My health is gradually improving since I've taken on what I guess I'd describe as a detox diet. Beyond just the evident positive effects on my physical health, I was amazed by the impact on my mental health. Since eating better and incorporating a few dietary supplements I've found my mood improving immensely.
The best part of May was making bookings for my Lord of the Rings location tour and ski trip in New Zealand. In past I've battled against inconsistent availability within my friend circle and we just couldn't find the time to get off work and go away together. Now with accommodation and flights booked, I can say with confidence that it's really happening and I'm psyched.
As far as movies go, I'm really happy. While I held back on my regular DVD purchases in the interest of saving, I rewatched both The Empire Strikes Back and Return of the Jedi, writing reviews for both that I'm very proud of. As far as first-time viewings go, I saw many different kinds of films. Samurai films, British crime, anime, made-for-TV horror, documentary and biopic all had a part in this platter. I saw 29 all up and here's what I had to say.
1. The Cat from
Outer Space (1978) – 7/10
After a UFO lands on Earth and is captured by the
American military, its stranded pilot, a cat named Jake seeks the help of a
group of everyday people to return home. ‘The Cat from Outer Space’ can
sometimes feel like an inevitable product of Walt Disney Pictures’ drop in
quality during the 1970s, but fortunately it still maintains some likability. I
must admit an aspect of shallowness on my end, that since I’m a huge cat lover
I found it near impossible to turn such a film down, and also impossible to not
have my sympathies with Jake. Its delightfully silly premise serves as a basis
for numerous comedic opportunities, some of which are greatly realised.
However, its largely uninteresting human characters hinder investment in its
real drama, leaving a lot of appeal in its little gags.
2. Tusk (2014) –
5/10
After a podcaster is kidnapped by an ageing seafarer and
undergoes a transformation into a creature, his friends and an ex-cop go
looking for him. While I found ‘Red State’ to be a great merging between horror
and comedy and a fine piece of experimenting for Kevin Smith, ‘Tusk’ doesn’t
quite cut it and I can only hope the next two of his planned True North trilogy
fare out much better. ‘Tusk’ without doubt has many polarizing qualities and
some audiences will find great joy in it. For me, I simply found that it throws
away its disturbing and opportunistic premise on becoming a farce. While its
horror and comedy are both effective in their own right, the way they’re mixed
that serves both negatively. Its horror is too goofy while its comedy is too
rough around the edges. I found its characters to be unlikable, with the ranges
varying between obnoxious to simply flat and uninteresting and none of whom are
served in any real way by its overuse of flashbacks and excess runtime. I
firmly believe there are roots to a wonderfully dark horror exercise, but I
think Smith needs to abandon his beloved comedy to truly serve his own
creativity.
3. 13 Assassins
(2010) – 8.5/10
When the peace of feudal Japan is threatened by a
sadistic and corrupt lord, a samurai is summoned and gathers a team of other
samurais to lead an assassination plot. Despite his insanely high output, I’ve
only seen a few of Takaski Miike’s films and I’ve been impressed every time.
’13 Assassins’ is no exception to this. The remake of a highly obscure film
from the 60s proves to be a great example in both the period piece and the
epic. It has that unmistakeable darkness and carefully pronounced brutality that
marks Miike’s work as seemingly more real than a majority of Hollywood movies.
While the international version is in many ways amended for the understanding
of Western audiences, it fortunately retains much of the Japanese cultural
relevance and collective memory of who the samurai were and what they stood
for. The numerous horrors depicted onscreen therefore don’t detract from its
sophisticated intentions. Occasionally it feels that there are too many
characters to get to know in one viewing, however I would argue that the sheer
spectacle and bigger picture aspects really make ’13 Assassins’ the great film
that it is. From its fantastic sets and costumes, its often bleak
cinematography and its magnum opus of a 45 minute battle scene that never
bores, it’s a film I won’t be forgetting any time soon.
