movieguy96 Reviews

The Birdcage (1996)

Contender for the best 90's comedy. Great fun with a big heart and intelligent writing

[10/10 · 7 January 2024]

At the time of its release The Birdcage was accused in some circles of playing into stereotypes around gay people, to which the director Mike Nichols said the film isn't representative of the whole community but merely this small group of characters, which is true, and I'd also add that the notion of a stereotype is only derogatory if you make it that way, which The Birdcage does not. Quite the contrary, the movie is a celebration of all the flamboyance, vibrancy and camp that surrounds the gay and drag queen culture, and to go one step further is essential viewing as it removes a lot of the stigma or fear that a lot of traditionalists (represented by Gene Hackman's conservative senator) may have of them, by making Albert and Armand full blooded characters who are harmless and just living their best lives in their blissful eden of Miami Beach. Indeed, Hackman's character is shown to have some regressive, right-wing values but the movie stops short of demonising him fully (something which a movie made today wouldn't have been able to resist), instead he's shown as deluded and uninformed but all bluster and simply out of touch, to which end his reconciliation (of sorts) with that lifestyle is one of the most outrageously funny (but ultimately feel-good) pay-offs I've seen in a movie.

It takes a special actor to make a character like Albert seem likeable and charming despite the hissy fits and screaming and histrionics, but Nathan Lane nails him down to a T. There's a sweet affability to the relationship between him and Robin Williams' Armand that undercuts everything (in no small part due to both actors playing the roles with complete gay abandon), which as the heart of the movie is essential to making it work and you as the viewer invested in them (this is most evident in the scene at the bus stop). As a result you care about everything else that goes on around them, for example at the very end I actually thought for a split second it would leave Val and Barbara's fate unresolved which irked me and made me feel short changed, until the credits roll on over their wedding, which is what was required for me to bump up my rating for the movie, because by the end we realise these aren't just stock characters we're trading with, and this isn't some forgettable, vulgar bargain-bin comedy.

Another aspect of the movie I liked is it always feels in motion, and never lingers on any situation long enough for it to feel tired or outstay its welcome. Before watching it I assumed the dinner with the in-laws would make up a bulk of the movie; instead it eats up about a third of the runtime if that, and a lot of careful time management goes into setting the scene and developing the characters and their own motivations (in Senator Keeley's case to repair his image following a political fiasco, and in Albert and Armand's case their own fractious relationship and the moral dilemma of suppressing their sexuality to "fit in"), which is also intercut with Christine Baranski's biological mother turning up and Tom McGowan's journalist snooping around. As a result any elements of the movie which threaten to descend into farce don't, and we're always treated to something new and fresh to keep our attention, yet all these elements feel very intimate and self-contained, not disparate or random in any way.

The Birdcage has to be one of the most impeccably cast movies I've seen too, as alluded to before. The primary four main actors are revelations, even it seems they're doing little at all, just little mannerisms or idiosyncrasies that are offset by their foil; both Williams and Wiest are juxtaposed as the "straight" partner in their respective relationships, long suffering (portrayed in different ways) but still devoted and loving, showing we're not so different after all, irrespective of sexual orientation we all contend with the same human flaws and absurdities. I was impressed by Hackman flexing some comedic muscles that I didn't know he had (his reaction to his fellow senator dying in very scandalous circumstances and the scene of him giving a hasty speech to the reporters while suspended on a ladder are hilarious) and as one of my favourite actors I'm very pleased he can add this to his distinguished filmography. Despite this though no one actor outshines the other and each brings their own unique quality to the film, and of course what can I say about Williams that hasn't been said already. He brings his customary energy, warmth and zaniness to the role but exercises enough restraint for his character not to descend into caricature. It's easily one of his best films but devastatingly one of his most overlooked.

This movie feels as relevant today as it did on the day of its release which is testament to Nichols and scriptwriter Elaine May's work and commitment to it. The comedy is sensitively handled in relation to the subject matter but also sharp with some contemporary commentary, and the inclusion of the senator and his jarring attitude to issues like homosexuality and abortion draw parallels with today's society where some bygone old-fashioned views are slowly seeping back in. As aforementioned though, its parting message is not a cynical one; such attitudes are treated with the mocking sarcasm they deserve, rather than even more divisive discourse, and at the end everyone comes together. It was a true delight and completely took me by surprise at how much it elevates itself above the bogstandard, mining the full potential out of its premise. I would highly recommend you watch it, whatever persuasion you are. You're guaranteed a good time and might change your mind about a few things along the way.

The Exorcist III (1990)

Heart in the right place but depressing and not a patch on the original

[4/10 · 11 October 2023]

You can't help when reviewing The Exorcist III but compare it to the original. What made the original so effective was its simplicity. There was a lot going on, in terms of the character development and inner conflict, but the movie never gets bogged down in any weighty religious themes or ludicrously fantastical elements despite having one foot in the supernatural. As Stephen King coined it, it's a "social horror", in that it's as much a grounded drama about real people reacting to extraordinary events and the effect it has on their belief system, as it as a horror about the occult and demonic possession, which is teased perfectly as the movie progresses. It's for that reason that the scene of a surgical procedure on Regan is just as, if not more, stomach-churning and difficult to watch than the possession scenes. It finds horror in real life as much as it does in the paranormal.

Fast forward to The Exorcist III then, and despite a couple of very unsettling moments and George C. Scott commanding the movie with great charm and gravitas, it falls short of capturing what made the original so great, which is a pity as by all accounts this was touted as the only 'legitimate' sequel. Whilst there was some studio tampering which hindered William Peter Blatty's true vision, I somehow don't think that would've made much difference to my opinion of the movie, and any alternative may have ended more anticlimactic than what we see here.

Whereas the original was dark it was also entertaining with, in my opinion, a definite yet quietly hopeful ending. This just felt dour and heavy with some messy contrivances that carry over plot threads from the original but to little or counterproductive effect and to me, didn't fully justify its existence. The symbolism is dialled up to 11 which is all very oppressive and allows the supernatural aspect to dictate the course and tone of the movie, which is a fatal error. It lacks the streamlined approach of the original and the antagonist being that of a deceased serial killer inhabiting the bodies of patients on a psychiatric ward, seemingly at will, to commit a series of grisly murders, didn't ring true or hit as hard as that of one little girl in her bedroom slowly being consumed by the Devil, which felt like a more focused and concentrated threat.

Also whereas the relationship between Chris and Regan McNeil, and Father Karras's arc, formed the emotional heart of the original (again feeding into the "social horror" label) the same can't be said for this. There's moments of peril and anguish (again courtesy of the late, great Scott) but it all gets lost amongst the mess and the movie never truly takes time to make us as invested in the characters.

I'm very happy treating the original as standalone, with the sequels doing what the Terminator franchise has turned into, each one trying to undo the movie which came before but in different ways becoming just as flawed and misguided.

The World Is Not Enough (1999)

Slightly underwhelming but intriguing Bond entry

[7/10 · 21 August 2022]

I watched The World Is Not Enough a few times growing up but never really paid too much attention to it, writing it off as kinda nondescript. Recently I sat down and watched it intently, in sequence following the Bond's that preceded it, which made re-evaluate its worth, along with realising its frustrating potential. In that regard it reminded me of No Time To Die i.e. It feels like there's a much better movie waiting to come out due to some intriguing plot developments, but whether it be lapses in the direction, script or characterisations it under delivers and instead falls short.

In all fairness I used to put TWINE in the same bracket as Tomorrow Never Dies in terms on quality when really TND is much weaker (unthreatening villain with a lame motivation, a kinda dated & ham-fisted approach to the rapid rise in media tech and social media, and just plain lacking in quality, albeit with decent entertainment value), and to its credit TWINE brings it back-to-basics and focuses much more on character development and emotional weight, which elevates it from the formulaic.

The 'by-the-numbers' direction and execution is one of the biggest shortcomings in the movie, and is what makes it decidedly nondistinctive. Michael Apted was a fine director, and the producers probably considered him a safe pair of hands after some well-executed dramas such as Coal Miner's Daughter, Gorky Park, and Gorillas in the Mist, which is true he is, but TWINE could've done with a more dynamic edge to match the storyline and action, so whilst it gets the job done it never truly feels like the movie really gets going in the way that it should.

I LOVE the casting choice of Robert Carlyle as the villain Renard but sadly he's not quite as menacing as he could be (chiefly due to his deformed appearance and accent masking his naturally cold intensity) and also the movie's reluctance to tap into his most interesting attribute i.e. His inability to feel pain due to a bullet wound to the head slowly killing off his senses. Whilst it would've seemed corny to make him into an out-and-out superhuman, it would've been nice for this to have been explored more so we got a real sense of how formidable he is. As it is though it never really plays to Carlyle's strengths, though his presence and commitment alone does lift the credibility of the movie.

