On a more positive note, I spent the month gearing up for a trip to New Zealand to visit many of The Lord of the Rings filming locations and more generally just try to have a nice time away from home. I depart in a few days from now with equal feelings of excitement and nervousness.
I managed to see 19 movies I previously hadn't seen before, but even squeezed a few rewatches in there too. I've wanted to do more consistent reviews on here for a long time, but just couldn't find a standard I wanted to settle on. It appears to be becoming a thing of the past now, and I can only hope that through writing my passion and understanding of the movies grows.
The Stuff (1985) – 7/10
A goo oozing from the Earth becomes the new dessert sensation, but shows itself to be sinister when it starts to control the minds of those who consume it. ‘The Stuff’ is a fun B-movie and on the occasion really shows itself to have the potential to be something more. It’s not the easiest film to categorise beyond its high concept status. Where it does really excel is its approach to corporate exploitation of customers and human gluttony, which is much less critical than it is humorously tongue-in-cheek. It features an admirable use of practical effects that you’d expect from a director with the status of Larry Cohen. While its main characters are hopelessly bland, there’s some joy to be had in its support, including a stereotypically paranoid and conservative general played by Paul Sorvino.
The General (1926)
– 8/10
At the beginning of the civil war, Johnnie’s precious
locomotive is stolen by Union spies with his partner on board and in his
pursuit he finds himself caught up in the war behind enemy lines. ‘The General’
offers an interesting perspective on the American Civil War as of the 1920s,
and takes a relatively tame approach to what might now be regarded as
controversial. It makes no room for the politics of slavery, states’ rights or
the Union-Confederacy split, and directs all its attention into just being a
genuinely funny movie. Writer-director and star Buster Keaton showcased an
evident passion for his mostly independent wartime comedy. Its heavy use of
physical humour and Johnnie’s antics provide a childlike feeling of joy that’s
occasionally interrupted by the wonder of Keaton’s many dangerous stunts, some
of which still impress.
I’m a Cyborg, But
That’s OK (2006) – 8/10
A girl who believes herself to be a cyborg is institutionalised,
falls for another patient and tries to work out her purpose in life. Everything
that Chan-wook Park touches turns out great. With ‘I’m a Cyborg, But That’s OK’
he takes the romantic-comedy genre that has seen ongoing abuse and reuse by Hollywood
and revitalises it with unique ideas, some of which are quite daring, while
keeping with genre norms for the sake of wider appeal. It’s funny, the
relationship between Young-goon and Il-sun blossoms into a touching romance and
the development of these characters appropriately complement one another. What
makes it stand out is what’s really worth talking about. It takes a
non-judgemental approach to mental illness, presenting events through the lens
our characters see them through and thus drawing us in. Unusual for Park, this
film’s style is far more positive with its use of bright colour and a playful
music selection. Not his best movie, but an ample effort nonetheless.
Wuthering Heights
(2011) – 5/10
A poor black boy is taken in by the Earnshaw family and
develops a close relationship with his foster sister, leading to complications
later in life. This film version of the literature classic greatly underwhelmed
me, and when it seems to be developing towards great drama it hurries away from
it and favours prolonged silences. While it often offers a range of beautiful
yet bleak images that complement its consistently low mood, the cinematography
is marked by a jolting awkwardness worsened by out-of-place editing the relays
past events. Casting is a bit of a mixed bag, with some giving their all and
others completely wooden. The real potential is in its politics of race and
social status, which if explored more deeply would result in a far more layered
film. Andrea Arnold has shown herself a capable filmmaker with ‘Fish Tank’ but
perhaps she should steer clear of others’ writings.
The Revenge of
Frankenstein (1958) – 8/10
After escaping the guillotine, Dr Frankenstein changes
his name and takes a protégé under his wing when he resumes his experiments
with dead bodies. The first sequel to Hammer Film Productions’ ‘The Curse of
Frankenstein’ is a noble follow-up to a great horror film. It continues in the
same vein as its predecessor with its darker tones and abrupt instances of
bloody violence. The true greatness in ‘The Revenge of Frankenstein’ is much
less in its monster (but in that respect it does provide a more human quality
that to him that was previously absent) but in its main character. Peter
Cushing’s portrayal of Dr Frankenstein is both an emotionless sociopath and a
brilliant mind desperate for official recognition, and there’s no doubt these
movies wouldn’t be half as effective without his screen presence.
