hate), Sean Harris (Red Riding), Paul Anderson (Peaky Blinders) and others make this a visceral ride.