As for Piers Brosnan it's comfortably his best performance as James Bond; he seems to just fit the role like a glove and the movie allows him to express more depth to the character, albeit only as much as the script allows but for example his final confrontation with Elektra is one of the most powerful scenes in the movie in-part due to his convincing portrayal of restrained anger and sadness in the face of tragic circumstances. This darker side doesn't define him, though (unlike Timothy Dalton's iteration in Licence To Kill) and like all his other appearances he has a lot of fun and enjoyment in the role (without degenerating into bawdy parody or smutty innuendo) which is very infectious to watch.

The casting of Denise Richard didn't really bother me as much as it does with some. Yes she's the most unconvincing nuclear physicist ever but she serves a purpose and brings a bit of levity to proceedings. The movie doesn't demand much from her and she looks the part of the sexy Bond girl, and her interplay with Brosnan never felt jarring at all, so she gets a pass.

Needless to say Sophie Marceau's duplicitous Elektra is what truly elevates TWINE and provides the bit of spark and interest that offsets the rest of the movie, as well as upstaging both the Bond girl and Bond villain in an arresting performance. There's definitely an element of tragedy and complexity to her character which the film's rote execution perhaps doesn't do justice to.

Elsewhere it was nice to see Judi Dench and Robbie Coltrane get some more substantial screen time, and to its credit the movie gives a very touching (and pitch perfect) send-off to Desmond Llewelyn's Q.

All in all TWINE falls just below the top of the pile of Bond movies. It does move at a brisk pace, boasts some superior set designs (the underground nuclear facility where Bond first encounters Renard and the catacomb-like submarine pen coming to mind), and throws in a couple of great action set-pieces (such as the pre-credits chase sequence on the Thames), but does fall victim to formula, which doesn't unravel the movie but means it never truly distinguishes itself despite its promise. It is definitely worth checking out though as it is something of a curiosity with some novel moments.

It's All Gone Pete Tong (2004)

Delightful overlooked movie

[8/10 · 13 January 2022]

Way more charming than it has any right to be, It's All Gone Pete Tong is something of a hidden gem. I've read reviews that dismiss Paul Kaye's central character as being loathsome or that it's not funny enough to succeed as a comedy, which is kinda missing the point. Frankie Wilde is not loathsome but misguided; a drug addled man-child living a hedonistic lifestyle that he seemingly can't escape. He doesn't know any better and he's not a nasty person, just trying to have a good time, and whilst there's a few laugh out loud moments from the satirical swipes and his absurd behaviour it would be wrong to label this movie as an out-and-out comedy. It's more a tragicomic tale of one man's fall from grace and his attempt to rebuild/reinvent his life.

The movie does a really good job at capturing the rave clubland culture without glamourising it. Instead it feels like we're looking into a fish bowl and ends up as more of an affectionate tribute to all the revellers and DJ's out overseas.

The final 3rd -- which after losing his hearing and suffering a mental breakdown sees Frankie clean up his act and fall in love with the woman who teaches him how to lip read -- is what elevates the entire movie and makes it such an uplifting, rewarding watch. It actually feels like some real effort and heart has been put into the characters, when the filmmakers could've just taken the easy route on this one.

Would definitely recommend.

No Time to Die (2021)

A flawed but solid entry that's worth checking out

[7/10 · 23 November 2021]

Firstly I should say that No Time to Die is one of the most visually striking Bond movies, and I loved all the technical aspects of it. Director Cary Fukunaga acquits himself very well with some expertly staged action set pieces and visceral fight scenes, and captures the wide variety of locations with rich photography that's amazing to look at. This is complimented greatly by Hans Zimmer's evocative soundtrack, which ranges from poignantly elegant to the more ominous pumping beats that he's synonymous with. I also felt the romance between Bond and Madeleine Swann was much more believable and intimate than in Spectre, which NTTD is a marked improvement on.

My main criticism is Rami Malek's severely underdeveloped villain, and it's never made totally clear what his motivations are. Although you could argue this lends an air of mystery towards the character, and that as a Bond movie we shouldn't analyse this too much, some basic backstory would've been welcome to flesh him out and make the threat he poses feel all the more real. Malek does his best with what he's given however, and his hammy, creepy performance goes some way at papering over the cracks in the writing.

Perhaps this should've been expected. I read somewhere that NTTD was shot on a tight schedule after Danny Boyle previously pulled out of directing duties, and the script does feel rushed with some glaring plot holes and certain elements neglected; Malek's character and Madeleine's relevance to his evil plot being the biggest victims. Even Ben Whishaw (Q) admitted that they didn't do many takes, giving it an almost improvisational quality.

All this combined makes NTTD to be something of a beautiful mess. For all its shortcomings it's quite rare to see a big mainstream movie be done in such a "chaotic" way, and perhaps the fact the producers had to be so quick on their feet to produce the final product forced them to be more creative in certain respects, which wouldn't have been the case if they had more time on their hands and allowed more voices to have a greater influence or potentially meddle with it.

I also thought that Lashana Lynch's Nomi was something of an in-joke to those who may accuse the franchise of becoming "woke"; she sparks off Bond nicely without her character becoming too smugly arrogant or distracting from the central character which some may have feared. The significance of Nomi (if you know you know) works within the context of the narrative after Bond's retirement at the end of Spectre, and suffice to say Bond does end this movie as 007, so she wasn't a problem for me.

All in all NTTD is a flawed but ultimately very satisfying end to Daniel Craig's time as Bond and definitively cements his legacy as the character, as well as acting as a fitting tribute towards the franchise as a whole (most notably with the nods to On Her Majesty's Secret Service and the classic cliché of the villain's island lair).

Only Fools and Horses: Sleepless in Peckham...! (2003) Season 9, Episode 3

A very worthy send off for the Trotters

[8/10 · 9 August 2021]

Some may disagree, but I consider 'Sleepless in Peckham' a much more satisfying finale than 'Time on Our Hands', which was rewarding in many ways but very bittersweet, especially after Del makes the heartbreaking confession to Rodney in the empty flat that it was the thrill of the chase he found more exciting and life affirming than actually becoming a millionaire, followed by his grudging acceptance that Trotters Independent Traders is no more. The final scene where he's thinking aloud about investing in the global stock market and his playful bickering with Rodney hints at some optimism for the future, but the melancholic music that accompanies it, as well as the knowledge they'll lose Nelson Mandela House (in effect just as an important character of the show as the Trotters) left a real sour note.

If 'Time on Our Hands' left a sour note then 'If They Could See Us Now' left a downright bad taste. After losing the fortune they'd so rightly earned, the Trotters seemed to be at each other's throats with their so-called mates gloating at their misery. It was all very deflating and tragic to see, especially after their futile attempt at trying to recoup some of their losses on a game show.

Fortunately the last two episodes remedy a lot of these issues, and by and large showcase the very best of 'Only Fools...', along with a few unexpected moments of understated poignancy that are more emotionally gratifying than 'Time on Our Hands'. 'Strangers on the Shore' is a wonderful delight, with Del regaining a bit of that glint in his eye and getting the upper hand on Boycie, some warm moments of comedy with Denzil and Trigger, some very funny twists and turns, and a fitting tribute to Uncle Albert. Even though 'If They Could See Us Now' is dedicated to Buster Merryfield this episode feels like a much more apt send off.

'Sleepless in Peckham' is not a perfect episode but...it'll do. In fact, it'll more than do. It felt like a 'best of' compilation more than an episode with a cohesive structure, but that's not a criticism whatsoever. The overriding threat of the Trotters being evicted after their failure to pay the Inland Revenue is ever-present but not given more focus than it needs, and the episode allows time for the usual shenanigans with each of the beloved side characters getting their time to shine. The manner in which the Trotters get bailed out goes a long way at undoing the damage done in 'If They Could See Us Now', in a nicely plausible way that respects the pay off from 'Time on Our Hands'.

The final 15 minutes contains some big revelations and character development that if done in the wrong way could've weighed the episode down or just seem plain clumsy, but it's done so subtly and tenderly with the utmost respect to the characters that it works beautifully, and gives them all the proper happy ending they deserve. The last scenes felt more uplifting and hopeful than 'Time on Our Hands', and the Trotters never felt stronger as a family. It shows that they're richer for the little they have, and the bonds they share, rather than the millions they once had. I'm thankful that John Sullivan gifted us with this treasure and a proper send off!

Only Fools and Horses: Miami Twice (1991) Season 7, Episode 8

Classic comedy pure and simple!

[10/10 · 3 August 2021]

Given its scale Miami Twice deserves to be watched on DVD in movie form (preferably late at night) unbroken with The American Dream serving as the prologue. On Gold you have the ads diminishing its effect and giving it a more televised episodic feel, and on BBC and other streaming services they've trimmed out the laugh track as well as a few funny scenes of dialogue which add context and pace.