Mighty Joe Young
(1949) – 7.5/10
A young woman and the gorilla she raised in Africa since
childhood are brought to America to star in a stage show, leading to
complications when they long to return home. There’s no doubt that ‘Mighty Joe
Young’ is a significantly less ambitious knock-off of ‘King Kong’ but decades
later it still retains enough novelty to make for a solid action feature. While
it lacks the adventurous quality that made its inspiration so endearing, it
does succeed in other areas. There’s this overarching theme of the exploitation
of animals for human entertainment illustrated through the attitudes of
different characters and experience of ‘Joe’. The film is undoubtedly
remembered best for the always great special effects by Ray Harryhausen seen at
their greatest in its action scenes. Often ‘Mighty Joe Young’ feels too watered
down and an underachiever, but without that mindset I think it could rightfully
be called a genre classic.
Ace in the Hole
(1951) – 8/10
A down-on-his-luck journalist takes up work with a small
Albuquerque newspaper and exploits a story of a man trapped in a cave, putting
him in the middle of a situation that only worsens with time. Filmmaker Billy
Wilder has never once let me down, and ‘Ace in the Hole’ proves to be just as
great as anything else he’s done. It’s also among his more ambiguous films in
genre, not clearly sitting in any one place and scratching the edges of a bit
of everything. Kirk Douglas absolutely dominates in his performance as Chuck
Tatum. He’s full of energy, approaches his dialogue with near-aggression in his
delivery and his character demonstrates a fascinating moral transformation.
It’s never really taken full circle, but works to the advantage of exploring an
imperfect human being. Wilder’s use of lighting in the cave sequences are
especially impressive, emphasising the despair of the situation with ominous
shadows that stand out especially against otherwise basic-looking scenes.
Lady Snowblood 2:
Love Song of Vengeance (1974) – 8/10
After he original vengeance campaign, Yuki finds herself
embroiled in the anarchist movement of early 20th century Japan. For
a plot that’s comparatively less personal than its predecessor, this sequel to
the classic ‘Lady Snowblood’ holds up fairly well when compared to most film
sequels. It lacks the structure of chapters that made the original so unique,
and tones down the violence to some extent, but does inject a few fresh
elements. There’s a certain ambitiousness in its political themes that tackles
both global experiments in certain ideologies as well as Japan’s historical
place as one of the last world empires. The inclusion of reasonably fleshed out
secondary characters offer a new world for our heroine Lady Snowblood to do
what she does best when it might be said her real story was over. Definitely
not superior, but something fans of the original will still like.
The Green Berets
(1968) – 7/10
The committed Col. Mike Kirby leads a team of US Special
Forces on two missions in South Vietnam. ‘The Green Berets’ may be one of the
first movies made about America’s Vietnam conflict, but it plays out too much
like a right-wing political piece than an honest depiction of the conflict.
Instead of showcasing war’s horrors, it takes it upon itself to showcase a
traditional heroism of soldiers and western civilities against the brutality of
the Viet Cong. It may not be totally wrong, but it’s far from completely right
and almost has a propaganda-like quality. However the film performs reasonably
well as an action movie, featuring engaging battle sequences that hold up today
and a hugely appropriate role for someone like John Wayne.
Sukiyaki Western
Django (2007) – 7/10
A wandering gunslinger comes to a small Western town to
find an ongoing war between two rival clans trying to get the greatest share of
wealth in gold. Takashi Miike regularly shows himself to be a lover of
different genres and very adaptable. ‘Sukiyaki Western Django’ works much more
effectively as both a tribute and a cinematic experiment than an overall great
film in its own right. I’m hugely appreciative of the incorporation of numerous
storytelling methods that are typically kept isolated from one another. While
its references to spaghetti westerns, samurai films and Shakespeare are all
noble and help it stand out as its own work, it’s also very self-indulgent. I
often felt its adherence to stylised violence, dark comedy and specific choices
in music and colour were given too great a focus at the expense of a story,
which may have been more than a Eastern remake of ‘A Fistful of Dollars’. I
appreciate Miike’s ambition and I enjoyed it for what it was, but I don’t think
it’s the reboot to Westerns we need.