4. Batman: Under
the Red Hood (2010) – 7.5/10
When a murderous vigilante known as the Red Hood emerges
in Gotham City, Batman sets out on a mission to learn his identity. These DC
Universe animated Batman movies have hardly left an impact with me when
compared to the better live action counterparts. That said, I’ve never been
unimpressed either and ‘Under the Red Hood’ has entertained me all the same
through its engaging character drama, dark tones and mystery. I’m appreciative
of the film’s maturity despite preconceptions some might have might imply
otherwise. Batman’s conflict with the Red Hood showcases a highly personal
approach to Bruce Wayne, exposing his weaknesses but more importantly explores
the Caped Crusader’s philosophies over justice. ‘Under the Red Hood’ boasts
worthy animation that maximises its atmosphere and story tones. At times the
film feels weighed down by the very occasional use of expository dialogue, but
generally it’s made up for by its fine cast voicing Batman, Red Hood, Joker and
Nightwing.
5. Rush Hour
(1998) – 8/10
A loudmouth LAPD officer teams up with a martial arts
specialist and detective from Hong Kong when a diplomat’s daughter is kidnapped
by a crime lord. ‘Rush Hour’ is presented with the fine opportunity to merge
the kung fu movie with the buddy cop genre. Only sometimes does it really
maximise this potential and all too often it falls into the latter’s genre
formula. With that said and done, the movie offers enough excitement and humour
to string you along for the whole ride. Chris Tucker and Jackie Chan play
likable heroes and have great comedic chemistry. What I really like about this
duo is its blurring between American and Chinese stereotypes. It’s not
offensive or pushy in any way, it’s just straight up funny and is something
note-worthy in a film that might otherwise not stand out. ‘Rush Hour’ plays it
close to home, and how you choose to look at it with that knowledge will be a
major determinant in your final experience. If you want laughs, gun fights and
kung fu, it’s promised.
6. School of Rock
(2003) – 8/10
After a wannabe rock star is kicked out of his band, he
poses as a substitute teacher at a prestigious private school and attempts to
form a new band with his students. ‘School of Rock’ is among Richard Linklater’s
most well-remembered films, but has an unusual place among them. It doesn’t
have any specific stylistic or structural individuality, a huge ambitiousness
or any experimental quality. It’s simply a very fun, very down-to-earth movie
that works according to the standard it sets for itself. Jack Black has a very
specific place in movies that allows him to thrive, and his performance as
Dewey Finn is direct evidence of this, taking advantage of his rock n’
roll-infused comedy and upbeat screen presence. It also delivers very well on
its supporting cast, adults and children alike. Above any character however
comes its ideologies. Don’t let the inner child in you die out, and use your
creative means to ‘stick it’ to The Man.
7. Purple Rain
(1984) – 7.5/10
A young musician looking to strike it big finds his
professional life torn into by an abusive family situation, a looming romance
and a rivalry with his management. ‘Purple Rain’ is evidently designed
specifically to showcase the late Prince’s talents as a performer, and in that
respect works out to be a pretty decent musical and drama. Inevitably, being a
fan of the artist will play a crucial role in one’s viewing experience being
either great or simply good. Personally I found more joy in its production
qualities and writing as opposed to the star’s screen presence. A great use of
neon lighting against its otherwise dark scenery make ‘Purple Rain’ visually
delightful, while its juxtaposition of a troubled life next to a glamorous life
on stage is universally applicable to any musical drama.
8. Psycho IV: The
Beginning (1990) – 7.5/10
Norman Bates, now married and expecting a child, calls a
late night radio show and shares his stories on his domineering mother and
earliest murders. It’s a sad fact to see something that began with one of the
greatest films of all time make its way to a TV release, especially considering
that ‘Psycho IV: The Beginning’ is surprisingly decent. It has a sense of going
full circle with the main character and even when it doesn’t succeed, the
ambition is glaring. Anthony Perkins still shows a passion for playing Norman
Bates 30 years on and takes on a much more sympathetic portrayal, and Henry
Thomas’ portrayal of the character in his youth is unexpectedly believable.
