Garyswordz

A Minor Gem, 11 October 2009

Author: gary-444 from United Kingdom

*** This review may contain spoilers ***

Director and writer Mark Herman already has very fine writing credentials,arguably his best work to date being “Brassed Off”, set amidst the Miners strike. Herman’s humanity shines through again in this compelling tale of a concentration camp seen through a child’s eyes.

The power of this work lies in the fact that it is told, and shot, as a children’s film, yet the story covers the darkest period in modern Western History. The central figure is eight year old Bruno, son of the Camp Commandant.He builds up an innocent youthful friendship with child internee Shmuel against a dark backdrop of implied and overt maltreatment of the other Jews.

This light, simplistic tale on the one hand is as lightly told as “The Sound of Music” but comes with a twist as dark and profound as you could wish for.I found the plummy English accents grating set in an all German environment. Yet sub-titles would have massively reduced the film’s marketability and cod – German accents could have been just as irritating.

Vera Farmiga delivers a marvellously nuanced performance as Bruno’s mother,and David Hayman’s Pavel, the Jewish Servant is achingly tragic. This film is a wonderful introduction to any child to the grim reality of this part of human history.At times it teeters close to being too twee, pandering to the kids audience on one hand, then doesn’t quite swing the hammer blows that the story deserves, yet still triumphs through understatement.

A classic that will be shown for years to come

Bloody Brilliant, 19 August 2009

Author: gary-444 from United Kingdom

*** This review may contain spoilers ***

A glorious return to form for maverick Director Qunetin Tarantino. It’s not perfect, but firmly puts him back in the A list of hot cinematic property.His vision for the whole film teeters on the preposterous occasionally, but always steps back from the brink. But the real strength of this film is what QT does best, brilliantly envisioned scenes, with superb dialogue. And that is what the film opens with. A scene as good, if not better, than anything he has ever realised before. The war time set piece of an SS Officer visiting a Partisan hiding Jews has been done many times before, with bear traps of cliché waiting to spring at any moment. But in the hands of Tarantino’s marvellous, quirky script, strong Direction, and superb acting from Christophe Waltz as SS Colonel Hans Landa, we are treated to a cinematic tour de force.

Indeed Landa is the pivotal figure throughout.Measured, urbane and systematic, the exact opposite of Brad Pitt’s Aldo Raine and his renegade crew of Nazi exterminators. A feature of the film is a core of actors giving fine, straight performances whilst the periphery deliver cameo and pastiche.

Although the trademark violence is gruesomely dished out another trademark is in evidence. Tarantino loves women. Check out the vertical ,moving overhead shot of Melanie Laurent as she strides along with her beautiful red dress flaring out as she walks as Jewess Shusanna, or Julie Dreyfus as Goebbels translator / Courtesan with killer clothes and heels, or the gorgeous Diane Kruger as German film star and double agent Bridget Von Hammersmark, the epitome of 40’s Movie Star chic. He has this gift for allowing women and scenes to exude sex, without being explicit. Think Thurman / Travolta in the “dancing competition” scene in Pulp Fiction, or Jackie Brown as Pam Grier sashays along in her smart, skirted Air Hostess uniform.

At two hours twenty minutes ,the action skips along with surprisingly little violence, but when it does feature, it is gruesome. The action sequences are as effective as those in Paul Verhoeven’s, “Black Book”, THE finest modern WW2 film to date. And although about killing Nazis, the most compelling character is SS officer Landa. Laurent and Kruger make the most of meaty roles which transcend the “Love interest” parts so typical of contemporary work.

Faults? The final knife wounding scene and explicit baseball bat murder were too extreme for my tastes. His decision to include caricatures of the German Top Brass, including Hitler,came close to verging on comedy sometimes. This quasi-comic quality was also present in the pompous puffed up English Officers but was also dished out to the “Inglorious Basterds” as a whole.

This is no “Americans as Heroes” picture. Subversively, Daniel Bruhl as enlisted marksman and Celebrated War Hero Frederick Zoller is given a far more rounded and sympathetic treatment.The judicious use of sub-titles gives proceedings a credibility so absent from,genre stablemate , “Valkyrie” with Brad Pitt easily trumping Tom Cruise in choice of roles, and film.

Easily one of the best releases of 2009, and worth seeing for the first 15 minutes alone.

Efficient, Effective but Uninvolving, 17 August 2009

Author: gary-444 from United Kingdom

*** This review may contain spoilers ***

Director David Twohy, who also wrote the screenplay, has writing credits of considerable distinction including hits such as Pitch Black, GI Jane and The Fugitive. Here he delivers a fast paced, neatly conceived story which would have looked good on paper and works well on the screen. A bit of a genre hybrid it plays to the slasher/ horror/ thriller markets without ever particularly committing to any of them.

