The Blue Kite
(1993) – 7/10
The experiences of a Beijing family during China’s social
and political upheavals in the 1950s and 1960s. ‘The Blue Kite’ was originally
banned in the People’s Republic of China for its taking a critical stance
against the Mao regime against government orders. Often labelled as one of the
greats of modern Chinese cinema, I found myself having a few issues with it but
generally appreciating it in its overall feel and its intentions. The many
characters of the film are strong and brought to life considerably well by the
cast, and director Tian Zhuangzhuang’s direction is exemplified best through
set design and symbolism. However I do feel that the focus on one family’s
point of view inhibits a wider exploration of this volatile time and place in
history, and both the Great Leap Forward and Cultural Revolution’s most severe
impacts are never explored.
Monsieur Verdoux
(1947) – 7.5/10
In pre-war France, a suave gentleman supports his family
by murdering wealthy women for their money but finds his way of life beginning
to fail him as the law catches on. Charlie Chaplin is one of the all-time
greatest filmmakers and comedians, but most of his credit tends to go to his
silent comedies where he plays the Little Tramp character. ‘Monsieur Verdoux’
is a departure from this and a more mature work from a man that wants to make
more statements through his movies. Personally it doesn’t work nearly as well
for me, and I can’t help but feel that it’s too cynical and sentimental for a
man that mastered the slapstick comedy. Regardless, Chaplin delivers a fine
performance as Verdoux and cleverly toys with the audience’s conscience.
Despite the protagonist’s murderous antics he’s something we’re drawn to,
sometimes uncomfortably so and it’s proof that even with darker subjects there’s
some light of positivity to be found. It’s not the Chaplin I love, but
worthwhile and admirable all the same.
Invasion of
Astro-Monster (1965) – 7.5/10
Aliens from a mysterious planet request help from Earth
to use Godzilla and Rodan to fight King Ghidorah, who has been terrorising
them, only to reveal they have other plans. The sixth film in the Godzilla
series is perhaps the best of these older Showa films I’ve seen since the
original from 1954, and I think that has much to do with its joyous blending of
two popular genres: The Japanese kaiju movie and the alien invader movies
popularised in post-war America. ‘Invasion of Astro-Monster’ retains the
lovable bordering-on-campy style and overall cheapness in production unique to
these earlier colour films, but proves a little different from earlier entries.
Considerably less of a monster mash, I appreciated Toho’s focus on ideas of
interplanetary diplomacy and the what ifs of the universe. But this doesn’t
detract much from the typical formula, and fans of the series ultimately still
get plenty of what they want.
Ebirah, Horror of
the Deep (1966) – 6/10
A group of young men are shipwrecked on a distant island
and discover a terrorist plot involving nuclear weapons and a giant lobster
called ‘Ebirah’ only to learn Godzilla lays dormant there as well. The seventh
of these older Godzilla movies proves to be the weakest I’ve seen thus far.
Despite some ambition evident in its concept and a generally very likable foe
for our gigantic hero to face, I think that it ultimately is underwritten in
too many areas, and not sure what to write about in others. Its human
characters are dull, several strands of its plot are underdeveloped when
compared to earlier examples, the appeal of its action is realised far too late
in an already short runtime and while likable it’s the first major instance
I’ve observed where it’s relying on comedy as a crutch. Godzilla’s battle with
Ebirah is naturally a great highlight, but I think the rest lacks major appeal.
For fans only.
Son of Godzilla
(1967) – 7.5/10
While a team of scientists conduct weather experiments on
a tropical island, Godzilla shows up to battle a horde of giant insects and
raise his newborn son. Whether you want to view ‘Son of Godzilla’ as a good
entry to the franchise or a joke is up to the viewer and I think it’s fair to
say the film is divisive. Based on my experience with these earlier movies I
don’t think that any individual example should merge the dark science-fiction
of the original with the more child-friendly approach, but rather choose one
and do it well. I think this accomplishes the latter considerably well. It’s
largely devoid of any truly adult storytelling, but expands on its comedy and cute
imagery. With an intention of transforming Godzilla into a hero with a loving
nature, I think it performs fairly well for something that one would probably
assume is doomed to failure. Raising a goofy lizard infant and doing funny
things isn’t the way I like to see the king of the monsters, but as entertainment
set in a fictional world that’s had its rules turned upside down I think it
works and it’s a definite step up from ‘Ebirah, Horror of the Deep.’