Suffice to say Miami Twice is the "crème de la menthe" of Only Fools and Horses, and more than anything showcases John Sullivan's genius as a writer, for stepping outside the boundaries of Peckham and delivering an hilarious comedy which works as its own standalone film.

The American Dream is your more typical Only Fools... fare and is quite a quaint set-up for probably one of the best 'fish out of water'/gangster parody movies I've seen (no that's not a hyperbole). Del Boy and Rodney go on holiday to Miami, where Del makes no attempt whatsoever at immersing himself and sticks out like a sore thumb; he's then (unknowingly) drawn into a plot to have him killed by the son of a mob boss who's Del's exact double, with the intention to fool the authorities and take the heat off said mob boss who's about to go to jail for various crimes.

The mob are given their moments of comic relief but by and large are quite threatening, so despite their comedically-staged failed attempts at bumping off Del you do get a feeling the Trotters are in danger which adds a (albeit slight) sense of urgency. This really elevated the movie for me, as well as my allegiance to Del and Rodney, the latter of whom returns back to his affable self after the previous series where he acts like an immature brat during his rocky road with Cassandra.

Sullivan's sharp script and well realised Mafioso world is complimented by superior production values, some very witty direction, and a great soundtrack, which might sound odd giving this is meant to be a throwaway Christmas special, but the crew seem to have really invested, and have complete confidence, in the movie which pays off. In lesser hands all of this could've come across as pure farce, but it's pitched perfectly, without any crass slapstick and with Del and Rodney's relationship forming the heart of the film.

A shout out should also go to David Jason who's commendable in the dual role of Del and mob boss Don Occhetti; once you get past the initial novelty he actually really convinces in both roles, all with just a subtle change in demeanour and facial expression, so much so you feel he's equally suited to both The Nag's Head and the Miami drug scene!

Despite what a couple of detractors have said about the movie I think it boasts some of the best gags, and comedy in general, that I've seen from Only Fools..., and its quirky quality makes it impossible to resist. It's an absolute riot from start to finish and solidifies Only Fools' place as one the greatest British comedy series!

Columbo: Caution: Murder Can Be Hazardous to Your Health (1991) Season 10, Episode 2

My favourite of the later Columbo's, here's why!

[10/10 · 7 June 2021]

'Caution: Murder Can Be Hazardous to Your Health' wisely sidesteps a lot of the problems that befell most of the later Columbo's, which seemed to substitute a tightly woven script and steady direction for farcical set pieces, tiresome padding out, and nonsensical side characters ('Death Hits the Jackpot' being a prime example, despite a promising story and villain). I think this was some bizarre attempt by the producers at trying to pay homage to the classic 70's era, while simultaneously failing to realise what elements made the series so successful in the first place. The best Columbo episodes have a strong set-up or backstory (i.e. The ex-Nazi in 'Now You See Him'), a credible and devious villain (i.e. Richard Kiley in 'A Friend In Deed' and Johnny Cash in 'Swan Song'), maybe a nicely meticulous murder (i.e. 'How to Dial a Murder'), and an always dependable performance from Peter Falk. The humour would then fit around it, rather in some of the later episodes where it just feels forced or like the characters are mugging at the camera. There was an increasing feeling of fatigue and laziness in creativity, but those exceptions which do stand out (i.e. 'C:MCBHTYH') do so because they stick to the simple winning formula mentioned above, and actually take themselves seriously, despite the tongue-in-cheek nature of the detective.

After revisiting 'C:MCBHTYH' recently I found it even better than when I saw it years ago. The first time I liked it, but the second time I was impressed, and that's because it doesn't mess around or deviate down a tangent which bogs the whole episode down. For example in this there's a boy who looks after a dog that becomes pivotal in solving the case. In other later episodes I could've well seen him be the comic relief or overused to the point it becomes distracting and unwelcome, but that doesn't happen here, and instead he appears at precisely the right moments. It's very well handled.

As for Falk, I've always found his performance as the shabby detective can be bolstered or hindered depending on the quality of the script and direction in a particular episode, and he doesn't disappoint here (not that he ever does anyway!). In fact his performance, and physical appearance, in this episode so closely resembles his 70's iteration that I genuinely found him a sight to behold. He doesn't descend into any whimsical theatrics which the producers seemed more keen for him to do as the episodes went on. Instead he's dry, sharp, and persistent, but also his humorously irritable nature is well realised and not over the top. A good example is where he and George Hamilton's character are pulling into the same car park from opposite ends and he purposely acts dense before finally bumping into him. It's funny but the script fits it in well and nothing feels protracted or laboured.

On top of this are a tantalising, intricate set of clues (rather than the episode being just a lot about a little) and superior production values which rank among the best of any Columbo episode. It looks great and enhances what's already an all-round winning, and very welcome, entry in the series.

Star Trek: The Next Generation: The Outrageous Okona (1988) Season 2, Episode 4

A farcical bore, one of the worst S2 episodes

[4/10 · 22 November 2020]

I don't know if it was because I just wasn't in the mood or not, but I didn't like The Outrageous Okona! The Enterprise crew rescues a charming scoundrel from his failing ship, after which two warring families come to claim him so to answer for crimes that he's seemingly perpetrated. ST: TNG has had its fair share of silly moments, which is all well and good, but the whole thing is very farcical and there's nothing gripping whatsoever to keep you interested. The idea that Okona is basically irresistable to ALL women, and sleeps his way through the ship as soon as he steps on board is unconvincing, and is the sort of bawdy hijinks you'd expect from The Original Series or TNG S1. The story's focus on this new character who isn't particularly likeable, as opposed to the usual crew who we know and love, is the primary reason for my lack of interest in this episode. If anything the crew just feel like spectators as they watch the families bicker amongst themselves in a petty argument. Rather than being funny I thought it was just kinda tiresome. There's an improvisational quality to the episode, and not in a good way. Equally as annoying is the sub-plot of Guinan trying to teach Data the concept of jokes, which seems like a futile gesture giving that in this point of the series we've established that he lacks the capacity to feel emotions like ordinary humans do. This all tested my patience and I switched off before the end.

Star Trek: The Next Generation: Elementary, Dear Data (1988) Season 2, Episode 3

Inventive and well-written, a superior episode that makes full potential of the Holodeck

[8/10 · 22 November 2020]

I was pleasantly surprised by Elementary, Dear Data. After the frankly frustrating S1 episode The Big Goodbye I questioned how much mileage there could be in another Holodeck episode. The writing is much superior and Daniel Davis's Moriaty a very worthy adversary. Whereas in The Big Goodbye the holograms became aware of their own confinement they remained stock characters, one-dimensional and a bit boring. This episode makes some effort to correct that mistake and as a result Moriaty is more of a credible threat. His increased power heightens the sense of danger and urgency. Davis's performance is actually rather affecting and multifaceted, which is quite something given the relatively short runtime and limited nature of the script. It's a fun episode to watch, and is also noteworthy for furthering the relationship between Data and Dr. Pulaski. I rate it highly in this season.

Star Trek: The Next Generation: The Child (1988) Season 2, Episode 1

Solid fresh start to the season but overall flawed and unremarkable

[5/10 · 22 November 2020]

Whilst not an outstanding episode, The Child is nevertheless a solid opener which effectively does what Encounter at Farpoint did for Season 1, in that its as much about setting the tone and introducing new elements to the show as it is about the actual plot. The higher budget is there on show with the expanded sets like Ten Forward, slightly enhanced visual effects, and new principal characters with Guinan and Dr. Pulaski. Both Whoopi Goldberg and Diana Muldaur bring their own quirky idiosyncrasies to their roles and quickly assert their places among the main cast. It's quite impressive, and at first something of a novelty, to see what changes have been made since the first season. The execution of the story does leave a bit to be desired though. Basically Counselor Troi is impregnated by an entity (which resembles a flying ball of energy) and has to come to terms with being a new mother to a child that grows at an alarming rate. The suggestion that Troi has been sexually assaulted is swiftly brushed aside and not really entertained. The early discussion between the officers on how best to deal with the baby doesn't ring true for this reason. The whole episode could've done with more runtime to flesh out some of these moral dilemmas and bring added character development. As it is, it feels a bit rushed and while enjoyable enough doesn't really register in the long term.

Licence to Kill (1989)

Bold, daring, and criminally underrated

[8/10 · 22 November 2020]

To this day Licence to Kill is probably one of the darkest and most uncompromising of the Bond movies. It wasn't a massive hit on release, on account of general fatigue in the franchise at the time, competition from other tentpole blockbusters (Batman, Lethal Weapon 2 etc.), and what was perceived as a dip in quality before it bounced back with GoldenEye in 1995. Consequently it's probably one of the most overlooked too. Thankfully it seems to be having something of a reappraisal in recent years.