The cinematography, filmed on location is Hawaii is simply stunning. Helipcopter shots provide a perfect excuse for those swooping panoramas which thrill, excite and delight in equal measure. The story unfolds around three couples and a mysterious murderous duo stalking the Island. A 97 minute running time is commendably tight, but the characters are offered as little more than stereotypes which devalues audience sympathies. There is a twist, which is effective, but genre aficionados will anticipate it because the options are so limited.

Twohy spends so much time planning for the “reveal” that when it comes we have little time to get alongside the real characters so that the last 20 minutes or so, whilst quite exciting, is also curiously uninvolving and soulless.Ironically, whilst he is happy to offer us the staple female nudity, the feisty female roles offer nothing in the way of damsels in distress.

So, a job well done within its own terms of reference, but nothing out of the ordinary, and, murders aside, a good advert for Hawaii’s spectacular coastline.

Efficient, Visceral but Cold and Humourless Remake, 31 July 2009

Author: gary-444 from United Kingdom

*** This review may contain spoilers ***

As a stand alone heist movie this is perfectly adequate. But if you are going to remake a genre classic you either have to succeed in doing it better, or differently, and this does not. The plot is straight forwards. A criminal gang hijacks a New York subway train and starts killing hostages whilst a $10m ransom is delivered. John Travolta stars as Ryder the psychopathic gang leader, Denzel Washington plays the train controller who takes his call.

A one hour deadline in a two hour running time provides plenty of opportunity for real time excitement. But Director Tony Scott delivers exaggerated peripheral action at the expense of the intensity of the story. The ransom delivery run is converted into a chance to play out some ludicrous car crash stunts, and the obligatory closing shoot out involves a circle of gun toting cops blazing away at the bad guys in the middle – and each other.

Ryder is played as a profane, mad thug,in the manner of Ralph Fiennes and Ben Kingsleys performances in “Sexy Beast” and “In Bruges”. This has the downside that he has no redeeming features. A “back story” for controller Gruber ultimately goes nowhere and adds little to plot development. The addition of a two way laptop interface as a nod to the 21st century has great dramatic potential, but is wasted.

The original shone for two reasons. Firrstly grainy, gritty, realistic cinematography, and secondly a compelling chemistry between the two leads. Director Tony Scott produces glossy “action hero” dramatic sequences and Ryder’s character allows no space for empathy.But what is also missing is the dry, laconic humour which underpinned the original. The Mayor’s part is cruelly underwritten in this regard.

An intrusive, raucous hip hop sound track sits awkwardly with the strings that signal a rare “mellow moment”. But the story unfolds at a cracking pace and those unfamiliar with the superior original will not walk away disappointed.

A Minor Gem, 31 July 2009

Author: gary-444 from United Kingdom

*** This review may contain spoilers ***

A bold topic, confidently handled for the era. The plot essentially unfolds around an unmarried vicar,Howard Phillips, played by Anthony Quayle,who falls foul of a local tearaway youth who maliciously claims to have been sexually assaulted by the Churchman. Terence Young, with dozens of Directing credits behind him, crams quite a lot into 87 minutes.

Set in 1959 suburban London, Quayle’s ambiguous reserve initially hints at latent homosexuality as the attractions of his young maid, and the lure of his female suitor,Hester Peters, played by Sarah Churchill,who tries to get him into bed, are spurned. His work with the local youth provides a window into Cafe culture and affords Cliff Richard his screen debut performing “Livin’ Doll” in a neatly conceived scene.The portrayal of rebellious youth seems a bit twee by modern standards but the mob turning on the innocent vicar is rawly depicted.

The conniving youth who frames the Vicar,Larry Thompson played by Andrew Ray, is a foppish character increasing the sexual ambivalence of the piece. Hester eventually resolves to ensnare Thompson with her own honey trap in a mock seduction scene which then turns into one of sexual violence.

Solidly plotted, and proceeding at a brisk pace, Young went on to Direct two early Bond titles, “Dr No” and “From Russia With Love”. The supporting cast unfailingly shine in a brave, successful, production.

Sea Adventure Sinks Without Trace, 29 July 2009

Author: gary-444 from United Kingdom

A hopelessly miscast and misconceived yarn Directed by the vastly experienced John Farrow who in the 1950’s was turning out feature films at the rate of one every nine months contributing to a career tally approaching 50. John Wayne is a convincing character actor as the embodiment of the all – American hero, showcased by his performances in Westerns and WW2 adventures. But as a German Freighter captain he is hopeless.

