Garyswordz

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

A 21st Century Gangster Classic, 18 June 2009

Author: gary-444 from United Kingdom

Director David Cronenberg has laid down a bloody marker for 21st Century Crime Thrillers with this visceral atmospheric work which ranks amongst his finest. Set in London, but played out almost exclusively amongst the Russian Underworld, “Eastern Promises” takes several brave risks, but wins them all.

Although set in the Capital, boldly most of the recognisable landmarks are absent save for a long shot of Tower Bridge. This , when combined with the frequent use of Russian, creates an insular, claustrophobic feel, the trademark of close knit ex patriot communities. The actors are mainly Europea,n adding to the sense of an alien culture playing out on familiar turf.

Cronenberg’s prowess in offering sudden antiseptic, clinical violence is viciously on show here, none more so than in a savage confrontation in a bath house which is as horrific in its realism as I have ever seen displayed on the screen. There is an amorality about the violence which is depicted which is as disturbing as the violence itself.

Viggo Mortensen excels as enigmatic driver Nikolai, Armin Mueller-Stahl offers a wonderful Godfather role as Semyon, oozing charm and cruel malevolence in equal measure whilst Naomi Watts, as Midwife Amy, provides far more than a bit of glamour as she pulls the bloody strands of people smuggling together. The beautiful rich cinematography belies the raw grittiness of its subject matter in a tightly scripted and fast paced ninety minutes. My only criticism is a strangely twee final few frames when a bleaker ending might have been more in keeping with what had gone before. Nonetheless the film is an absolute tour de force.

Slight , but Enjoyable, 18 June 2009

Author: gary-444 from United Kingdom

A quintessentially English film, but with a Gallic twist, this story should appeal to an audience far beyond the denizens of the Stretford End. In essence, a modest morality tale, a first half which fades dangerously is kick started by a plot development which sees things through to a happy, and satisfying conclusion.

Steve Evets plays, Eric, a down trodden, down on his luck Postman who is saved by his namesake Eric Cantona finding minor redemption from his life’s trials and tribulations. Cantona is impressive and convincing, playing himself with a wistful enigmatic quality that legend determines he has.A solid cast includes Everyman Northerner John Henshaw as best mate Meatballs and an enjoyable cameo by Lucy-Jo Hudson as daughter Sam whom many will recognise as Katy from Coronation St.

The humour is wry, rather than laugh-out-loud, and the first half succeeds so well in creating an impoverished, crushed, defeated air that it almost implodes.By contrast,the second half, with a purpose,means the minutes zip along as the pace, dialogue, editing and story advance.The running time at almost two hours gives ample time for the characters to breathe, pretty much a trademark of Director Ken Loach.This work leans more heavily on the verite of his early documentary “Cathy Come Home” than the lushness of The Wind That Shakes The Barley”.Yet Cantona lifts proceedings with his every appearance suggesting that a serious film career may beckon.

Authentic, well observed, raw in places, this film puts people first and is faithful to both Northern life, and the enigma which is Cantona

A Powerful Gore Fest, 16 June 2009

Author: gary-444 from United Kingdom

*** This review may contain spoilers ***

The horror genre lives in a bubble of its own, and so needs to be judged as such, and this ticks the genre boxes pretty well. Convincingly acted, and well plotted, Director Dennis Lliadis delivers a pacey, beautifully photographed film that understands its audience, even teasing it a little.It skilfully borrows form Road Movie, Revenge and Horror and Gore raw materials to produce a satisfying end result.

The first half unfolds in Road Movie mode, the bad guys appear, literally quite spectacularly, then our heroic heroine is introduced to meet her inevitable nemesis.Lascivious, lingering shots of her legs and torso leave little doubt that bad things are going to happen to her.This part,Mari, well played by Sara Paxton,is notable for eschewing girly screams for grim determination , and is all the better for it.When Mari and her friend Paige foolishly choose to smoke some dope at a run down motel, the result is kidnap rape and torture.The controversial rape sequence is much less graphic than is trailed ( what a surprise). I found the fate of her friend,Paige, far more disturbing.

The second half is Revenge, and Horror and Gore, time when the assailants inadvertently hole up at Mari’s parents house ! When they discover whom they are entertaining the blood letting starts.The morality of what you could, or should, do in such circumstances is touched upon, but not for very long, it is time for cold steel to meet deserving flesh.It is the revenge element which gives the second half its impetus as the audience celebrates the worthy demise of each bad guy.

The presence of a woman in the fugitive gang is a neat device.Once our original victims have flashed their bosoms it gives an opportunity for her to do so too. Indeed the only woman not to have her breasts on display is Mari’s mother – which would have been a horror too far for any self respecting teenage horror fan surely? The ending is a tease. Surely one of the bad guys will chance upon the boathouse? Who could possibly spring out of the water in the final boat scene? Instead, the final “surprise” is short, gratuitous, and wasted. The strength of this story is to combine the revenge themes explored in the likes of “Death Wish” and “The Brave One” with a conventional gore fest, which at least offers some purpose to the bloodbath,showing author Wes Craven at his best.

A Waste of Talent and Money, 1 June 2009

Author: gary-444 from United Kingdom

I have not read the book,and quite liked The Da Vinci Code so my anticipation level for this film was set quite high. Not only was I sorely disappointed, I was frustrated that so much money and acting talent had been squandered on what was basically quite a good premise for a blockbuster.Ron Howard’s Directorial debut is a mess.

One of the ironies of “suspension of disbelief” is that you have to earn that right through believability.It is at this level that things fail.So a bomb is set to go off that will wipe out the whole of the Vatcian City – thats fine, i’m on board for the ride.But Howard fails to convince from start to finish. Why should Tom Hanks, as hero Robert Langdon, risk life and limb ? Why are murders committed in the fountains of busy piazza’s with none of the bystanders noticing? At the end, how can the injured bad guy standing only a few feet away from Langdon and the massed ranks of Vatican Security outrun them for the finale ? The setting is superb and the visuals lush.The action sequences are numerous and well executed.Yet Hanks is lacklustre and the story told in such a preposterous way that I simply lost interest rousing myself to pay attention when Howard desperately injected another adrenaline shot into a fading corpse.

At 2 hours and fifteen minutes with too much money and time, Howard is lazy and fails in the fundamental skill of telling a good story.