In what was quite frankly an astonishing left turn for the franchise after the tongue-in-cheek Roger Moore years, and the more serious but nevertheless glossy and conventional The Living Daylights, it's easy to see why audiences and critics didn't warm to the movie at first. Bond is on revenge after a vicious cartel boss mortally injures his best friend Felix and murders his wife in cold blood. Having his licence to kill revoked and effectively acting against the best interests of queen and country, he's in a position we've never seen him in before. Slightly unstable, vengeful, and dangerous. Timothy Dalton is a revelation as Bond, and he deserves all the credit for his commitment in showing a raw depth and grittyness that really adds a new dimension to the character, and paved the way for Daniel Craig's iteration years later.

Having said that, the argument that it's not a "classic Bond" and therefore should be devalued for that reason is stupid. You have 20 odd other movies to choose from if you want something more routine and generic. I applaud the producers of Licence to Kill for at least daring to take a risk and experiment with the usual formula, but people love the comfort of familiarity.

The whole ensemble are all exemplary and well cast. Robert Davi brings a vicious charisma to the lead villain Sanchez, and Anthony Zerbe lends a chilling authenticity and sleazyness as one of his benefactors. The Bond girls aren't just there to stand and look pretty either, instead playing an important role to the story and motivations of the lead characters. Carey Lowell makes for a lively and quirky heroine, easily matching Bond every step of the way and developing a touching yet intense relationship with him. Taliso Soto is also suitably exotic as the gangster's moll and is positively dripping with 80's style and glamour.

Actually, it's that 80's aesthetic which gives Licence to Kill that dynamic edge over other Bond movies at the time. It embraces the corrupting opulence of that era with Sanchez's drug empire, making it more akin to Brian De Palma than Ian Fleming. Yet this is a Bond movie, with all the usual tropes present, just reworked and pumped up. It feels refreshingly relevant, something which the franchise was desperately struggling to acheive in the years leading up to it. This is all signified in Michael Kamen's soundtrack; there's a real sense of urgency and menace there yet it's respectful to the classic score we've come to know and love.

Licence to Kill more than merits its place as one of the greatest Bond films, while also standing up as an impressive action movie in its own right.

The Living Daylights (1987)

Solid and superior Bond movie, but stops just short of greatness

[7/10 · 13 September 2020]

The Living Daylights is one of the most handsomely shot Bond movies, and Timothy Dalton is dynamite as a grittier and cooler 007. When I was a kid I was swept along for the ride, mesmerised by the evocative use of locations, lush photography, and well choreographed set-pieces. As an adult though I see it as a somewhat flawed movie, with some parts feeling contrived or a bit preposterous (such as the Mujahideen sequence). There's some frustrating narrative choices and the characterisations of the villains feels a bit off, either coming across as clownish (Jeroen Krabbé) or underdeveloped (Joe Don Baker). It's a shame as it's a bit of a misstep in the movie, especially considering how dastardly and treacherous their motivations are. They deserved greater fleshing out, and especially more satisfying comeuppances.

This isn't to say The Living Daylights is a bad movie though. Far from it. The reasons I loved it as a kid are why I still keep returning to the film all these years after. After the criminally underrated Licence to Kill it's the second best 80's Bond movie, and director John Glen pulled out all the stops to give the franchise a much-needed adrenalin shot after the misfire A View to a Kill. Some argue the stagnancy of the series at the time carried over into Dalton's period as 007, which is arguable but in my opinion doesn't detract away from the quality of his movies. There's a certain freshness and flair which elevates The Living Daylights, and License to Kill took a left turn which while controversial was also uncompromising and brave, giving Dalton free reign to show a darker more complex version of Bond which was only hinted at here.

The Living Daylights boasts some of the greatest production values out of all the Bond movies, although its this emphasis on aesthetics which can almost make it seem superficial in places. There's more than enough to justify its existence however. When all's said and done it contains everything you'd want from a Bond movie, and is John Glen's best directed entry in the franchise. Maryam d'Abo is a lovely Bond girl too. Unlike most women who came before she's never subjected to crude objectification or made the butt of some poor misogynistic pun. There's a sweet chemistry between her character and Bond's, and it's credit to both actors that they carry this off with some authenticity. The soundtrack is also a prominant feature of the movie and compliments the action very well, adding to the excitement right from the exhilarating opening scene on Gibraltar.

Not without its faults then, but I'd highly recommend it.

Freddy Got Fingered (2001)

Breaking down the critical bias against this movie

[5/10 · 30 July 2020]

I have to admit my knowledge of Freddy Got Fingered is limited to the random clips I've seen on YouTube, and the reputation that precedes it. I can't claim to give you a well-informed critique of the movie as I haven't had the pleasure of watching it in its entirety. What I find most interesting though, just from what I've observed, is the bare-faced bias and favouritism that professional critics seem to show for certain filmmakers over others. There's no consistency in their reviews, and I'll use a couple of examples to explain this hypocrisy further.

Take Pink Flamingos (1972) for instance, an exploitation comedy directed by loveable oddball John Waters. "An exercise in poor taste", the movie basically centres around a bunch of vagrants, living on the fringes of society and trying to outcompete each other with a series of increasingly revolting and amoral acts, which eventually culminates in our protagonist (I say that in the loosest sense of the word) Divine eating a (real!) dog turd off the ground. Now, I can excuse Pink Flamingos to an extent, as it was always meant to be trash and nothing more. As you can imagine it was not an overnight success, rather it's been met with reappraisal by those who see it as an uncompromising alternative (or a middle finger) to the conventions of the Hollywood mainstream. I acknowledge that it was certainly an important milestone in the development of underground filmmaking. Unsurprisingly Pink Flamingos is regarded as a cult classic (its current RT score is 80%), but you're probably noticing some parallels being drawn up already. I would like to think that people would at least reserve the same judgement for Freddy Got Fingered, if we're applying the same logic as to what now constitutes as a classic!

Breaking the Waves (1996), which unlike the aforementioned Pink Flamingos is an independent art house movie, directed by Lars von Trier. As expected it's critically lauded as one of the greatest movies of the 1990's. The story concerns an innocently-minded and devoutly religious young Scottish woman, whose husband is left impotent after an industrial accident at work. He then encourages her to have sex with other men in an attempt to satisfy her needs. Due to her total obedience to please her husband she unflinchingly does just that, but in the process is brutalised horribly by random strangers who take advantage of her naïve promiscuity. Finally, she makes what she considers as the ultimate sacrifice, in repentance for her husband's accident - stowing away aboard a derelict ship full of sadistic sailors who violently gang rape and kill her.

Now, I haven't seen Breaking the Waves, but quite frankly, I don't want to! If there is indeed some connotation or hidden meaning to be taken from all that, then it's obscured by a plethora of thinly-veiled sickening exploitation. I am sure it's very well directed and handsomely mounted, but therein lies the problem. Critics are more concerned with aesthetics rather than the actual content. Personally, I don't see how you can feel repulsed by a guy pleasuring a horse yet sit there after a barrage of expertly-choreographed rape scenes and praise it as a mediation on the meaning of love and sacrifice. To me something doesn't compute there.

At least with the other movies they're very much aware of their own depravity, and dispense with the pretentious sincerity that's all over Breaking the Waves.

When all's said and done, Freddy Got Fingered is just some outrageous gross-out comedy that doesn't deserve the extraordinary amount of smearing it's received. Do I think it's a classic? No. Do I think some of the gags are in bad taste? Yes, but it dares to push the boundaries of what's acceptable in what is some quarters a very exclusive and sanitised industry. If all this is a satirical swipe against the system then Tom Green is some kind of genius. The late Roger Ebert (whose opinion I actually respect greatly, despite his strong negative reaction to the movie as a whole) said that "the day may come when Freddy Got Fingered is seen as a milestone of neo-surrealism". Well, I think that day may finally have come. In my opinion some of the scenes resemble an abstract piece of modern art, akin to Harmony Korine's similarly nonsensical and subversive Trash Humpers.

Calvary (2014)

Hugely rewarding drama touching on some big themes

[10/10 · 27 July 2020]

A truly moving and thought-provoking essay on the importance of faith, Calvary is a beautifully haunting movie. The bleak serenity of the rugged Irish landscape is captured in stunning detail as a stark backdrop to the lives of Brendan Gleeson's Father James and those around him. If anything it's as much a part of the language of the film as anything scripted.

There was one critic who applauded the movie for daring to highlight a systemic problem within the Catholic Church whilst also championing the case for the institutional priesthood. It's a fine balance, one which in lesser hands may have come across heavy-handed or unconvincing or even offensive. Director John Michael McDonagh has an assured grasp of the literature here, and whilst it's subjective as to whether religion itself is a necessity, the power of belief and meaning is one which pervades the very essence of this movie. Father James's parishioners are almost irredeemably arrogant and cynical, the implication being that the very presence of the Church is an insult to their way of life. A way of life which holds no purpose, a repetitious cycle of sinful behaviour (alcoholism, adultery, lust, domestic violence, murder etc.). The prevalence of this is made all the more tasteless and off-putting by its violation to Father James, who in essence is the epitome of all that is good in the film. The stoicism which he shows in the face of such mean-spirited rebuttal is such an aspirational quality which can't be overstated.