Fingers (1978) –
8/10
A confused man experiences an identity crisis when he’s
drawn in by two different worlds: that of his aspirations as a concert pianist
and his loyalty to his loan shark father. ‘Fingers’ is a very personal
character study of Jimmy Angelelli and serves as a fascinating case study of
who we want to be versus what we are. Exploring the polar opposites of life in
New York City as of the 1970s, we learn about Jimmy’s frustrations through his
failures in joining high culture and reluctant engagement with underground
crime. It’s fascinating to see a movie contrast these two worlds so stylishly.
It goes without saying though that the real appeal is in Harvey Keitel’s
layered performance. You get the sense of confusion, the anxiety and general
dissatisfaction that he has with his life as much as he does, and empathise
with his evident mental instability. While occasionally scenes are mildly
bizarre, its sporadic action and characters make it a notable Keitel vehicle.
Rogue One: A Star
Wars Story (2016) – 8/10
As the Galactic Civil War between the Empire and the
Rebel Alliance takes off, the latter makes a risky move by plotting to steal
the plans for the Death Star. The first of Disney’s spin-offs feels as much
like a fan service as it does a high-budget fan film. It walks a fairly
comfortable line between a ‘Star Wars’ entry and a stand-alone work, which in
this case is probably ideal. It’s by far the darkest approach to these movies
and I think this works well by enhancing its sense of urgency. The expansion on
the series mythos is fantastic too, really reinforcing that the creative
possibilities are endless. Where I found the film faltered was in its
structure. I felt that the set-up was drawn out, and it’s finale to be too
action-focused and less oriented towards characters who we were only beginning
to get to know. ‘Rogue One’ has its moments where it truly shines, and anyone
who’s seen it has no need for me to list them. It’s not one of my favourite
‘Star Wars’ movies, but as something to hold us over until Episode VIII it’s a
real great treat.
Excalibur (1981) –
7/10
A retelling of the story of King Arthur and his Knights
of the Round Table across many years. John Boorman’s filmography really is a
mixed bag, with greats like ‘Deliverance’ and messes like ‘Zardoz’ under his
belt. ‘Excalibur’ is somewhere in the middle between these two. I can’t
consider it a great film by the usual standards given it suffers from a jumpy
story, thin characters and some over-the-top performances by a select few, but
it’s often hailed as the greatest adaptation of the Arthurian tale. In this
regard I think it might be fair to assume that Boorman committed himself to
appealing to enthusiasts of other sources and the Medieval period as a whole.
The sets and costuming are wonderful, the Irish scenery is stunning and the
dreamlike look of the movie is absolutely mesmerizing. ‘Excalibur’ isn’t
written in the way to achieve its potential, but it does have its areas where
it excels.
The Border (1982)
– 8/10
An agent serving on the Texas-Mexico border gets caught
up in people smuggling activities only to take a stand against his colleagues
when a Mexican woman’s baby is abducted. Largely dealing with the sensitive
topic of immigration and human rights, this low-key drama is in my opinion one of
the most underrated movies starring Jack Nicholson. This time around our star
is comparatively more subdued than some of his more notable performances, but
in doing so it also feels a lot more earnest. Above being a tale of a man
taking advantage of a situation gradually adopting a moral high-ground, the
undertones of trying to fit the mould of others’ expectations is very
relatable. While the film does feel like it’s taking a right-wing stance by
emphasizing the importance of border control and at times it seems to take a
judgemental stance against the Mexicans, but I do feel ultimately its heart is
in the right place, particularly in respect to its main character’s
motivations. ‘The Border’ is somewhat forgotten and unfairly so.
I, Robot (2004) –
8/10
Set in the year 2035, a detective with a hatred of robots
investigates a crime that may have been committed by one only to stumble upon
something more sinister. I remember ‘I, Robot’ being very popular among
classmates when first released, but I’ve never taken to time to watch it
properly until now. While it’s hardly one of my favourite movies dealing with
robotics I appreciate Alex Proyas’ film’s effort in incorporating all the major
concepts in a way that’s exciting for wider audiences. I do think the movie
ultimately is bound by its own status as a summer blockbuster. It hardly says
anything about what it means to be human or the potential dangers in man’s
creation better than any other movie. The movie however remains consistently
engaging by a steady dish of action and a fine performance by Will Smith as
Spooner, a character I was always eager to learn more about.
