Garyswordz

Lots of off-beat fun, 18 August 2008

Author: gary-444 from United Kingdom

*** This review may contain spoilers ***

Do not be put off by some of the carping criticism that this film has received. It is very funny, made me laugh out loud, and dares to touch on some areas of humour which are traditionally taboo, especially in American cinema. I am not a particular Adam Sandler fan, and have only seen “Happy Gilmore” of his previous work. But I was highly entertained by some genuinely amusing set pieces, and his exploration of humour in very dangerous territory.

The plot line is simple enough. Zohan, the uber counter terrorist Mossad agent, decides to hang up his Uzi for a pair of hairdressers scissors in New York. But the past is never far behind…………………………………… The opening scenes which establish his credentials as a super agent are funny, fast paced and engaging with plenty of wry self deprecating put downs including his parents begging him to “play safe” in his present job. After faking his death at the hands of his arch rival, the Phantom played by John Turrito, he then resurfaces in New York.

At this point two things are worth mentioning. Firstly Turrito plays the Phantom for laughs, which ironically drains some of the humour. A straight “bad guy” would have been funnier. Secondly the “second act” is primarily made up of crude, sexual innuendo which is wholly inappropriate for an audience that can get into a UK 12A certification. It is very funny, and there are plenty of laughs to be had from a youngish hairdresser with no hairdressing skills acquiring superstar status by “banging old ladies with big tits”. But it is miles away from the humour of the trailer and the first fifteen minutes.

The part of Zohan appears to have been inspired by Sasha Cohen’s “Borat”, but Sandler insists that his idea for this film pre-dates Borat. It certainly shares the same mad cap humour. The two calls to the “Hezbolah helpline” are wonderful vignettes. However the heavy hand of Hollywood is never far away and Zohan’s romance with the astonishingly beautiful Palestinian hairdresser boss Dalia. played by Emmanuelle Chirqui, is played for feel good value, rather than the devilment it could have been. Equally the artificial introduction of a greedy property developer and White Ayrian Supremacists are artificial ,and a device to move the “villainy” around. The cameo appearances by Mariah Carey and John McCenroe are extraordinary for them being totally unnecessary.

A denouement with a message that we should all just get on together is a bit too sugary for my tastes, and plays to American sensibilities. Nonetheless this is a brave attempt at satire, and for the most part comes off. Possibly twenty minutes too long, a “harder” story stripped of the saccharine ending would have been stronger. Still well worth a look though.

Over Ambitious, Under Resourced Biopic, 4 August 2008

Author: gary-444 from United Kingdom

As a contemporary of Pennant, and veteran of the 1970’s and 1980’s terrace culture,I was keen for this film to succeed. Sadly, with some good intentions, it fails, and joins the other flawed attempts to recreate the halcyon days of the hooligan. The authenticity of the background to the film is often well observed. But Director Jon Baird fails to have the expertise, or I suspect the budget, to faithfully realise the period..

Pennant’s biography is well written, and a good read. It also covers over 40 years. A 108 minute screen running time, was always likely to be crippled by compromise, vignette and crude symbolism, and so it turns out. His story does have dramatic potential and sociological significance but neither Baird nor Pennant have the discipline or know- how to deliver it.

For lovers of football violence, there is not a lot of it. Three 20 a side rucks with Wolves, Leeds and Newcastle are the set pieces. For an 18 Certificate the grizzly reality of these confrontations is pretty sanitised giving succour to the dreamy, romantic retrospection that it was just like minded boys fighting, and finding a sense of family in hooligan gangs.

The key scene when one of Pennants lieutenants gets jumped by three Arsenal thugs and is slashed to ribbons needing 1000 stitches is strangely understated .Its setting is grimly authentic, three against one, the assailants armed, no chance of defence or escape for the victim. Yet we see only the healed welts on the victims face some time later, not the grim reality of a cowardly, bloody attack.

As a child the casual racism and bullying which “Carol” suffers, alongside a complete lack of personal identity, is well observed. Bravely, time is also found for racism he suffers at the hands of a black Rasta in jail. When his mother dies unexpectedly, his remorse at not having told her how much he loved her is genuinely poignant. Sadly though, these promising scenes are sketched in the same shorthand as the violent ones , which is very frustrating.