One does suspect that his death is a symbolic release from the vices and bigotry of the townsfolk which threaten to eventually consume him, something which is hinted at when one night when he sees no other choice but drown his sorrows, before getting physically beaten by the pub landlord. It's as if to say the community, or reality, in which he inhibits is beyond redemption and not worthy of his decent acts of kindness and compassion. Therefore he must transcend out of this reality, despite his heartbreaking insistence that there's hope for all of us, something which is probably true but not many of us realise.

One of the things which impressed me most about Calvary is its portrayal of the relationship between Father James and his daughter Fiona, their reconciliation forming the core of the movie. Their interactions never degenerate into clichéd theatrics. In a series of subtly affecting set-pieces they stroll through the country lanes, or beside the crashing waves of the coastline, or having picnic in a field, just taking time to listen to each other and understand their differences, finding empathy and solace after the tragic death of James's wife/Fiona's mum. It's a period of healing for the both of them. Their parting mediation on the importance of virtue and forgiveness is what, for me, made the very final scene between Fiona and Jack so profoundly moving. No words are spoken, but the significance speaks volumes.

Brendan Gleeson is simply amazing. He handles the role with such humility and warmth, creating a totally sympathetic character within the first 10 minutes of you meeting him. Father James is clearly weary and pained, but most importantly not embittered or resentful. His conscience is clear, despite the crisis he finds himself in, handling matters with a wry tenderness and sincerity. I struggle to think of another actor who could've delivered a more touching performance.

T2 Trainspotting (2017)

A walk on the wild side of soul-searching

[10/10 · 25 July 2020]

Whilst not the irrefutable classic that the first film was, I do think T2: Trainspotting is in some ways superior, chiefly for its psychological themes. It serves as a poignant mediation on life and wasted potential, as compared the original where it was more about capturing the zeitgeist of 90's rave culture and drug epidemic amongst the disenfranchised youth. Now we see our protagonists as mere shadows of their former selves, chewed up and spat out, not necessarily as a result of society but by their own vices; their addictive 'live fast die young' lifestyles having caught up with a vengeance. The abuse they've inflicted on themselves are made all the more evident and tragic by age. They physically look ravaged by time, left pondering on what was, and what could have been. Indeed, one of the best lines in the movie comes where Sick Boy tells Renton that he's a tourist in his own youth. All through the movie the tormented characters struggle to reconcile with their feelings of guilt and resentment.

Director Danny Boyle and scriptwriter John Hodges wisely sidestepped the temptation of having the boys team up for another drug deal, or some far-fetched contrived storyline which would've only served for dramatic purposes. Indeed, T2: Trainspotting is way more theme-driven than plot-driven; there's virtually no plot to speak of, apart from something to do with Renton and Sick Boy attempting to convert an old dilapidated pub into a brothel as part of some 'get rich quick' scheme. This isn't a criticism though, and it's obviously intentional to put more focus on the characters. Whilst Trainspotting didn't glorify the excesses of drug use, its juxtaposition with the beating vibe of the 90's club scene reminds us of the temporary highs that come with it, such the euphoria and the sex and arrogance of youth. Fast forward to the present, and what was then 'cool' now seems so distant and immaterial, our 'heroes' doomed to live with the repercussions of their own failures and foolishness.

Each of the characters are forced to confront their own demons through the course of the movie, something which up till now they've tried desperately to suppress. It's this spiritual journey, rather than anything literal, which makes T2: Trainspotting linger in the memory more than the first film, and it's credit to Boyle/Hodges that they've lost none of their verve in letting that unfold.

The prominent alt-rock/indie pop soundtrack (coupled with the vividly visceral direction) lends itself perfectly to the angry disillusionment which our characters find themselves lost in. There was one critic who criticised the "choose life" scene as not being as effective as its use in the first movie, something which I completely disagree with. We see Renton in a swanky restaurant surrounded by the material wealth of charlatans who have, on the face of it, accomplished something with their lives and seem perfectly happy conforming to societies expectations. Renton then launches into a increasingly emotional breakdown of his disappointment with life; the superficial irony of todays society taking a backseat to the futility of his own rebellious youth. As the speech goes on we see the raw emotion as he contemplates what he himself has accomplished and his existential torment. This is a stark contrast to Renton's voice-over in the first movie, Iggy Pop blaring in the background. He had arrogance on his side then, committing morally reprehensible crimes, and on the run from the authorities, but we cheer him on nonetheless. It's the contrast between these scenes which typifies why I feel T2: Trainspotting has a more profound effect overall.

The entire cast is commendable but it's probably Robert Carlyle's Begbie that leaves the most lasting impression. He takes more centre-stage here, and if possible seems even more monstrous than in the first film. The years of incarceration have festered feelings of unresolved hatrid towards Renton. He has the look of a brute, someone consumed with pure spite and frustration; a toxic menace to everyone he encounters. In the end he almost reaches something of an epiphany, making peace with his family before facing a destiny of his own making. He knows what he is, and what he always will be (something made clear when he tells his son not to follow in his footsteps). Carlyle displays these different facets to his character with alarming authenticity.

The most impressing thing with T2: Trainspotting is that its tonally spot-on. We know the characters are almost beyond redemption, but yet it's tragic without being maudlin and dull. In fact it's more comical than Trainspotting, pointing out the absurdities of their lives as they continue to fumble while somehow attempting to redeem themselves. It's like a quirky character study. Eventually, everyone ends up virtually where they were at the start (or in a clearly better place, in Spud's case), only this time there's no false pretensions about where they're heading. There's a certain sense of optimism in that.

Avengers: Endgame (2019)

Perfect end to The Infinity Saga - Avengers: Endgame, the intelligent blockbuster (a review on character development)

[10/10 · 21 May 2020]

I think there's a cynical generalisation that Avengers: Endgame, and by definition the MCU, belongs in the same category as the likes of Fast and Furious, or Transformers, i.e. a lazily produced, generic production line, superficial big-budget, dumbed down blockbuster; watering down any substance and story in order to appeal to the mass consumer market. This couldn't be further from the truth.

In fact, it's that willingness to be more brave and take an un-patronising approach with the audience which enabled it to become the highest-grossing movie of all time.

Marvel took a gamble. They decided not to appeal to the lowest common denominator, but instead weave a rich tapestry of character arcs and narrative exposition, which was developed to greater detail in the 'trilogy within a franchise', i.e. Civil War, Infinity War, and Endgame. Indeed, I struggle to think of another movie in the MCU that does so much justice to all the characters, or encapsulates their all too human traits in such profound and tragic detail.

I say that purely on the basis of scale, and Endgame's ability to 'cover all bases'. Take Thor, for starters. Now I read in one review that Chris Hemsworth's performance (specifically the comedic elements) was too 'on the nose' and overplayed. I couldn't disagree more. The Thor we see in Endgame is a complete subversion of the borderline toxic masculinity that shrouds him in previous instalments. He's broken, pained, tortured, and Hemsworth captures that in a sublime tragicomic reinvention of the character. Never have the stakes been higher, and never has a superhero been more mentally ill-equipped and insecure to face his demons. I think as a viewer we empathise wholeheartedly with that. Not all heroes are the one-dimensional, cardboard cut-out, indestructible, and incorruptible knights akin to Dominic Toretto or Optimus Prime (although these characters do get corrupted at some point or another this is carried with nowhere near the same degree of authenticity or pathos as Thor's). His ego, and self-esteem, have been dented (no, decimated) by his 'failure' at the end of Infinity War/start of Endgame. It's Endgame which serves as a spiritual journey for him, to pick himself up and prove himself "worthy" once more. This theme is underlying with most of the characters in the movie, in fact, but not in such a powerful, or personal, way as his. It's testament to Hemsworth that you don't know whether to cringe, laugh, or cry at his plight and instability. The term 'beautiful disaster' comes to mind.

This may be just me, but I always thought of Captain America as something of a non-entity during the events of Infinity War. Come to think of it, that was almost certainly an intentional decision. After Civil War it's almost as if Steve Rogers is ashamed to be associated with the Captain America moniker (his dropping of the shield in the climax of that movie symbolic of his disbanding that identity altogether). He's become a more humbled shadow of his former self. You could debate therefore, that Steve depends on 'Cap' to harness his strength and resilience, that he's incomplete without him. In Endgame, though, we get a triumphant return to form. After the reality check that was the devastating resolution to Infinity War, his humbling has given him a newfound sense of heroism, confidence, and most importantly modesty. In my mind he's the stoic backbone, the rock in the team through which everyone gravitates around.