Hero (2002) – 8/10
Before the unification of China under the Qin dynasty, a
nameless warrior is summoned by the king to recall his successes. ‘Hero’ is a
great combination of historical fiction, a tragic love story and a martial arts
action movie and will likely stand as a film to introduce Western audiences to
the wuxia genre for years to come. While Jet Li’s star power is undoubtedly
used as a lure, his performance actually turns out to be mellow and modest,
equalling the contributions of the remaining cast to the picture. ‘Hero’ is
best remembered for its countless stunning examples of action made possible by
excellent sword choreography, stunt work and special effects. I think its real
greatness is in structure and images. ‘Hero’ is not only an amazing film to
look at due to its use of colour, but it’s also a film that keeps you guessing
the truth to its events.
Terminator Genisys
(2015) – 5/10
After Kyle Reese is sent back in time to protect Sarah
Connor, an unexpected turn of events leads to an alternate timeline and a new
mission to prevent the future from happening. Perhaps if rewritten as a
stand-alone action film, ‘Terminator Genisys’ might work as a pretty good
action flick, but it’s so out of touch with what made these movies so great
that it feels like a sacrilegious assault. It clearly wants to put its time
travel mythos to the ultimate test, but it turns out a confused jumble
riddled with plot holes. The film’s biggest issues are in character. There’s no
depth whatsoever and Kyle and Sarah are not written remotely like those we
already knew from the earlier films. Jai Courtney and Jason Clarke are terribly
cast and fan-favourite Arnold Schwarzenegger is reduced to little more than
comedic relief. Game of Thrones’ Emilia Clarke exceeded my low expectations as
Sarah Connor, but given the role is miswritten it doesn’t amount to very much.
Its effects and action are often great, and a few story twists actually work to
keeping your attention, but it’s painfully clear it’s time to wrap up this
series.
Tombs of the Blind
Dead (1972) – 7.5/10
A young woman spends the night in an abandoned monastery
and is killed by undead members of the Knights Templar, leading her friends to
search for her and discover the same fate. While I would have preferred to see
it in its original Spanish language, the English-dubbed version still proves
effective. I can only describe this film as a giallo-style response to ‘Night
of the Living Dead’ that heavily incorporates historical superstition and
haunted-house movie elements. While we discover horrifying truths in very plain
dialogue scene with the characters, the film truly shines when it gets to work
on its horror. The costuming of these Undead Knights is menacing, and their
scenes are incredibly tense due to their minimal lighting, foreboding audio and
a sense of desolation.
Blow Out (1981) –
8.5/10
A sound recordist unknowingly creates evidence of a
political murder when he witnesses what appears to be a car accident, and finds
those behind it are pursuing him. Brian De Palma’s reimagining of the 1966 film
‘Blow-Up’ proves to be an incredibly effective thriller, but more specifically
one that plays with voyeurism as a film technique and a comments on the place
forms of multimedia play in justice. John Travolta delivers an excellent
performance as John Terry, really showing his full potential as an actor before
his major career downturn in the 80s as a man using his professional means to
correct many wrongs. John Lithgow is surprisingly sinister in his role as the
film’s villain. ‘Blow Out’ benefits most from its many dramatic questions, all
of which toy at the dark side of the political process and its intrusion into
the lives of individuals. Through its great writing and selection of actors and
images to back it up, ‘Blow Out’ is totally thrilling and deserves its cult
status.