The “rucks” themselves are fleshed out with some ageing faces from the past, Bill Gardener,Mark Chester from Stoke, and Gilly from Wolves amongst them. It does not help the realism of the scenes to have time worn middle aged men in amongst what was a pretty exclusively young crowd at the time. This sop to some old boys to enable them to relive their youth is pretty risible. Equally Pennant himself appears uncredited as a bouncer alongside Frank Bruno, also uncredited.West Ham’s North Bank and Chicken Run are not mentioned once, the South Bank gets two unreferenced name checks.

One of the best moments in the book is when Pennant steps in to save a random black kid from getting a beating from some racist skinheads – only to discover that he has saved Frank Bruno! Pennants close subsequent links with the boxing fraternity are only dealt with in short hand in the film and his chance meeting with a similarly incarcerated Ambrose Mendy left out all together, as is, inexplicably, his “saving” of Bruno.

Virtual unknown Nonso Anozeo, successfully carries off the role of the adult Pennant.Tamer Hassan plays a convincing cameo as boxer Ray.. Otherwise the ensemble provides background only to the main events. However the fundamental rush of football hooliganism, the massed clashes of sometimes several thousand protagonists is missing. As others have found ,it is very difficult to recreate with so many of the old grounds gone. What grounds and stands do remain are out of bounds to “hoolie” film makers from clubs eager to protect their sanitised reputation.

The hackneyed use of Thatcherite film clips as she pronounces on a subject she knows nothing about is cheap and adds nothing. Amusingly, shots of the infamous Millwall riot at Luton are shown twice, but Millwall, the ICF’s great rivals are not mentioned once.

As a stand alone bio pic this is poor. Pennant is no Mandela. If you were there, there is enough to keep your interest but not enough to win your praise. In aiming to be more than a “hoolie film”, this bio pic tries to achieve much, but ultimately falls victim to its own over ambition and vanity.

A Superhero Tour De Force, 30 July 2008

Author: gary-444 from United Kingdom

Over history, literature has constantly reassessed and reshaped heroes and villains. Batman is a relatively contemporary creation, born of the much derided Cartoon Book genre, yet in this film, Director Christopher Nolan creates a gravitas and purpose only hinted at in those early drawings, building on the success of “Batman Begins”. Aided by a top cast, this film reaches past the obvious niche audiences and finds a resonance far beyond.

Heath Ledger gives a role defining performance as the Joker. He exudes, paranoia, psychosis and cruelty with humour almost an afterthought. Given Ledger’s alleged battles with depression it is unnerving to witness so convincing a display of an unhinged mind, but utterly compelling. The British 12A Certification is tested to the limit by the sadistic use of knives, totally in context, but hardly easily dismissed as “Comic book violence”.

Christian Bale is a convincing Batman, playing the action sequences with an aggressive, vicious detachment, yet perfectly at home as the anonymous Bruce Wayne. Michael Caine and Morgan Freeman revel in their character roles as Alfred the Butler, and Head of R&D Lucius Fox , respectively. Both deliver understated, but perfectly observed performances.

Never short of outrageous action sequences, explosions and ensemble set pieces, what lifts this picture is its preparedness to seriously consider the role of the hero, villain, good and evil, chaos, and the impotence, but decency, of the ordinary citizen. When two hordes of hostages fail to meet the Jokers fiendish plan he rails that “You cant rely on anyone these days “and” if you want a job doing you have to do it yourself”. Equally he hints that there is evil out there purely for evil’s sake – a chilling touchstone for the curse of modern mass terrorism.

The Cinematography is consistently beautiful and the production values a fine mix of the real and CGI. With actors Gary Oldman and my old school friend Colin MacFarlane also making valuable contributions, it is curious how such a strong British contingent have redrawn an all-American hero. Perhaps it is because Nolan displays such consummate skill in examining themes, and attitudes which transcend time and place, and as such is an outrageous bedfellow with the Coen Bothers “No Country For Old Men”.

Delightful Light Entertainment, 14 July 2008

Author: gary-444 from United Kingdom

In recent years the success of TV shows like X Factor, Pop/American Idol and Britain / America’s Got Talent have reminded everyone of the simple pleasures of singing, dancing and having a good time. Curiously, the Musical genre, which epitomises this, has been slow to reflect this interest on our cinema screens. However with the success of Hairspray, High School Musical and now Mama Mia, I suspect there will be many more to follow.