Erin Brockovich
(2000) – 8/10
An unemployed single mother finds her luck changing after
becoming an assistant to a small law firm and becoming instrumental in a case
against a power company caught contaminating the water supply with hexavalent
chromium. Both a worthy Best Picture nominee for the year 2000 and a notable
entry into director Steven Soderbergh’s filmography. ‘Erin Brockovich’
dramatizes the true story of its eponymous titular character and in doing so
reflects the environmental and human justice the real Brockovich stands for.
It’s performances like this that make me feel that Julia Roberts is quite
underrated as an actress and that her association with being a box-office lure
is unfairly coincidental. She communicates the tenacity of her character with
ease, and plays off her co-stars wonderfully. With praise given, the real
relevance of ‘Erin Brockovich’ is in its self-admitted David and Goliath tale.
Companies need to be regulated for the betterment of Earth and its occupants.
While I don’t think this movie is a masterpiece by any means, it was fair
contender for the Best Picture award for its mixture of drama, humour and
intrinsic flair.
Frankenstein
Created Woman (1967) – 8/10
Baron Frankenstein is re-animated and takes an interests
in the human soul’s independence from the body, leading to him experimenting on
his first female subject. The fourth film in Hammer Film Productions’ string of
Frankenstein movies succeeds in keeping the train moving on the gothic
interpretation of the character. It proves that again that these stories are
adaptable to different ideas and exploring the possibilities of science in
horror fiction. While it’s so far my least favourite of the four movies I’ve
seen, I appreciate it especially for it more-or-less being the Hammer response
to ‘Bride of Frankenstein.’ This film remembers its place as a dark reimagining
of Frankenstein and isn’t weakened by any of its humour or love-story subplot,
but it does however transform into a very basic vengeance tale. Peter Cushing
is as great as ever, but I think that like its predecessor this entry plays
more for plain entertainment than shock and awe.
Changeling (2008)
– 8.5/10
After her son disappears, a grief-stricken mother takes
on the LAPD when they try to pass off an imposter as her missing child, which
leads to scandal involving murder and the abuse of power. Though he’s been
directing films since the 1970s, Clint Eastwood has become far more prominent a
director in the last 20 years and I’m always excited to see new works from the
man and for whatever reason ‘Changeling’ is the one that took me eons to get to
viewing. The fact that he was not nominated for Best Director for this and
‘Gran Torino’ in the same year is plain criminal. All praise for him aside I
actually feel the real credit goes to Angelina Jolie and screenwriter J.
Michael Straczynski this time. Her brilliant performance as Christine Collins
per his script is a match made in Heaven and reveals the anguish of losing
one’s child in a way that’s compassionate and leaves you hungry for justice. The
recreation of the 1920s and 1930s is splendid and it’s depicted in an
appropriately melancholic way through a gloomy visual style not uncommon for
Eastwood. Though some have complained ‘Changeling’ is too conventional and a
deliberate tug on our emotional strings, I found it to be powerful and
personal.
The Quatermass
Xperiment (1955) – 8/10
A rocket crash lands back on Earth during its mission,
but two of its astronauts are missing and the third changed by a foreign
organism, which brings Professor Quatermass to investigate. This is generally
considered to be the film that gave birth to the distinct genre that is ‘Hammer
Horror’ though it’s a far cry from the studio’s more famous efforts with
Frankenstein and Dracula. However the first of the Quatermass has a unique
charm of its own by merging a 1950s alien invasion story with the mystery
thriller and classic horror. While I think it adheres to the conventions of all
these genre types very closely their being imposed into the one picture offers
a distinctive result. There’s a real sense of urgency coupled with grotesque
imagery and threatening concepts that I feel all hold up pretty well for
something that’s over 60 years old. ‘The Quatermass Xperiment’ boasts its own
special greatness even though it might be easier to deny it a special mention
in favour of Hammer’s gothic horror movies of later years.