No effort is made to convince that Wayne, or his crew, are German. Instead he offers his best American drawl and the crew speak English without accents. Nazism is largely absent, as is the Nazi flag bar once. The British are awkwardly cast as the putative “baddies” pursuing Wayne after one of his (only)Nazi Officers commits onshore murder as the ship tries to escape from Australia to Valparaiso after the outbreak of war. This crude device means that the “bad” pursuers are also “good”, because they are righting a wrong and ensures that although Wayne is “good”, Nazis are bad.

Lana Turner is bolted on as a love interest playing the part of a spy taking passage, but there is zero chemistry between her and Wayne and she ends up as mere window dressing.The action sequences, such as they are, are limp and the overall emotion is one of sheer incredulity that anyone would have thought that this was going to work.

Anyone who bemoans that, “they don’t make films like they used to ” should check this out – and be grateful

Dreadful, Sentimental Pap, 25 July 2009

Author: gary-444 from United Kingdom

Contrived, manufactured formulaic nonsense.This film is an object lesson in how Hollywood can go so wrong on what should be sound ingredients.Leads Owen Wilson and Jennifer Aniston are attractive and talented.Unfortunately the dialogue they are served up by the scriptwriters is banal drivel with a cute Labrador all that there is to maintain any level of interest.

Aniston and Owen offer no comic or personal chemistry, instead they labour valiantly through as clunky a script as you have ever seen.Set pieces come ad go raising the odd smile and that is your lot.It fails as a comedy.It fails as a romance and fails as a “Dog Movie”. This is no “Lassie” or “Benji”.

A moving finale, more cynical than a Michael Jackson funeral service is effective, yet coldly manipulates the viewers emotions. An antiseptic tear-jerker, and a resounding miss

Gross-out Fun, 22 July 2009

Author: gary-444 from United Kingdom

*** This review may contain spoilers ***

A very funny, and largely successful follow up to the mass market success of “Borat” starring the ubiquitous Sacha Baron Cohen. The formula is simple, identify the basest humour opportunities, and go for it. The plot loosely follows the fortunes of a gay Austrian fashion reporter as he seeks fame and fortune in America. In practise that merely provides a framework for a themed sketch show.

Part of the humour is derived from not being clear what sequences are shot as documentary with the participants hapless stooges,and what scenes are staged. “American Idol” Judge Paula Abdul is mildly compromised by sitting on Mexicans acting as chairs, but I suspect that in her case any publicity is good publicity. A scene where Bruno seeks to be “cured” of his homosexuality by a Christian Evangelical does not work quite so well due to the undoubted sincerity of the Churchman.

At 81 minutes, the film does not outstay it’s welcome and is highly amusing.It falls short of “Borat” dramatically because Bruno has too much front, whereas Borat had a cringe worthy innocence.To compensate gay sex gags are taken to an extreme never seen before in mainstream cinema.

As a light, but crude, satire on Austria and conservative values everywhere ,this movie, like Bruno, is an entertaining piece of fluff. Cohen would claim no more himself.

A Decent if Uneven Effort, 17 July 2009

Author: gary-444 from United Kingdom

*** This review may contain spoilers ***

A qualified success for the Directorial Debut of Duncan Jones, aka David Bowie Junior, aka Zowie Bowie. Science Fiction films are a niche, and neglected market.When you strip out those born of TV series, there is precious little left. Jones, who wrote the story but not the Screenplay, delivers bona fide science fiction, sans gratuitous CGI, but with a strong, resonant plot and some convincing acting.

The premise of proceedings is that of a sole engineer on a lunar mining station just a few weeks from coming home. Actor Sam Rockwell, as that engineer Sam Bell, then has to confront a turn of events which leads him, and the audience, to question his sanity,identity and pretty much everything around him.With only the intelligent robotic voice of Gerty, the on board computerised robot, amusingly delivered by Kevin Spacey, the 97 minute running time gives ample time for reflection.

This is not perfect by some way.The sets and effects are basic and crude, rather than spartan and austere, and the piano theme often grates rather than haunts.The editing also tries unnecessarily to confuse for effect what is a good story anyway.

Trudie Styler has a Producer credit. As wife of Sting, a decent actress in her own right, and God mother to Guy Ritchie’s Rocco she clearly has some strong connections in the film making world.It is to her credit that this is manifested in a well made, credible work rather than pompous self indulgent vanity project amongst the rich and famous.

At times the isolation becomes almost too claustrophobic, and Jones does not have the confidence to go for the broad themes as genre Masterpieces Bladerunner and 2001 a Space Odyssey do. Yet this is the first “proper” sci fi film of the 21st Century. As such Jones lays down a solid marker for his peers, and offers much promise for his future development.