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Last Night in Soho (2021)
Hmmm, not too hot...
My thoughts? It left a great deal to be desired.
I was certainly intrigued by the premise of the film, and I so had hopes of it being a corker, even though Edgar Wright is a rather mixed filmmaker for me in terms of entertainment. His "BLOOD AND CORNETTO" trilogy with Simon Pegg was brilliant, as was SCOTT PILGRIM, but BABY DRIVER didn't work for me ultimately, IMHO, in spite of several bravura scenes. I regret to say LNIS was more the latter than the former, but...
To start with, it looked right. Set in both present-day and 1960s London, I was stunned at the contrast between the two, visually speaking, and stunningly rendered as it was by Maestro Wright, Korean superstar cinematographer Chung Chung-Hoon and designer Marcus Rowland. Even by today's standards, I was blown away; the look and feel generated by the film was extraordinary, with stunning contrasts between light and dark. This acted as a real pull early on in holding my interest. Well done them.
But that's where the bother begins. As aspiring fashion designer Eloise, Thomasin MacKenzie has all the gripping power of a greasy pole. She started off well enough but, ultimately, lacked the screen presence of the rest of the cast, headed by the Cat-like Anya Taylor-Joy as Eloise' alter ego Sandie, from her on down...
Unfortunately Ms. MacKenzie's blandolaness also had the associated effect of making the film seem considerably more ponderous than it might otherwise had been. It crossed my mind while watching that Maestro Wright was taking two hours to tell a story that the old JOURNEY TO THE UNKNOWN or HAMMER HOUSE OF HORROR TV shows might have told more succinctly, more sharply, in the space of an hour.
However, in the final analysis, what saves it from being a complete failure is the denouement, which I won't mention, other than to say that it gains a pace and power hitherto sorely lacking. It really gives the film quite a jolt and redeems it to a degree, but not quite enough to save it.
Those are my thoughts...
Pagsisiyasat sa gabing ayaw lumimot (2012)
Worthwhile...but ONLY if you know the story.
AN INVESTIGATION ON THE NIGHT THAT WON'T FORGET is an offbeat but (mostly) gripping documentary from critically acclaimed Filipino filmmaker Lav Diaz, featuring local creative multi-hyphenate Erwin Romulo simply talking on-camera about their mutual friend Alexis Tioseco.
Sounds like a right fun watch, doesn't it?
But let me tell you that it really is (albeit with caveats), if that's the right phrase to use. In 2009, I had read in one of our film magazines a modest obituary to Señor Tioseco, who was fast becoming an important figure in his country's cinematic life in many ways, principally as a film journalist (he personally despised the term 'film critic), championing filmmakers like Maestro Diaz along the way. Tragically, however, both Señor Tioseco and his partner in love, Slovenian Nika Bohinc (also a film journalist and more) were murdered by burglars who invaded their home in Quezon City.
Doing a great job of selling it to you, aren't I?
But this is where Señor Romulo comes royally into his own. A nervy presence onscreen, at times clearly discomfited at the recollections he makes, as he lays bare the incompetence of the authorities in trying to catch the killers (such as - unbelievably - having to lend the police his car), dealing with 'territorial' officials more concerned about protecting their patch than working together, plus the runaround and the indifference shown to Señor Romulo and the Tioseco family's efforts in trying to bring the killers to justice. To name some of the troubles they faced...
All that was staggering enough to leave a nasty taste in the mouth. But Señor Romulo then goes into some detail about his friendship with Alexis Tioseco, how he came to know him, the joy of working together as they did, how supportive he'd been to Señor Romulo in personally difficult times, and his growing role in Filipino film industry and culture.
And, if you know the story, you'll know his death was quite the loss. Señor Tioseco not only championed local filmmakers, but promoted his country's cinema every chance he got, home and abroad. He was passionate about creating a national film archive for his country and striving to save the best of Filipino cinema for future generations to come, to name some of those things again. Knowledgeable cineastes will readily see him as one of them, whilst being not a little impressed at how he and Miss Bohinc tried to be the change they wanted to see in their world...
But that's where the film's 'problems' start to kick in. To really get the full import of what's being said on camera, you have to know the whole story and, fortunately for me, I was sufficiently interested back in 2009 to look into Señor Tioseco's story further and that was beyond massively helpful for me. Sad to say it, but most people wouldn't bother, to put it mildly. Some might even say so what? Just another sad story of life in a country thousands of miles away, why should I care? Fair enough, but make no mistake, this is an unabashedly parochial film that cuts no slack, and Señor Romulo doesn't quite help out. Part two (sans Romulo) is pointless almost to the point of offence. WTF was it doing here?
But, if you already know the story, then it's a compelling experience (well, the first 55 minutes at least) that will educate one further, fill in some blanks, and is ultimately a tribute to the memory of Alexis Tioseco, a fascinating individual who had the world at his feet but whose life was tragically cut short. The rest of us won't be interested for the reasons I described. Them's the breaks...
Let's Make a Musical (1977)
Let's Make A Musical? Yes Please!!!
This was a great show, a children's series that celebrated musical theatre (mostly comedies). Each of the six episodes featured the one and only Roy Castle and famous guests performing songs and scenes from a popular musical of the past (and one hoped-for hit-to-be), interspersed with Mr. Castle telling us its story. Afterwards, he wrapped up each episode with a history of the musical in question, the impact it made at the time, and so on.