Needless to say, the greatest character development comes in the form of Tony Stark. Robert Downey Jr's mesmerizing performance has been increasingly fine-tuned and nuanced as the MCU has progressed. In Endgame he finally comes full-circle. Once the selfish playboy millionaire who never truly stepped out of the shadow of his father's legacy, in Endgame his transformation is complete: making the ultimate sacrifice in a completely selfless act, but not before finding true fulfilment with the woman he loves, and finding true acceptance, or closure, with his father's influence in his life. The thing I found most profound with Tony in Endgame is his embodiment of 'the hero' archetype. For perhaps the first time ever in the franchise, in the form of his daughter Morgan, he doesn't need to wear the suit to be 'the hero'. He's just her dad, and that's enough. I think this is indicative to his character's journey from Iron Man. He no longer serves to his own self-interests, exacerbated through his previous use of grand posturing and artificial superpowers, but now rather displays truly heroic qualities from within, for the benefit of others. Tony Stark is the lynchpin which forms the emotional crux of the movie, made all the more heart-rending through the heightened sense of responsibility now bestowed upon him.

One of the most surprising character departures comes in the form of Clint Barton, the reason being that in previous instalments there was always that feeling he was just there to make up the numbers. Maybe he'll pop a wisecracking one-liner, or show off some sick archery skills, but with no real depth through which the audience can truly engage with him. Fast-forward to Endgame, and we see him in a nightmarishly self-destructive spiral, slaughtering those he's decided are unworthy of having survived 'the snap', in some vain hope of avenging his families disintegration. Ironically, by the time we catch up with him in Tokyo any moral compass or conscience he may have possessed have disintegrated too, having turned into a violent mercenary alter-ego by the name of Ronin. It's a radical left-turn for the character, one which adds another layer of resonance into the failure and loss caused by the repercussions of Thanos's actions. Very similar to Thor you can see he's visibly traumatised, barely holding it together, ashamed, grieving, and now consumed by very un-heroic traits.

Avengers: Endgame is just as must a story of redemption as it is a mission to reclaim the Infinity Stones. This truly is the fight of their lives, not just against a terrifying threat, but also against their own eroded feelings of self-worth and purpose. It's in this chaos that they must pull together, now more than ever. One of the notable additions to the movie which I must mention is, of course, Paul Rudd's Ant-Man, the comic relief whose presence brings some much-welcome levity to an otherwise sombre start, and adds to the delightful camaraderie which underpins the teams relationship.

The 'three-act structure' (beginning, middle, end), as highlighted by film critic Mark Kermode, is utilised to daring and startling effect in Endgame. There's something very haunting and elegiac about the entire first-act. The filmmakers allow time for the audience to immerse, or acclimatise, themselves to this new colourless reality where the heroes are down on their luck, barely getting by, wandering around aimlessly and looking for a new sense of meaning in the fallout of 'the snap's' devastation. This in-turn heightens the emotional intensity, and as a result our allegiance to the characters, ready for the absolute sucker punch in the climax of the movie. We're just as determined as they are to prevail in the face of overwhelming odds.

There's a scene, which one critic derided, where Natasha Romanoff breaks down in tears while trying to eat a sandwich calmly and collectively. He argued that this was silly and was just there to pad the film out. I think he missed the point entirely. This scene perfectly emphasis the futility of our heroes readjustment to this new reality. Natasha is falling apart at the seams, trying desperately to put on a brave face, in the face of an inevitable and tragic truth. Sometimes a simple piece of storytelling like this can hold a such deeper meaning or resonance.

I was also very impressed by the reinterpretation of Thanos in Endgame, as opposed to him in Infinity War. Whereas before he was a world-weary conqueror, disillusioned and ruthless but ultimately led by a sincere impetus of moral righteousness, now he's a despotic tyrannical warlord. No longer interested in preserving the sanctity of life in the universe, instead he pursues a more greedy and egocentric ambition, to wipe out life as we know it altogether, starting from scratch and fashioning himself into a sort of false God. It's this despicability which makes Thanos an even more threatening presence, especially when compared to our now-vulnerable and emotionally scarred heroes. Josh Brolin delivers another magnetic performance, and without his involvement I do believe the success of the Infinity War and Endgame would've been seriously compromised.

The climax, when it comes, is absolutely electrifying. Basically the culmination of a 22-film saga, it's the ultimate reward for an audience who have persevered and followed these characters throughout an astonishing multi-layered journey. It runs the entire gamut, right from when the holy trinity of Iron Man, Thor, and Cap face-off against Thanos, to Cap's worthiness to wield Mjolnir, to the spine-tingling emergence of the portals/resurrection of the rest of the Avengers, to the battle to end all battles, to the realisation that a sacrifice must be made, to the period of mourning and self-reflection afterwards, and finally the transition of Cap/Agent Carter's ethereal dance into the end-credits montage, which is the cherry on the cake.

Personally I found that Endgame was satisfying on every emotional level, so much so I left the screening completely astounded and awestruck. It was truly epic in every sense of the word. The directing/scriptwriting team of The Russo Brothers, Christopher Markus, and Stephen McFeely should be lauded for their sheer commitment to the story and characters, and reluctance to sell-out for a quick buck. I think those who choose to disregard it as just 'lazy' and 'unimaginative' are cheating themselves of a hugely gratifying experience.

Doctor Who: The Timeless Children (2020) Season 12, Episode 10

Mixed feelings is putting it lightly!

[5/10 · 23 March 2020]

It's such a pity! I want to just accept it and keep watching but it feels wrong

The thing that always made The Doctor remarkable was how un-Time Lordy he was i.e. his capacity to be compassionate and kind, yet sincere and morally righteous, whilst also being lovable and eccentric.

He was special because he was a humble modest character doing extraordinary things in an extraordinary universe. He doesn't need this ludicrous backstory as it overstates how pivotal he is to Time Lord society. He's remarkable in his actions and deeds (which already makes him unique among his own people), not by his origins.

Furthermore, the limited number of regenerations gave The Doctor a real sense of vulnerability and jeopardy. It adds to the level of threat. The thing that bothers me the most is how he's virtually indestructible now, seemingly as old as time itself. It immediately makes him more of a distant character as it removes any sort of profundity in his abilities.

This episode is basically an insult to 11 as a lot of his character arc was coming to terms with his eventual destiny and the reward to the audience when he was gifted the new regeneration cycle. It was not only emotionally gratifying but also made sense, twisting conventions whist also respecting them.

Chibnall seems to think bigger is better, and by doing so is missing the point of Doctor Who entirely!

I think there's something there in the concept of The Timeless Child, but for God's sake please retcon it so the Matrix has been tampered with so it doesn't have to be him, before it becomes too late!

We don't need The Doctor to be something "more" because 'more' is not the character we fell in love with.

Knives Out (2019)

A re-evaluation of Rian Johnson, with a tour de force ensemble!

[9/10 · 22 December 2019]

I'm pleased to say that Knives Out confounded my expectations in the most surprising and joyous way possible. One of the most enjoyable experiences I've had at the cinema in a long time, it not only pays homage and slyly subverts the conventions of the murder mystery genre, but it also made me re-evaluate my opinion of writer-director Rian Johnson as an artist in his own right.

After the drubbing he got over Star Wars: The Last Jedi, Johnson's reputation has been stuck in the quagmire somewhat, a name synonymous to fandom as arguably sabotaging a much loved franchise. Whilst this matter is debateable in of itself, Knives Out showcases how much of an ingenious and skilled auteur Johnson can be, even more remarkable when working within the confines of a relatively modest setting and budget. This minimalist approach allows Johnson to be experimental; free reign to carve a richer canvass of quirky characters and surprising red herrings, which serve to enhance the plot and character's motivations rather than undermine it.

I do not know what decision making process went into Johnson being chosen as directing SW: TLJ. I believe half the time the studio finds a director who produced a movie, or series of movies, which offer a uniquely immersive experience, or have showcased a idiosyncratic interpretation for movie-making in general, and given them the unfair burden of helming a multi-million dollar project which is totally incompatible with their skillset.

I have literally just finished watching Looper on TV, for the second time after originally watching it in the cinema, and I was staggered by the narrative and tonal similarities with Knives Out, in terms of how the story unfolds in a nicely convoluted yet inventively slight manner. Johnson has never given himself more than what's he's needed in order to create his vision, EXCEPT with the notable exception of SW: TLJ, and therein my point is concluded.

Johnson's audaciousness and prerogative to subvert expectations works so well when he's focused on a stand-alone project which he's conceived from the get-go, but taking responsibility for a tentpole movie which is a) expected to adhere to the conventions of the franchise/genre, b) please its die-hard fanbase, and c) fit in nicely with a gazillion dollar Disney gravy train; he was almost doomed to fail right from the start. That's just not Johnson's style, and the studio should've realised that.