Snake in the
Eagle’s Shadow (1978) – 8/10
The janitor at a martial arts school is bullied by the
staff and pupils, and after befriending an old man is trained in a style of
kung fu called the ‘Snake’s Fist’. While it is a spiritual predecessor to the
more well-known ‘Drunken Master’, ‘Snake in the Eagle’s Shadow’ is a great example
of the kung fu comedy genre. Jackie Chan, working under the name Lung Cheng is
delightful as Chien Fu. There’s an endearing thing about his dim-wittedness and
good heart taking the form of a martial arts students, connecting the
extraordinary with the ordinary. The film owes an immensity to its humour,
which it wouldn’t work half as well without. A good use of slapstick and an
overall cheekiness becomes very complimentary in its numerous great fight
scenes.
The Secret Life of
Walter Mitty (2013) – 8/10
When his corporate job is threatened, Walter Mitty heads
off on a journey to find a mysterious photographer. Following on from his
directorial success with ‘Tropic Thunder’, ‘The Secret Life of Walter Mitty’
isn’t one of the funniest movies in recent memory, but does prove to be a great
success when it comes to its feel-good nature. Ben Stiller is extremely likable
in the titular role and embodies both a positive professional dedication and a
longing for a better life, both of which are explored thematically. The movie’s
incredibly polished look provides the absolute best appearance for its many
global locations. I really the subtle setup of various story devices, which all
come to blossom in a very well-structured final act, however I do think the
running joke of Walter’s daydreaming becomes monotonous early on.
Goosebumps (2015)
– 8/10
A teenager befriends the daughter of children’s horror
novelist R.L. Stine and shortly after finds the monsters of the Goosebumps
series unleashed on a small Delaware town. For a project I initially felt was
redundant, the new ‘Goosebumps’ movie proves to be delightful tribute to the
Stine, and piece of nostalgia for those that grew up with it. Carefully placed
among its profusion of cheesiness is actually something surprisingly
sentimental. What ‘Goosebumps’ boils down to is R.L. Stine’s (played
excellently by Jack Black) use of imagination and the creative process to deal
with the feelings of difference and anxieties towards life. It’s an introvert’s
tale if there ever was one, and adding dozens of monsters to a crazy situation
offers endless excitement.
Carnival of Souls
(1962) – 8/10
After a woman emerges from a car accident under strange
circumstances, she finds herself stalked and tormented by a ghostly presence
that may not be real. ‘Carnival of Souls’ is a great example of gothic horror
in the cinematic form and speaks volumes about how few things you really need
in making a horror film. All the film’s horror is based on its approach to the
simple question of whether or not Mary is suffering from PTSD or the malevolent
phantom figures following her really do exist, and if they do, what do they
want? I love the appropriately heavy use of a haunting organ score that has an
almost psychological effect on the viewer on its alone, but works wonders with
its eerie black and white imagery. Being a low budget production, it’s a film
that relies on the uncertainties of the situation and terrors of the what-if as
opposed to grand spectacle, but it’s an approach that has led to an effective
and very underrated horror movie.
Can’t Hardly Wait
(1998) – 8/10
During their graduation party, numerous teenagers from
different cliques deal with both their memories and their hopes for the future.
For whatever reason, ‘Can’t Hardly Wait’ has not been as greatly honoured as
other 90s teen films like ‘American Pie’ or ‘Clueless’, but I do feel it’s a
very self-aware film that takes into account both the juvenility of the age
group and the dramatic realities of graduation. Despite really being an
embodiment of 90s adolescent culture, its appeal is definitely more universal.
A running theme is the concept of fate, used to explore character motivations and
the eventualities of them. Often the movie feels like a collection of advices
for those in those first few years following high school. It doesn’t single out
any cliques, but hold back on depicting its application to certain kinds of
people. The cast of mostly familiar actors of the generation are equally funny
as they are relatable. This is a very overlooked teen film.
My Top 10 Films for June 2016
1. Blow Out
2. Ace in the Hole
3. The Revenge of Frankenstein
4. I'm a Cyborg, But That's Okay
5. Goosebumps
6. Can't Hardly Wait
7. Hero
8. Carnival of Souls
9. The Secret Life of Walter Mitty
10. Lady Snowblood 2: Love Song of Vengeance
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