A Fish Called
Wanda (1988) – 8/10
After committing a major diamond heist in London, the
four thieves attempt to double-cross one another while a respected lawyer is
drawn into the mix. It’s been on my viewing list for a while, and ‘A Fish
Called Wanda’ was a fine movie to start the year 2017 with. It’s by no means a
great crime drama with much deeper meaning, but it’s an excellent comedy and
one that I really didn’t want to come to an end. What I admire is the humour is
almost exclusively derived from the film’s status as a joint American and
British production. American characters are boisterous to a fault whilst the
British are comparatively self-restrained at their own expense. Although the
film’s rapid pace might push it into a steep descent into total farce, it
doesn’t forget its humanity. At its core, ‘A Fish Called Wanda’ is about people
chasing a dream, but breaking ethical boundaries in doing so. A fantastic cast
deserves praise as without John Cleese, Jamie Lee Curtis, Michael Palin and
Kevin Kline, this film would lose much of its energy.
White Zombie
(1932) – 8/10
A young man uses a witch doctor’s influence to lead a
woman away from her fiancé, but instead finds her turned into a zombie slave.
It’s not hard to see why ‘White Zombie’ is obscured by many other horror classics
of the time given its status as an independent effort, but it’s a solid work in
every sense of the world and illustrates how on top of his game Bela Lugosi was
in the early 1930s. Many cite the movie’s different approach to the zombie
genre as significant while others have indicated similarities to 1940s RKO
pictures. To me, neither of these facts matter nearly as much as its wonderful
use of atmosphere. It’s haunting, and despite being very slow at times it pulls
you in to its world. Lugosi is beyond fantastic in his role as ‘Murder’
Legendre, and though it can barely hold a candle to his performance as Count
Dracula it confirms his innate charm as a horror actor and one who knows how to
act with the eyes. Although it established conventions of zombie movies that
have since been outdated by the more popular Romero approach, ‘White Zombie’
has a special place in history.
The Good Dinosaur (2015)
– 8/10
A young dinosaur terrified of the world around him has to
get past his fears when he’s separated from his family and caring for a human
child. Many would say that Pixar has entered a new era of greatness in recent
years, and I think that rings true when ‘The Good Dinosaur’ is in question.
Though I don’t think it compares to some of the company’s earlier greats, it
succeeds in doing what any of their movies do best: Telling a warming tale full
of imagination whilst teaching a lesson. In this case the running themes focus
on survival, responsibility and pushing through fear and adversity for the sake
of what’s important. The film is notable for bending scientific truths by
placing humans and dinosaurs side by side like many other films have, and this
proves advantageous in both heart-wrenching and comedic ways. Truthfully ‘The
Good Dinosaur’ isn’t nearly as gripping as many of Pixar’s other works, but its
character relationships, nods to other works and beautiful animation make it a
worthy entry.
The Wicker Man
(1973) – 8/10
A police sergeant is sent to a Scottish island village to
investigate a young girl’s disappearance and encounters obstruction from the
townsfolk who continue to practice a Pagan faith. The original ‘The Wicker Man’
often experiences a degree of disservice usually in the form of association
with the loathed 2006 remake or its being unfairly marketed as a horror movie.
If one could even call it horror, it’s among the most unique films of its time,
but I personally like to think of it as a mystery-thriller with disturbing
elements. What I love about this movie is its subtle descent into the sinister.
Initially the film feels like a standard crime story before transforming into a
borderline-hypnotic descent into another world. Although the depiction of Pagan
religious practices are greatly exaggerated for dramatic effect, I found it
fascinating nonetheless and only more engaged by the brilliant use of the
natural environment, its iconic third act and great performances by Edward
Woodward and Christopher Lee.
Ghost Ship (2002) –
7/10
A salvage crew discovers a passenger ship missing since
1962, and when they claim it as their own they witness a series of paranormal
events that put their lives at risk. I have memories of always being curious
about this movie every time I passed by it in video stores as a kid, but it’s
evident why ‘Ghost Ship’ hasn’t lasted in the collective memory of moviegoers.
While I did get a fair amount of joy from it as a simple movie experience it
does absolutely nothing to impress those looking for something fresh. The plot
is thin and full of holes, performances vary from acceptable to weak and the
odd musical choices both make the film appear dated and simply confused over
its goals. Nevertheless I found the film more than engaging enough for its
concepts and atmosphere and what it does well partially makes up for its
faults.
My Top 10 Movies for December 2016 and January 2017
1. Changeling
2. A Fish Called Wanda
3. The Wicker Man
4. The Border
5. Rogue One: A Star Wars Story
6. The Good Dinosaur
7. Frankenstein Created Woman
8. Fingers
9. Erin Brockovich
10. White Zombie
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