Mama Mia starts from a strong base. A fine musical catalogue, a successful stage production, the co-operation of songwriters Benny and Bjorn and a well known cast are a good start.But then it pretty much overwhelms the audience with it’s sheer “joie de vivre”. Don’t listen to the curmudgeonly doubters, if you want to find fault with this production of course you can. But thats not really the point. This film is for enjoying the music, laughing at the slapstick comedy, having a good time and perhaps even kicking off those heels and having a dance.

Meryl Streep successfully dominates this film with all the enthusiasm of an Aunt visiting for Christmas and determined to have a good time. Ably assisted by Julie Walters, and a particularly good Christine Baranski the three of them laugh, dance and cry themselves through a plot which is frankly only there to allow everyone to enjoy themselves.

Amanda Seyfried as Streep’s daughter is the right mix of innocence and verve and the three prospective “fathers”,Brosnan, Firth and Skarsgard ham up their scenes monstrously.The only real query on the film is Brosnan’s singing. It is terrible. I hope that it was left in as a joke because it does cause you to literally laugh out loud. Which is in marked contrast to Streep who sings admirably, giving Madonna a run for her money in the latter’s starring role in Evita.

The sun of course always shines, the buildings look rustic and welcoming, and the sea is blue.The “set pieces”, Voulez Vous, Dancing Queen and a raucous Does Your Mother Know always entertain, Chiquitita is an unexpected delight! The Fifties and Sixties produced a run of popular musicals making the likes of Diana Dors stars in the process. The Musical is back for the 21st century!

Woeful Drivel, 5 July 2008

Author: gary-444 from United Kingdom

Like many, i was seduced by the trailers for this movie, the reality left me mind numbingly disappointed. Lead actors Will Smith and Charlize Theron, a big budget and a good idea should give any Director a good head start, Peter Berg squanders it all in an unimaginative disaster.

The script is cliché ridden and formulaic,and the “happy moon” ending vomit inducing. In trying to straddle the comedy, action and superhero genres it falls flatly on its “ass” (sic). The “action” sequences are occasionally quite disturbing for a uk 12a certificate.Now I enjoy my Peckinpah and Tarrantino along with the best. however the convention for this certificate film is that the violence is “comic book”.

The opening sequence of hoodlums spraying a busy freeway, among which are chasing cops, with Uzi sub-machine gun rounds (several hundred a minute)is not Comic strip.The same is true when a Bank is held up and the robbers sprays the busy street with Uzi, heavy calibre machine gun and what looks like an RPG fire.Equally is having women and children wired up to Hamas style explosive vests funny? America has a serious problem with lone young gunmen and random massacres. The naive sanitization of these sequences helps no-one.

Supporting actor Jason Bateman looks as uncomfortable as the part is, as part of the “triangle” between himself,Theron and Smith. The use of the formers “child” for the most excruciating “kid” moments are frankly excruciating.

The cinema was pretty full, I heard no-one laugh out loud once. the idea of a “flawed” superhero is a good one. In the future it has the basis for a good film in the hands of some capable writers and a talented Director.

Don’t Believe the (adverse) hype, 22 June 2008

Author: gary-444 from United Kingdom

*** This review may contain spoilers ***

The critical kicking that this picture received upon release was such that I almost gave it a “swerve”. I am glad that I didn’t.If you want the bad news read pretty much every other review,if you want the good news read on.

The premise of this film, a natural “event” that causes humans to kill themselves is compelling and intriguing.A 91 minute running time makes for a pacey, if inevitably compressed storyline, which hooks the viewer from start to finish.The combination of an “unseen killer”, the natural “Rush and rustle of leaves and branches” and the human carnage that results is genuinely spooky.

Lead actor Mark Wahlberg guides us perfectly competently through the story with Betty Buckley playing a genuinely disturbing cameo as hermit Mrs Jones.The plot does require “suspension of disbelief” in several respects, but hey this is a story not a history.