While engaging it may be to finally see Bates’ early life in cinematic form, it
isn’t always executed in the best way. The film offers little to no suspense
and numerous events can be worked out too far ahead of time, and its finale
aimed at closure has a silliness equalling its drama.
9. Destination
Moon (1950) – 7/10
After a botched attempt at launching a rocket, a team of
specialists come together to land a spacecraft on the moon. In retrospect,
‘Destination Moon’ might come off as incredibly goofy. Not only have human
beings undertaken several similar ventures, but we’ve also dramatically
improved in our telling of science fiction stories in the movies. The film is
so caught up in working scientific accuracy as of the late 1940s that it has a
tendency to ignore characters and the drama of their experience. Its primary
conflict is confined to its final act, which surprisingly turns out to be a
solid exercise in suspense. The hokeyness of its sets and laughably outdated
special effects offer a slight schlocky joy, but work against the seriousness
that it’s aiming for. I think that ‘Destination Moon’ is a relaxing film
experience. What it might lack in real story and technical prowess, it makes up
for in its ambitiousness and positive attitude towards what wonders mankind
might achieve. By observing its cast, you can see they believe in the project,
and in the long run its lasting impact is by far greater than itself.
10. Tombstone
(1993) – 8/10
A former lawman looking to enjoy a new life in a Western
Arizona town finds himself returning to the service when he and his family fall
are harassed by a bandit gang. ‘Tombstone’ is best remembered as one of the
great revisionist westerns and a fine transfer of the Gunfight at the O.K.
Corral to the big screen. The film was directed by George P. Cosmatos (‘Rambo:
First Blood Part II’ and ‘Cobra’) and I was surprised by the director’s
transition to a more serious production being so effective. It habitually falls
into common action movie formula from time to time, but nevertheless makes
great use of it through its engaging characters and recreation of the time
period. Its main characters, who are played wonderfully by Kurt Russell, Val
Kilmer, Sam Elliott and Bill Paxton demonstrate an undeniable affinity for one
another providing ‘Tombstone’ with its emotional backbone. Sadly, its romantic
subplot feels undercooked in comparison. While equalled by many other genre
examples, this modern depiction of the Old West features an unrelenting
fixation on violence and moral degradation that makes these films so exciting.
11. Hamburger Hill
(1987) – 8/10
A squad of American soldiers fight a vicious 10 day
battle against the North Vietnamese Army for control of Hill 937. In terms of
violence, ‘Hamburger Hill’ focuses on realism and really draws the audience
into the experience of these fictional men in this very real battle. With its
reasonably large cast of leads and a lack of any pinpoint shifts in its overall
chain of events, it doesn’t come off as a ‘story’ but rather a film for promote
empathy towards those who were there in the Vietnam conflict. the dehumanisation of men through their being
reduced to a means to an end, the hypocrisy of the anti-war movement and the
tragedies of broken relationships all come under fire when its own characters
are not. Its action sequences are frequent, bloody, disturbing and claustrophobic
all at the same time and totally draw audiences into both the extreme situation
and the fascinating process of production behind it.
12. Summer Wars (2009) - 8/10
While posing as his friend’s fiancé at her grandmother’s
90th birthday, a student unknowingly causes a breakdown of the
digital world of OZ which leads to a serious threat in the real world. ‘Summer
Wars’ has an adept ability at merging ideas about the dangers in the cyber
world brought on by technological advancement with how we relate to each other
in our personal lives. There’s this great sense of familiarity about it that
doesn’t require it to spend excessive time explaining the rules of its
fictional world. Its depiction of genuine practices within Japanese family life
provide ‘Summer Wars’ with its emotional backbone and act as the driving force
of the relationships between its many characters. Its OZ scenes are the moments
where Mamoru Hosoda and Madhouse really demonstrate the potential as animators.
