Garyswordz

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.

B Movie Mediocrity Rescued by Susan Cabot, 9 July 2009

Author: gary-444 from United Kingdom

*** This review may contain spoilers ***

Director Roger Corman is a fine, and hugely, influential director. This film however, one of five he made in 1958, is firmly a B Movie that has not dated well.An episodic, over ambitious story appears in staccato form ,part of an otherwise technically proficient and effective production.

Charles Bronson plays the eponymous role with a brooding viciousness which he would reprise in the 1970’s in the, “Death Wish” series. Yet his girlfriend, gangsters moll, Susan Cabot steals the film as Flo Becker, his hard bitten side kick. Sexy and assured on screen, her subsequent off screen scandals are no surprise.

When stealing money from banks fails to yield enough cash and prestige, he is goaded by Flo’s mother to step up a gear, which he does by kidnapping an industrialists daughter and her nanny for ransom. Whilst Beckers more central role in proceedings, and the influence of her mother, distinguish this from the mainstream treatment of women in films of the era, the routine slapping of women, so prevalent in films of this time, features quite prominently. yet it is the breadth of Cabots role from gangsters plaything to co-participant which is the most rewarding aspect of proceedings.

The kidnapping and its consequences should be the climax of the film, instead it is rushed and falls oddly flat. Kelly’s fear of portents of death and the strange gas station owner who keeps caged wild animals is far more interesting.

A bit more money, and a bit more running time would have transformed a proficient production into something far more worthwhile.

An Effective Genre Piece, 9 July 2009

Author: gary-444 from United Kingdom

*** This review may contain spoilers ***

This story of four day trippers who become stranded up a tree and are then stalked by a large crocodile in the Australian Mangrove Swamps works within those parameters. The on location filming is lush and convincing, as is the crocodile.The main problem is that a 90 minute running time is too long for a very restricted setting with very few options.

The plot unfolds with formulaic certainty, there is little opportunity for surprise.The characters are generally unappealing, but to be fair their acting skills are largely deployed at looking “scared in a tree”. The twist that secures freedom is a little disappointing, and the dialogue risible.

It is the crocodile and the action sequences which save the day and ultimately give the film its purpose. A routine, albeit quite enjoyable, addition to the, ” humans stalked by dangerous creature” genre.

A Period Curiosity, 3 July 2009

Author: gary-444 from United Kingdom

The tale of paratroopers who disappear, literally, into thin air, this film is an odd watch forty years later. It’s primary interest lies more in what it says about the time, than the film itself.

Released in 1969 three influences loom large.The year that Man first landed on the moon it reflects a fascination with, and fear of, what might lie in outer space. Militarily we were also in the midst of the Cold War when anything unexplained, and potentially evil, automatically raised the question of Communist involvement. And finally James Bond was the dominant screen character, and his shadow falls long here in more senses than one.

Veteran, square jawed character Patrck Allen, bulldozes his way through the role of an expert,Bob Megan, called in to solve the awkward problem of disappearing parachutists. One extraordinary scene speaks volumes for the Bond “character” and perceptions of women at the time. Megan chances upon a scantily clad beauty enjoying enjoying a solitary moment taking in the evening and then makes advances on her which vacillate between sexual assault and rape. No sooner is he introduced to a shapely scientist in a pencil skirt than she too is subjected to his clumsy male machismo which in the 21st century looks appalling.Of course both women come back for more. When he IS offered sex on a plate by the blousey, but ageing, hotel owner he rebuffs her to reinforce yet another sexual stereotype, the ageing temptress who can’t get it because she has had it.

The Bond theme is further explored by the presence of Sean Connery’s brother Neil, as Megans sidekick John Radford, in one of only two screen performances. Bearing a strong resemblance to Sean, his acting talents are strait jacketed by a preposterous script.

A dreadful ending combines the worst of “Dr Who” and “The Champions”, suggesting that a 30 minute running time, rather than three times that, would have suited all concerned somewhat better. A hopeless film, but a fascinating sixties curiosity.

1930’s Chicago Revisited in Style, 3 July 2009

Author: gary-444 from United Kingdom

Eighty years after the events, Michael Mann takes on the Period Chicago Gangster genre, and wins, with this entertaining story. Do not be put off by some churlish carping from the critics, much of which is generated by the very high standards that Mann’s films are now judged. The lengthy 140 minute running time flies by leaving the audience wondering about what could have been added to the story, not what should have been omitted.

Essentially this is the story of the life, in his heyday, and death of Gangster John Dillinger. It bounces along, leaving little room for back story or leisurely character development, like Dillinger,it lives for the moment. Johhny Depp is superb as Dillinger, Christian Bale a thoroughly convincing Melvin Purvis, his taciturn but determined G-Man nemesis.

A plot curio is that some time is given over to J Edgar Hoover’s fight to establish an FBI with Purvis operating as his local enforcer.But the role is under developed, it could be dropped with no impact on the plot, making you wonder how much extra footage was left on the cutting room floor, hopefully set for an appearance on the DVD.

Marion Cotillard, a native Frenchwoman, plays the part of the leading lady, and Dillingers love interest, well enough. In a role which offers infrequent appearances, she conforms to the genre requirements of being easily bedded, hit, and cries on demand.

Critics have queried the way that the digital film is shot.There is none of the lushness of “last of the Mohicans”, nor the grittiness of “Collateral”, but the compelling plot leaves little time to worry about that.Review audiences also complained of poor sound quality and mumbled dialogue, not faults that I could identify with on this showing.

The “showdown” between Dillinger and Purvis happens early on, in a scene which is played straight and without lingering fanfare, it is certainly no re-run of De Niro v Pacino in “Heat”.If the film lacks anything it is a sense of Tragedy, so wonderfully apparent in De Palma’s “Carlitos Way”. Depp and Purvis are played so ruthlessly and efficiently by Depp and Bale that pathos and emotional attachment are on pretty short display.

The period is lovingly recreated by Mann and the action sequences, unsurprisingly, never fail to disappoint, indeed when Dillinger is first shown robbing a bank his vault over the counter is seen in graceful slow motion. Diana Krall has a pleasing cameo as a nightclub torch singer performing “Bye Bye Blackbird” and the costumes are a consistent delight.

Punchy, light on its feet and offering weighty roles for Depp and Bale, this will be enjoyed by ardent fans and the curious alike.

A Dismal, Empty Effort, 30 June 2009

Author: gary-444 from United Kingdom

*** This review may contain spoilers ***

This is Director Carter Smith’s debut full length feature and that inexperience destroys this film.87 minutes is the ideal running time for a Horror, but in truth there is barely half an hour’s worth of material here. The premise of the story, the eponymous novel by Scott Smith is simple and fine. But Carter Smith is wholly unable to translate the layered horror of the page onto the screen.

The Ruins follows two American couples, just out of college, enjoying a pleasant, lazy beach holiday together in Mexico as they go off with new found friends in search of some remote Mayan ruins, site of a fabled archaeological dig.However the characters are underwritten, and the performances lack depth. Frankly we don’t care whether they live or die.

Once stranded on the Temple, a relatively small pyramid style structure, there quite literally isn’t anywhere to go, and as this happens early on in the film this is a problem.Graphic, horror gore quickly replaces plot in order to create any impact or momentum.The basic Horror principles that what you don’t see is more horrific than what you do see, as is the threat of what MIGHT come, are eschewed out of sheer desperation.

The climax to the story is so clichéd all dramatic tension is lost and the final frame would have been thrown contemptuously aside by the Tutor of a first year film studies student.Lush photography and a fine setting do not compensate for a feature length failure