This is not to say I'm going to re-evaluate SW: TLJ as some sort of overlooked masterpiece. Far from it! It still has problems, quite a few in fact, but you want someone who's going to toe the party line, not an individual who does things his or her own way. To this end I believe that Johnson has suffered unfairly, purely because of the studio's naivety.

But anyway, back to the movie...

The way in which Knives Out unfurls in front of our very eyes is a masterclass in misdirection and cracking entertainment. The narrative is created purposely to focus the viewer on the here and now; to not let their minds wander. You hinge on every word and action. You could almost accuse the movie as being episodic with its shifting focus of multiple character strands, were they not interweaved together so delicately by Johnson's deft touch, and the enthusiastic portrayals by the ensemble cast at his disposal.

Indeed, it's difficult to know where to start with a cast so large and talented. As with most movies with a multitude of big names, a lot of actors fade into the background, merely there to draw in the crowds while not actually contributing or enhancing the viewing experience. Knives Out, on the other hand, is a very different story.

Each and every cast member lends their own personality to the piece, with passion and gusto. You could tell everybody was having a lot of fun making this movie, as Johnson's given them a lot of rich material to draw from and make their own. There seemed to be an overriding, and palpable, chemistry between the actors which meant you totally believed their relationships and motivational self-interests.

With a canvas this large you'll forgive me for not singling out any specific names, however I must give special mention to of course Daniel Craig and Ana De Armas, the latter a revelation in her non-showy but memorable performance as a timid yet strong-willed caregiver, integral to the plot. In many ways she carries the movie, as the viewer is aligned with her from the very start, and she's the prism through which we see the infighting and breakdown of the Thrombey dynasty. To pull this off with a degree of believability, and more fundamentally likeability, required an actress who could showcase a series of subtle yet telling emotions to which the audience relates and understands. The fact De Arnas is a relative novice to the movie industry, with little opportunity to flex her acting muscles beforehand, makes her casting all the more inspired.

Craig, though, is an absolute delight and hoot as the private detective tasked with solving the case. His exaggerated deep southern accent and clichéd powers of deduction lend themselves greatly towards the eccentricities of the movie, and serve to enhance his character's affability and larger-than-life demeanour. Craig is definitely revelling in chewing the scenery (or probably more apt, furnishings) at every opportunity he gets.

As for the supporting cast, I actually considered Lakeith Stanfield to be a perfect level-headed foil for Craig's more rambunctious character, and it was nice to still see Christopher Plummer in the spotlight with a tender, and affectionately wacky, portrayal of the family patriarch.

Knives Out has its twists and turns at every corner, and dares the audience into questioning what they're seeing in front of their very eyes. Nothing is ever as straightforward as it seems, and Johnson is never satisfied with settling for a by-the-numbers and generic whodunit. He chooses to keep us delightfully bewildered and encapsulated with a cracking rollercoaster of a movie which is literally fun for the whole family!

Doctor Who: The Next Doctor (2008) Season Unknown, Episode Unknown

Rip-roaring adventure with heart, classic Who!

[9/10 · 21 October 2018]

'The Next Doctor' sees a triumphant return to form after the somewhat overblown and cluttered two-parter of The Stolen Earth/Journey's End, which preceded it.

There was many things to like about this episode. We start off with The Doctor in a very unique place in his life, with no companions to bounce off or converse with to share his ideas and theories. Still his exuberant self, he answers to the call of his name, at the same time David Morrissey comes on the scene.

This pre-credits scene immediately sets the tone of the episode, with a cracking interplay between the two leads, an exciting variation on the classic monster design through the cloaked cat-like Cybershades, and the backdrop of Victorian London perfectly capturing the essence of Yuletide.

Morrissey's performance is very heartfelt, and he provides the warmth and soul of a tortured man with a shrouded past, which unravels throughout the episode. Indeed, his character development as he finds his true self, coupled with the uplifting ending when he invites The Doctor for dinner, is certainly the most joyous and satisfying resolution of all the Christmas specials.

It's those final few minutes which proves there is redemption for The Doctor, after his heart's been broken almost beyond repair.

David Tennant once again gives a massively rewarding and enthusiastic performance, which showcases his best aspects; the action hero who balances emotional heft with a joyous gleeful buoyancy. It's this juggling of the multiple facets to The Doctor's character which reminds you how he so easily slipped into the role like a glove.

As for the villains, the reappearance of the Cyberman in old London town almost elicits a certain steampunk element, which is most evident when the orphaned children are forced into slave labour to build the monstrous Cyberking, all wheezing cogs and machinery bellowing out.

The set and costume design is handsomely mounted, and lends a very distinctive look to 'The Next Doctor'. This is encapsulated in the graveyard scene where the stark reds of Miss. Hartigan's clothing contrasts sharply against the drained blacks and greys of the rest of the congregation. As the Cybermen emerge from the misty snow, it's a terrifying sight which highlights their cold and oppressive presence.

We're treated to a thrilling and crowd-pleasing finale in the exhilarating climax, as The Doctor ascends into the sky to confront the fully-functional Cyberking. His defeat of the monster, followed by the cheer and jubilation of the townspeople below, is a rousing and enlivening close to what's been one of the most impressive episodes of Doctor Who in recent years.

It just goes to show it's not all about spectacle and bluster. 'The Next Doctor' is an affectionate celebration of the character, and is an electrifying opener to David Tennant's last leg in the role.

Game of Thrones (2011–2019)

Season 7 review

[6/10 · 6 January 2018]

I have just finished binge-watching Game Of Thrones Season 7. Over the years I have viewed the show staggered somewhat; I don't have SKY or any streaming services available. Consequently I have been limited to purchasing the DVD boxsets when I see fit. This naturally means I am never caught up in the initial hype which surrounds the show whenever a new season arises. Moreover I'm admittedly not an avid fan of the Fantasy genre. I can happily live in a world without Lord Of The Rings, or The Hobbit.

I have always had a deep respect for Game Of Thrones, for its technical achievement in bringing together a considerable array of talent from TV and Film, as well as merging together the fantastical element, with the grim realities of human conflict and psychology.

You can be forgiven, though, for not finding the early seasons accessible. I certainly didnt. There was a raw unpredictability constantly lingering, as well as a horrificly uncanny ability to mirror our own world within the constraints of its setting. Maybe this was necessary, as we needed to be desensitized to George R. R. Martin's unique vision of pure terror, and binary opposition, so we could truely understand the complex nature of the interweaving disparate strands overlapping each other.

So here we are, Season 7. I feel there have been great tonal shifts over the years. After the aforementioned first three seasons, 4, 5, and 6, were a lengthy prologue for what was to follow. In this respect it delved deeper into this multilayered universe, and the producers were obviously having a ball over the lavish production design, and gifted artists at their disposal. There was a sense of monotony and fatigue starting to set in though admittedly. Despite some interesting plot and character development, the show was starting to stagnate.

Fortunately, Season 6 was an effective precursor, which not only showed a noticeable upgrade in the visual effects on display, but had the confidence to start joining together pieces of this complex puzzle, in a way which made sense for the audience, and seemed logical to how the decisions and actions of certain characters would bring them to this moment.

To say Season 7 is EPIC is an understatement. What has really impressed me about this one in particular is its sheer audacity in terms of scale and story structure, as well as the fact it manages to transcend the conventions of its genre to become something so much more; a parable in comradship, deceit, tragedy, war, and love, all presented as a slow-burning action-adventure. It is the closest I have seen to a theatrical movie being created for the small screen. To paraphrase Mark Kermode when reviewing The Last Jedi, it's like there is a set goal in mind on what direction Game Of Thrones will go in, and it's within those seven episodes that it has to go from *here* to *there*. In other words, it feels like the producers have consummately created a tight bundle, through which their mission is to move the story on in a kinetically-charged style.

Above all though, for pure entertainment value you cannot beat this. I found the penultimate, and final, episodes, two of the finest instalments ever committed to screen. The transitions between the differing plot strands had a natural flow and motion to them. This was evident with the intriguing interplay between Sansa and Arya, as they underwent their own complex dilemmas whilst adjusting back into their old lives at Winterfell; a relatively slow-burning but nonetheless intense segment of the season, -- coupled with the boys-own adventure occurring beyond the wall. To have these disparate characters all merging together and venturing out to team up against ininsurmountable odds was thrilling, and again a pure joy to see how they all bounced off each other. This turned out to be a technically and visually impressive story arc encompassed in the space of two episodes, which goes to reiterate the firm grip the producers have for telling the narrative. The final set piece, which races at a breakneck rate, leaves the audience with a biting sense of uncertainty. We are constantly aware of the very real threat faced by the characters here.

I was taken aback by the consummate skill displayed, of the scriptwriters and directors, to accomplish a tightly-wrapped package which wholly satisfies, without feeling bloated and overstuffed with unnecessary plot exposition. The ability to mingle together both the magnificently mounted action sequences (The Dothraki raid on the Lannister army, and the final scene of the Night King's army marching forward, are two more notable examples), with the smaller reserved set pieces is commendable. There is a pure verve and dynamism felt in these action scenes, all with a total control on how to emotionally manipulate us, the audience.