These scenes take advantage of a heavily colourised animation style and offer
that distinct kind of excitement that we associate with anime.
13. Training Day
(2001) – 8/10
A rookie cop on his first day undergoes his narcotics
training with a detective who has highly questionable methods and a series of
criminal connections across LA. For whatever reason, ‘Training Day’ was one of
those wildly popular crime movies that I just happened to put off seeing for
years, and I can say that it’s a fine exercise in suspense and a compelling
depiction of the violent urban world. In his role that won him Best Actor of
2001, Denzel Washington’s performance as Alonzo Harris is menacing and
unpredictable. Whenever he’s onscreen, you’re on edge, and it engages you very
directly with the film’s overall position on corruption and moral fibre that’s
embodied by Jake Hoyt (played by Ethan Hawke). ‘Training Day’ is ready to push
the boundaries between cinematic action and flat out savagery, making use of a
bleak depiction of Los Angeles’ world of poverty and the way people live within
it.
14. Once Were
Warriors (1994) – 8/10
A Maori family in urban Auckland is tormented on a
day-to-day basis by poverty and their father’s alcohol-fuelled domestic abuse.
I can hardly imagine any other movie holding as much importance to New Zealand
society as ‘Once Were Warriors’ and even in saying that its message is a
universal one. Using the fictional Heke family as a case study, the film
touches on a number of issues seen across the Maori demographic, but namely
lacking opportunities, intergenerational poverty and unstable family life. I
was very impressed by the contrast between the two characters Beth and Jake
‘The Muss’ played by Rena Owen and Temuera Morrison respectively. The former’s
dedication to heritage and spirituality against the latter’s pathetic
belligerence indicate a vast understanding and sympathy to the group by
director Tamahori and screenwriter Brown.
15. Midnight in
Paris (2011) – 8/10
A Hollywood screenwriter on a trip to Paris finds himself
going back in time to the 1920s after midnight, meets a number of great artists
of the past and finds inspiration for his new novel. Woody Allen will likely
always be remembered best for his 1970s romantic comedies, and I find it
interesting that he’s recently been having such a resurgence with many calling
‘Midnight in Paris’ one of his best films. It’s a great example of a movie that
makes use of location (and I guess you could also say time in this case) as
character. Paris’ status as one of the most beautiful cities in the world is
reinforced through cinematography that pays careful attention to colour and
architecture. While I often find Owen Wilson intolerable when he’s in more
formulaic comedies, I really feel there’s a certain charm to him as an acting
under proper circumstances. ‘Midnight in Paris’ often lacks a serious conflict,
but its imaginative premise and witty writing drive a sense of wonder and
desire for discovery.
16. Grand Hotel
(1932) – 8/10
A number of individuals staying at a luxurious Berlin
hotel all deal with their respective dramas over money, love and life. ‘Grand
Hotel’ is undeniably melodramatic and made up of smaller segments that don’t
ever fully clash until the final act, but it nevertheless remains an
entertaining sample of early sound cinema. More than anything, the film is made
by an assemble cast. Greta Garbo and Joan Crawford both offer a classical
feminine quality that can’t be undermined, whist Lionel Barrymore as Mr
Kringelein draws us in with his upbeat enthusiasm. The drama of ‘Grand Hotel’
is often exaggerated as one critic labelled ‘like a soap opera’ but its great
strengths are in its humour, seemingly endless amount of activity across its
hotel setting and the curiosities seen among its many characters.
17. I Walked With
A Zombie (1943) – 7/10
A Canadian nurse is sent to the West Indies to care for a
plantation owner’s wife who is in an unusual mental state, and learns of a link
to the locals’ voodoo practices. ‘I Walked With A Zombie’ doesn’t take a
straight-forward approach to the horror genre and has the benefit of many
subtleties that work towards achieving its goals. With a very short runtime of
less than 70 minutes, it finds itself needing to structure itself tightly to do
justice to its characters and themes and it performs reasonably well. Its
pre-Romero depiction of the zombie presents the concept in an infancy
distinguished by a lack of control by an otherwise living being. The cast perform
fairly well, and act as a junction between audience and the less modern and exaggerated
understanding of Caribbean cultural norms.