Not a classic, but a good yarn nonetheless let down by an absurd, frustrating, corny, commercial “ending” which had me howling in disapproval

An Enjoyable Piece of Light Froth, 20 June 2008
Author: gary-444 from United Kingdom

Sometimes you have to approach a story in the spirit it is offered. This film makes no grand claims, and although it purports to be about three women, it is actually about two,Amanda Nelson,played by Meredith Baxter and Joan Bixler, played by Swoosie Kurtz.At 106 minutes the running time is a quarter of an hour longer than the classic 90 which permits plot anomalies in the interests of pace. Nonetheless the double hander that the two women frequently play works.

Amanda’s stereotypical upper middle class world and family is an unambitious setting, understandably she is not impressed when her best friend, Joan’s, daughter beds her husband.However there is a chemistry and dynamic which works between the two of them “Cagney and Lacey” style.The third woman, Joan’s daughter Dana, has a curiously underwritten part much of which i suspect was left on the cutting room floor. Amanda’s two sons have some cleverly written cameo roles and the erring husband Paul Nelson has almost a walk on part.

So what makes this film work? Its not about marital infidelity, it is about the loyalty between two women as friends.the message that friendship is important and that sometimes people let you down resonates throughout the tale.There are some fairly corny set pieces, but the film always lifts when Amanda and Joan are on screen together. there is even an elegiac moment in the “kitchen scene” at the end when Joan implores Amanda to discard the hopes and dreams of the past for the reality of today.Too few films these days are narrative driven,and this deserves praise for a solid effort in that regard.

Gripping,Quirky and Fun., 8 June 2008

Author: gary-444 from United Kingdom

I am not a particular fan of Vampire movies, nor of graphic novels generally, let alone the one upon which this was apparently based.My high rating does not acknowledge a cinematic masterpiece, but a genre piece well made, well told.

Much has been made about so called “factual” errors and plot “holes” ‘which totally miss the point.You are invited to suspend disbelief. If you, do you will have a ball, if you don’t it is a nonsense.

Josh Hartnett, as Sheriff Eban Oleson, is the fulcrum of the tale and does a fine job carrying the film for a full 113 minutes, about twenty minutes longer than a film like this normally demands.Although generously strewn with verbal and situational clichés the stylish presentation and pacey editing keeps things moving.

The vampires themselves owe more to the Zombies genre, than the Vampire one.Their sub titled incomprehensible language adding to a sense of mystery and menace.Producer Sam Raimi’s hand looms large here. The core of the story plays on our fears of what happens when it gets dark, and we are all alone and our mind starts to run away with primitive fears, which is why it works so well. it is an Everyman story well delivered.

I suspect that hardcore “Vampiristas” may be disappointed by this film which occupies a large chunk of the conventional horror/ Zombie/ slasher genres, which is of course what makes it successful. For there is enough for fans of all of these to thoroughly enjoy.

Competent Horror Fare, 23 May 2008

Author: gary-444 from United Kingdom

I watched this film aware of the critical kicking it had received at the hands of the UK Press. It wasn’t nearly as bad as I feared it might be .It is Director Tony Giglio’s mainstream debut, and you can see the films he enjoyed watching at Film School. The “Hills Have Eyes”. “Deliverance”, “Misery” “Friday The 13th” all have thematic or visual references .Those who have enjoyed those films will not be disappointed by this .However, therein lies the rub, in terms of originality it is 0/10, as an homage my 6/10 stands.

Aficianados will enjoy the horror staples. Brianna Brown, as toned, wavy haired blonde victim Sheryl is perfect. She screams and moans a lot, and gives us a very enjoyable white lacy underwear moment before some embarrassingly soft porn shots. Heroic boyfriend Mike, played by Josh Randall, is able to take beatings, whippings, brandings, Bear trap entrapment and various other indignities whilst still coming out at the other end as manfully as a hero should. Interestingly although this film has been caught up in the “torture porn” debate, it is Josh who is shown bare chested and writhing much more provocatively than his female heroine.

The cinematography is strong, and the mountain setting in West Virginia beautiful. Although essentially a “painting by numbers” horror plot, the story is lifted by the intelligent performance of Beth Broderick as Ida, the religious fanatic unable to carry a baby full term. One of the problems of the horror genre is that it is impossible to churn out stories each more gory, more horrifying or more titillating than what has gone before. This neither attempts , nor achieves, any of those objectives. That should not disqualify the likes of “Timber Falls” though for a picture soundly made, and well executed.