Just as much credit should go to the actors though, who all seem to be having the time of their lives, and whose enthusiasm and commitment to performance lend itself immensely to what extent we immerse ourselves in this world. In Season 7, I found the blossoming relationship between Jon Snow and Daenarys to add some dramatic emotional heft to the story.

By not adhering to the constraints of the previous seasons, and by becoming its own beast entirely, with the confidence to continue the show in a fluid yet meticulous execution, this makes Season 7 a much more enriching experience.

So there we are! A true pleasure from start to finish, here's hoping Season 8 continues the trend, and ensures that it ends in style!

Keanu (2016)

Great fun! Just what I needed for those Sunday blues.

[7/10 · 12 March 2017]

I've just seen this on a Sunday night. I was in an undemanding mood, and in need of a laugh. What I got was a film which satisfied not just as a comedy but as a fully rounded movie about friendship. There is a heart at the centre of this strangely sweet story, and it's all thanks to the considerable talents of Jordan Peele and Keegan Michael-Key, both instantly likable as the hapless cousins in way over their head.

I was surprised by the fresh twists the movie gives which marks it out from the usual fare which has been churned out lately. For starters, the decision to treat the gang members, for which our heroes join, as constructive plot devices for the film and not just background caricatures means we do ultimately care about their fate, especially as each party is able to learn something new about the other. For example, George Michael IS the real OG.

There is also a certain emotional edge to the piece too - we see at one point a real personal issue affect one of our duo, and this for me made it more accessible for me to invest in the characters and also show these are people too, which the writers have put some care into.

The relative low budget for Keanu is put to good measure as well, with the slow motion shoot-outs fitting in nicely alongside the quirky scenes early on of Peele getting to know the cute feline. Nothing felt too overblown or contrived to fit the context of the scene.

The tight supporting cast deserve kudos too. The appearances of Anna Faris and Luiz Guzman do lend more of a B- movie star appeal, but I also loved Will Forte's role as a failure of a weed dealer, constantly being degraded in a series of daft set pieces. Oh yeah and the film star for which the title of the movie lends itself turns up to give some much needed advice to Key in a particular time of crisis.

I really liked this movie, for its offbeat interplay between the immensely endearing pair, and their hilarious transition into inept streetwise crime lords. If you need cheering up this ticks all the boxes. It's not a classic by any means, but it doesn't have to be, and is all the better for not making itself out to be more than what it is.

Harvey Birdman, Attorney at Law (2000–2007)

39 episodes of sexity (you'll get it soon enough)

[9/10 · 15 July 2016]

I didn't know what to expect from this show. I had seen a trailer for it and an episode on the special features of Robot Chicken, and like Robot Chicken it looked typical Adult Swim, with the obscure in-jokes and lighting quick pacing. Well, it was those things, but I really took to it, not least because of its sheer audacity and confidence in its own madness, but because I felt I could engage with the characters, even though I hadn't seen the original Birdman show. You got a true sense that this was an eclectic group of people who had been taken down a peg and left out to dry, but yet still retain that Hanna Barbara endearment which underlined the biting satire of the shows premise.

I had also seen an episode of Frisky Dingo with those special features, and while I could see how it could be funny, there was a sense that the creators didn't really care for the characters. With Harvey Birdman you could tell the writers had just explored every single avenue that they could take these people, and twisted every personality trait open to mockery and homage. I don't think I would've watched them all if i didn't find the characters so likable and chaotic.

I could go on for ages why I loved every character but I think seeing it for yourself will sum it up better.

This show is especially a treat for media savvy viewers, like me, who can do nothing but laugh at those very brief throwaway gags which reference shows like Quincy and Cheers. It's a nice touch to what is already a wild ride, a ride which is a hoot from start to finish.

I mean, I still don't know why the bear was there!

Sicario (2015)

So-so-cario

[5/10 · 19 October 2015]

I saw this movie the other night so I'm writing this while it's still fresh in the mind.

If I'm being honest I did find Sicario impressive in its scope and detail; Roger Deakins' cinematography being highlighted in all the other reviews. It's certainly a plus, and adds to the impending sense of dread and tension that are ever present throughout, but when looking back on it now you can see none of this really amounts to much.

Emily Blunt's Kate Macer joins a group of operatives in searching for those responsible for a number of bombs and hideaways that have been located. Sure enough she finds the team aren't playing by the book. Seeming as she's been done over by her employers you can understand her inevitable resentment, especially when pitched against her occasionally uncompromising and unorthodox team, although her character almost resigns to being a caricature in certain moments, especially when in the final scenes she gets on her high horse over her superiors about what she sees as an unacceptable change in the mission objective (which is all for good really).

Indeed, Blunt's sturdy performance is undermined by her characters' clichés. She's supposed to be a professional and tactful FBI agent, so as she constantly wallows in her loathing and disgust against the system (which reaches its' apex in her final scene), it comes across as self indulgent rather than sad, probably because those clichés are portrayed as deadly serious and 'realistic', something the film tries very much to be, and heavily exert on the audience. It becomes increasingly irritating. Equally as frustrating is how a woman with her skill set can't successfully defend herself against a corrupt cop she fights with in a rather intense struggle.

There's solid supporting turns by Josh Brolin and Benicio Del Toro, the latter of which especially excelling in a role which barely gives anything away until the reveal in the climax; his world-weary tired expressions hiding a tortured and complicated persona. He has some of the most stand-out scenes in the film, especially in the aforementioned climax where he really comes into his own.

Breaking Bad brilliantly portrayed the whole cartel network as a dark and subversive world which has wormed its' way into normal society. It was both harrowing and thrilling to watch, not least because it was mixed into a solid story of an everyday man interacting with this world, which had lasting consequences for either side, but because it developed basically; constantly growing ever deeper and darker and complex, while never losing its true focus.

I can't say the same about this though. For all its' worth in how its' framed and constructed, you can't help asking yourself why did they bother making this film. Sicario is essentially a series of expertly staged but one-dimensional set pieces before moving along neatly to the end showdown, which incidentally barely involves the disillusioned Macer. It's a simplistic film disguised as a clever and intricate work of art.

This isn't all to say it's a terrible film, because it's not. It's engrossing and intriguing in equal measure, in certain parts of the film that is, notably the opening and ending. The landscape is portrayed as haunting and unforgiving, and is essentially the main star of the piece, because it lends itself to the whole aesthetic of the movie. You simply don't know what's going to happen next; it's one of those movies, and yes, first time viewing there is a couple of rather distressing scenes. Once seen though, and when you realise it's just a basic serious drama, you may find it hard to have the patience to then sit through again what has become a slow and rather pretentious piece of cinema, especially when considering this story has been told before, and much, much, better, on the small screen. Forgettable.

So I Married an Axe Murderer (1993)

A zany and sweet 90's comedy which deserves more recognition

[8/10 · 8 April 2015]

I have to say how pleasantly surprised I was by So I Married An Axe Murderer. I was admittedly quite dubious about the one-joke premise of the film, and thought that the movie would run out of steam very quickly, so delighted I was to find that Mike Myers and co. had crafted a delightfully charming hoot, filled with some laugh-out-loud comedy moments and a surprisingly warm good-natured heart, which really makes the audience invest fully with the characters.

More fool me to think anything less of Myers, comic genius of Wayne's World, Austin Powers, and Shrek fame. When he's not being his affable goofy self, he shows some moments of real emotion and tenderness, working brilliantly opposite the lovely Nancy Travis. Travis was a B-list supporting female actress in the late 80's and early 90's, and she really has the chance to shine here in a sweet but unpredictable performance.

Some of the more comedic parts of the film come from Myers also doubling as his own dad, a straight-talking Scot (naturally), some crazy set pieces, and the inspired interplay between the characters, which allows the film to flow more comfortably.

The soundtrack too is another great strength of the film. Containing such cool tracks like Two Princes by the Spin Doctors, and the predominantly featured There She Goes by The La's, it echoes the groovy hip vibe of the 90's to great effect and works in marvellously with the stunning panning shots of San Francisco (if you didn't want to go there before you may feel like it after watching this), and the growing romance between Myers and Travis.

As for the rest of the cast, all the supporting turns shine, especially a lively performance from Brenda Fricker as Myers' mum, and from Anthony LaPaglia in a humorous role as his friend. There's also some great welcome cameos from the likes of Alan Arkin, Phil Hartman, and Charles Grodin, among others, who mine the comic potential superbly.

Overall though, So I Married An Axe Murderer works well as a love story as well as a wild offbeat comedy, and it's that warmth mixed in with some delightful moments of craziness and subtle humour which makes this underrated gem a must-see.