18. Candyman
(1992) – 8/10
A grad student writing her thesis on urban legends
investigates the Candyman legend, but when a series of vicious murders occur in
the area the story works its way into her reality. ‘Candyman’ has long been
held in high esteem by slasher movie enthusiasts, but I think it’s very unfair
association because it has a habit of playing around with its placement in any
given horror subgenre. I would much more readily class it as a psychological
horror with a minor slasher elements. The film’s creepy atmosphere owing to an
unforgettable score and desaturated visual style compliments its layered
approach to horror. It has the effect of encouraging a sense of mystery around
the Candyman legend whilst grinding a constant feeling of dread into the
viewer. Virginia Madsen performs excellently as Helen in one of those roles
where you’re left unsure of what’s real and what’s a product of her declining
mental state. ‘Candyman’ competently induces fear with its ghostly mystery and
unrestricted but appropriate use of gore and makes for a memorable horror film
that keeps you guessing.
19. Going Clear:
Scientology and the Prison of Belief (2015) – 8/10
A documentary on the Church of Scientology, from its
founding by science-fiction author L. Ron Hubbard, to its emergence as a
recognised religion marked by a long history of controversy. The blatant
criminality of this organisation separates it from more widespread faiths and
‘Going Clear’ explores this in a way that’s both disturbing and full of insight
into the lives of those affected by it. This documentary didn’t provide me with
any new knowledge other than a reminder of how power-hungry Scientology’s leadership
is and the way its financial power is growing in a very subtle way. I already
held a great antagonism towards it, and I suspect those already aware of its
nature will likely feel the same way. The documentary benefits greatly from a
range of dramatic techniques in its editing and overall structure that make it
an excellent cautionary tale on cults and how their promises of a better life
end in tragedy.
20. The Glenn
Miller Story (1954) – 7.5/10
The life of bandleader and composer Glenn Miller, from
his years spent forming his distinct sound up to his death over the English
Channel. ‘The Glenn Miller Story’ marks a change in the biopic genre that up to
that point was dominated by tales of monarchs, politicians and religious
figures, all the while paying tribute to a man whose music continues to hold a
prominent influence. James Stewart is probably my all-time favourite actor from
the period and I never reject something starring him. His portrayal of Glenn
Miller is recognizably upbeat and full of distinctive little quirks that
promote a sense of genuineness to the man. Numerous scenes feature a nice
colour scheme geared at promoting the positivity of Miller’s music, but can
barely do justice to the regular use of these very tracks throughout that provide
The overall sentimentality of the is consistent with its ideas of the struggles
of making it big in the music business and the rewards of success, however it
falls unusually short in its very brief and somewhat unnatural depiction of
Miller’s death and the aftermath of his family.
21. In the Mouth
of Madness (1994) – 8/10
An insurance investigator looks into finding a vanished
famed horror novelist and finds a series of psychological phenomena are
affecting him and his grasp on reality. Even with its nods to the likes of
Stephen King and H.P. Lovecraft, ‘In the Mouth of Madness’ will likely go down
as one of John Carpenter’s most divisive films. I personally had a lot of joy
with it, and put it down to my attitude. It would be easy to say that its plot
is disjointed and leaves more questions than it does answers, but it has a
disorienting impact that draws you into the world of its main character. Sam
Neill’s performance as John Trent is way above the standards one would
associate with the horror genre. Through a fine mixture of darkly-toned images
and the frequent tossing and turning of the audience in unexpected ways, what’s
intended to be horror actually works much better at developing sympathy for
Trent in a time of absolute mental breakdown.