Each episode was presented in a minimalist
"Oratorio" style (no sets, no costumes) and the "orchestra" was renowned composer and musical director Johnny Pearson and his Grand Piano! Yet, for all that, there was no loss of impact or power: the songs still had bite. That this hit home with me at my young age even then is testament to its excellence.
My young age...ha! I'm ashamed to say I never saw it in on original broadcast in 1977, doing so a couple years later when the BBC repeated it on weekday mornings during school summer holidays, thus joining an unfortunate list of children's programmes I wish I'd appreciated back then (WORDS ON WAR, CHILDREN OF DESTINY). Who knows, they might have lasted a little longer. Pity.
Intelligent, informative AND entertaining - not often you hear that about children's television, certainly not in this day and age. But there was a time it once was all that. LET'S MAKE A MUSICAL was living proof.
The Nor-way to Broadcasting (1976)
The "History" of TV and Radio in Norway - More fun than it sounds!
I saw this quite some years ago on our Channel Four and I really dug it. This is what I thought...
The Nor-way To Broadcasting is a very comical look at the history of TV and Radio in Norway, made in 1976 by their national broadcaster NRK and created by locally-renowned comics Jon Skolmen and Trond Kirkvaag, and it picked up that year's Golden Rose of Montreux TV Award - deservedly!
It was almost a silent film, but for the old-time BBC announcer providing narration (in our version) on such topics as the emergence of radio in the 1920s, told as a Chaplin/Sennett silent comedy - very funny. The onscreen cast speaks mostly gibberish. Other delights include the launch of fulltime colour TV in Norway in 1975 - which does not go smoothly!
All told, this was terrific stuff and no messing. However, if it did have any faults, I guess you could say that it was rather slight, while others might think it was merely amusing as opposed to out-and-out funny, but if I'm honest I was having too much fun to notice!
Yeah, I liked it.
The Staggering Girl (2019)
Ho-hum...
A 40mins advert for Valentino, masquerading as an Arthouse short.
At least that's what I hope was its reason for being. Otherwise, this was tediously ponderous piffile that squandered supreme talent in front and behind the camera - I WISHED I was in this film's New York and Rome! But it's all in service of a underwhelming plot of a writer with Mom issues...to say nothing of slowwww.
So, pretentious tripe that wastes a really great cast but, on the other hand, they've probably never looked so well-dressed on a film before!
Outlander (2008)
Not bad...not bad at all!
I saw this here in my home town last night, and was pleasantly surprised at how good it was. I hadn't been expecting much, to be honest (the trailer does the film a disservice), but I was really taken with what they did, considering they had to make it on a smaller-than-intended budget (no WETA Digital/Industrial Light & Magic, folks). The story was very compelling and it had some great performances, including Jim Caviezel as the hero. Mr. Caviezel was excellent, and I wish we saw more of him, he's like a rock in this picture. But the rest of the cast are every bit as good: Sophia Myles, John Hurt, Jack Huston – brilliant! The trailer did something of an injustice to the cinematographer Pierre Gill, with it looking rougher than the badger's proverbial. This bears no relation to the finished product, which is so beautiful as to be jaw-dropping, and then some. And, while SPIN VFX is no WETA or ILM, their work was great enough that I didn't miss them (although the baby Moorwen wasn't as good as the big one). All told, it was a great film that is much better than the crummy marketing and support would suggest. Give it a go and, on this score, I can't wait to see what all you guys do next!
Quantum of Solace (2008)
it's a bust, not a must.
QUANTUM OF SOLACE put bluntly, it's a bust, not a must.
Firstly, let's deal with what I like about it. As you may know, many of the trademarks (clichés IMHO) of the series do not make an appearance here: none of this Bond getting the girl at the end and all that malarkey, and that's perfectly fine with me: I thought it had gotten kind of boring and, given that they're in a period of reinvention with Bond, it was time it got dropped. I am also pleased that they've carried on the development of Bond as a much more complicated human being, and one that lives more by his skills and not his gadgets again, I very much welcome this, for this is how Bond movies used to be (FROM Russia WITH LOVE, etc). I also think that getting Mathieu Amalric as the baddie was inspired, and Daniel Craig continues to impress with the role of Bond.
Doing fine, aren't we? But, wait, keep reading. Marc Forster (MONSTER'S BALL, EVERYTHING PUT TOGETHER, THE KITE RUNNER) is very good when it comes to the likes of those films, but I think a Bond movie was a change of pace too far, and the producers unwisely gave him his head on this one. For example, one of the things I love about the series is its high visual class and richness, and I am bitterly disappointed that this has been cast aside in favour of something akin to a 16mm TV documentary fine for Jason Bourne, but not James Bond. Herr Forster chose to use his usual DoP, Roberto Schaefer, instead of guys like the excellent Phil Meheux or Alec Mills, both of whom have considerable experience of the Bond series, and know what needs to be done on these kind of gigs. Schaefer doesn't, 'nuff said! And that's just the tip of the iceberg
There's worse to come: the plot is as clear as crude oil, with some scenes having the feeling of being edited to confuse you still further. Nice, eh? But the scenes with Giancarlo Giannini are what really take the biscuit, especially his death scene, which produced audible tittering in the audience, as Daniel Craig cradled him in his arms. It rivals Jake Gyllenhaal's declaration of unrequited love to Heath Ledger in BROKEBACK MOUNTAIN as a masterpiece of unintentional comedy. How sad. Add to all this the crap song by Jack White and Alisha Keys (!), MK12's uninspiring title sequence, etcetera, and you have my biggest disappointment of 2008!
Stay sane, stay away!