22. The Body
Snatcher (1945) – 7.5/10
In 1830s Edinburgh, a doctor and his prized pupil come
under increasing harassment from a man who robs graves to supply them with
dissection subjects for their studies. One of the early films by famed director
Robert Wise is an adaption of the Robert Louis Stevenson story in real classic
Universal fashion, despite being an RKO production. The film is dominated by a
sense of intrusion by its villain, Gray who is played excellently by Boris
Karloff. This feeling is greatly complimented by its ominous use of shadows in
its black and white images, an example of where a lack of colour works to its
advantage. The film is guilty of some degree of false advertising by suggesting
Bela Lugosi’s role is much bigger, and this proves to be a huge disappointment.
In saying that, his one-on-one scene with Karloff is a huge treat.
23. The Gift
(2015) – 8/10
A couple’s domestic life is threatened by the arrival of
a classmate from the husband’s past who is acting on a dark history they
shared. ‘The Gift’ bears a striking similarity to the J. Lee Thompson film
‘Cape Fear’ from 1962, but fortunately doesn’t constitute enough commonalities
to really be a ripoff. In fact, it’s one of the best thrillers of its year and
has a way at getting deeply personal. Joel Edgerton writes, directs and stars
as the antagonist and demonstrates an exceptional understanding of what makes
suspense work in the movies. It habitually jumps between a relaxed mood
suggesting its drama is over and a highly intense one based around disturbing
ideas and the ambiguities in its plot. Jason Bateman and Rebecca Hall perform
wonderfully as the two leads and the development of their relationship acts as
the script’s node through which it communicates its ideas about how our past
affects our present and what trust really means. Edgerton really steals the
show as Gordo however, with his unnerving performance that’s tame on surface,
but raging underneath. ‘The Gift’ works incredibly well as a thriller,
sometimes veers into horror, but keeps you guessing while you’re at unease.
24. Lady Snowblood
(1973) – 8/10
The child of a rape victim is raised to be an assassin to
exact revenge on the gang of criminals that wronged her family. ‘Lady
Snowblood’ is a fine example of Japanese samurai cinema that occasionally
resembles the exploitative qualities of the splatter and rape-and-revenge
subgenres of horror. I was mostly drawn to it due to its major influence on
Tarantino’s ‘Kill Bill’ and its impact is quite obvious. Meiko Kaji has a
remarkable level of intimidation in the role of Yuki and personifies notions of
honour, vengeance and family that contrast with the depravity of her opponents.
It’s this embodiment of themes within character that act as the hook for the
audience that drives our investment in the character. The heavily stylised
violence is stunning to look at for its prowess in practical effects and
vibrant use of colours. Perhaps what impressed me most is the film’s structure
that breaks its larger story into smaller revenge tales based around certain
people, and its playing with its chronology early on to provide engaging
backstory.
25. The Mummy
(1959) – 8/10
A team of British archaeologists discover and disturb the
untouched tomb of an Ancient Egyptian princess, which unbeknownst to them
releases the mummy of her high priest who sets out on a gruesome vengeance. The
third of Hammer Horror’s definitive three remakes of the Universal classics
lives up to high expectations and confirms why the British studio was held in
such high esteem at the time. The gothic tone works wonderfully at teasing at
the mystery of the mummy, prompting a huge anticipation for its monster
sequences. Peter Cushing and Christopher Lee, Hammer’s two favourites, both
perform to a high standard. Cushing’s combined heroism, knowledge and general
goodwill solidifies him as a sympathetic hero. On the other hand, Lee is a
threatening as the mummy Kharis with a seemingly absent mind and what I
consider to be one of the creepiest costumes ever in a horror movie.
Unfortunately, ‘The Mummy’ makes a fairly extensive use of flashback sequences.
While they do provide an explanation for certain character motivations, they
really bog down the story’s forward movement and it might have been better if
addressed through dialogue.
26. Percy Jackson
& the Olympians: The Lightning Thief (2010) – 4.5/10
A boy learns that he is the son of the Greek God Poseidon
and that he’s been accused of stealing Zeus’ lightning bolt, setting him on a
quest to prevent a war between the gods. Greek mythology has acted as a
foundation for much of the great drama we see in cinema, but that isn’t
reflected in this movie. Instead we’re given a shallow, gutless teen film that
treats these stories as some kind of CGI playground. In a way the film is a
waste to the talents of a cast that really do give their all, particularly
Logan Lerman, Sean Bean and Pierce Brosnan. Its central adolescent characters
are lifeless, unintelligent and embody several personality traits that work
against the epic quality we’d associate with Greek mythology. It’s as though
whenever it actually approaches being genuinely dramatic, it opts out in favour
of a flashy action scene or unfunny comedic relief. It’s clear that this ‘Percy
Jackson’ film is motivated by commercial interests and what potential we can
see is held back in favour of playing it safe and appealing to a younger, less
demanding audience.
27. Addams Family
Values (1993) – 7/10
After Gomez and Morticia have their third child, Fester
is smitten with a gold digging woman while Wednesday and Pugsley are sent to
summer camp. ‘Addams Family Values’ makes use of style that isn’t identical to
its predecessor and thus doesn’t feel like a totally unnecessary sequel that
exploits the original’s commercial success. However, I can’t help but feel that
the film is more of a collection of smaller episodes than it is a more cohesive
experience. So while I do love that the film maintains many of the first film’s
best qualities and even gets a bit ambitious with its more adult humour, its
subplots feel like small units that only occasionally come around to complement
one another. That said, I love the performances by Raul Julia, Anjelica Huston,
Christopher Lloyd and Christina Ricci all for their own distinguishable
quirkiness. I love the mildly gothic sets. I had many laughs with its varied
approaches to humour. Even if not everything works, it is the Addams Family the
way you want it.
28. Lock, Stock
and Two Smoking Barrels (1998) – 8/10
A rigged card game leaves four petty criminals indebted
to a violent East End high roller, forcing them to put together a heist that
leads them to collide with weed growers, loan sharks and debt collectors. As
the film that defined his signature style that would be common in many of his
future films and the one that put him on the map, I consider Guy Ritchie’s
‘Lock, Stock and Two Smoking Barrels’ to be the best of his urban London crime
comedies. It has that distinctive British underworld feel, and is particularly
notable for making the most out of its scenes by ramping up violence,
eccentricity, dark humour and coincidences. You can almost enjoy each scene
independent of the rest of the movie simply because of its over-the-top nature
and cantankerous characters. I’m typically one for channelling my sympathies
into certain characters rather than spreading it more widely, and this isn’t
always easy given its huge number of leads and rapid pacing. I loved Vinnie
Jones in his debut film performance as Big Chris for being a slightly more
honest and driven by value than the depraved that surround him.
29. Key Largo
(1948) – 8/10
A veteran travels to a hotel in the Florida Keys to meet
the family of a deceased friend and become the hostages of a mob of gangsters.
‘Key Largo’ is an awesome component in the filmography of the prolific
filmmaker that is John Huston. The film has a way of working its character
drama and suspense into both what’s happening on the screen before us alongside
an influence from backstory. At the same time, it takes a slight detour from
the typical rules of film-noir. It doesn’t have a great deal of mystery and
only occasionally features that shadowy appearance we’d associate with the
genre. Where it works is in its building of tension in its situational drama.
The gangsters are just as intimidating as the impending hurricane disaster and
keeps you guessing which will be the downfall of the characters first. Humphrey
Bogart delivers a great and mellow performance as Frank McCloud, but I think
the real brilliance is in Edward G. Robinson who portrays the textbook
Prohibition gangster in decline and draws events from the past into the story’s
presents.
My Top 10 Films for May 2016
1. 13 Assassins
2. Tombstone
3. Key Largo
4. Training Day
5. Summer Wars
6. The Gift
7. The Mummy
8. Hamburger Hill
9. Midnight in Paris
10. Candyman
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