area01 Reviews

The Lego Movie (2014)

One Gag does not a movie make.....

[1 March 2014]

Okay... Let's get one thing out the way. I know this is a movie aimed at youngsters. And is not in the running for an Oscar or such like.

But.... you have a legion of Lego Lovers and Parents who will have (or even want) to watch this film.

And that is the problem: It is basically a "One Gag Movie". The gag is animated Lego Pieces and it runs for what seems like an eternity...

It feels like someone had a real passion for the concept. Sold it as a movie idea, and then marketing took over. The "manual" said: Need something to please everyone and that is what they built. But speed it up for those kids with no attention span....

The pace is frantic. The jokes lame. The animation okay. The message wholesome. The Lego Cameos in place. The Pop Culture references ticked.

They have a winner and good luck to them. But a little more thought, style, pacing and story would have produced a much better flick.

Pixar and Dreamworks have a good handle on quality family animation. I am sure it would have been much better in their hands.

Red State (2011)

Red State..................... Grrrrrrrrrrrrrrrrrrrrrreat.

[9/10 · 13 April 2013]

First up..... This great little flick was made for price of most movie's catering budget. And the DVD extras are superb to watch, as Mr Smith sticks it to the Film Distribution Suits at Sundance.

The film is mainly a chance for Michael Parks to strut his stuff, and all the better for it. There's a lot of black humour there, and nods to horror genres like Hostel.

Not sure about any "message" as such - apart from the attempt to entertain. It could open a debate about religion, sexual preference and gun law..... But I don't think it's that type of film-making.

Another interesting aspect is Kevin Smith's choice to market the film outside regular Studio Distribution. I love the way he hammers home this point and yet still admits he is in a rare position to do so. And would still take the normal route if it was his first film at Sundance.

He has built up a fanbase through his efforts and deserves the right to try something different.

All in all - a fun film that has something to say on the screen and off it, if you want to join the debate.

13 (I) (2010)

Art House Hollywood.......

[19 October 2012]

Wow. Having seen the original French version - I would have thought Hollywood would have stomped all over this.

But.... They get A List stars to cameo in an "Arthouse" flick - that is something cool. And "Gold Star" merit if someone can explain how that was done.

All the subtle meaning in the French original is here, almost shot for shot, plus the tension and character development but with a few extra touches that work real well. I would give extra screen time to Rourke and that is what the director does well.

Only the marketing lets it down. I would have aimed for the Fincher art-house crowd here - rather that the Stratham action house fans as I think that is were the film's strengh lie.

Apart from that - give it a go. Great remake and the way forward.

Hard Boiled Sweets (2012)

Great Brit Sowth Hend Gangster Flick.

[8/10 · 12 July 2012]

What Can I say.....? Great dialogue. Great Gals. Great pacing. Just.... Great all round.

Nice mix of low rent "Sin City" set down south at the Kiss Me Quick seaside town of South End.

Lot's going on to keep you amused and dialogue that is up there with Crime Noir writers like Leonard and Ellroy - it would give Tarantino a run for his money. Let me tell you that, My Son....

Check it out if you liked Lock Stock. Same pacing and humour.

Not sure why it is below most people's radar on IMDb.

But I loved it.

Killer Joe (2011)

The Mrs Liked It........

[8/10 · 2 July 2012]

I took the wife to see this little gem and to my surprise - she liked it. My film choices are superb (in my opinion) but "Blue Velvet" did not go down well. So....... when the dark violent humour started springing up in Killer Joe - I started to worry.

I think it worked well because the film took the time to flesh out all the characters so you cared about what happened to them. It's really a bit of a "blokes" flick with the storyline and scene set ups. So good to see it can also appeal to a mature lady as well.

Nice little "trailer trash scheme goes astray flick" and well worth a watch. KFC will never taste the same again.....

How comes a great director like Friedkin only has a handful of reviews on his latest outing? I went on the fact he directed it and it's a shame it has not got better coverage. Anyway... The Wife and I have done our bit.

Solomon Kane (2009)

Needed to zip along a bit more.....

[2/10 · 3 March 2010]

I was looking forward to this flick. Being an old Robert E Howard fan, mainly from a Conan stand-point.

I was not expecting a great deal and thought they could not mess it up too much.... Oh dear - how wrong was I....

The main flaw was it was fairly dull. It needed to zip along with a nice helping of supernatural goings-on, sword-fights and the like.

You got some gore, but everything else was just pretty life-less. The middle section just seemed to involve 40 minutes in a muddy forest with slow plodding horse-drawn carts and even slower dialogue and character development!

On the plus side = Costumes and effects were fine, but not enough to keep your interest.

I think it would have been better to tone down the gore, up the tempo, and go for a 12A rating. As a Ten Year old boy, I may have liked this movie. Probably about the age I was first reading the Conan stories funny enough. Perhaps that says a lot about my anticipation of the film?

Or....... Go really "Art-House" with tone, direction, etc. But that's fairly high-risk as far as Box Office is concerned.

Oh well.... Perhaps the next Conan movie will make up for it?

Angel Heart (1987)

If I was going to make a film

[10/10 · 5 January 2006]

If I was going to make a film, I think that Angel Heart is the type of film I would love to make. It had a superb moody atmosphere with great locations like Cooney Island, New Orleans and The Bronx. Actors like Mickey Rourke, Robert DeNiro and Charlotte Rampling at the top of their form, and a slow dream-like quality not seen too much in today's Cinema. It also mixed "genres" very successfully - merging the traditional gritty private eye format with an occult supernatural story-line - a unusual amalgam at the time, and not really revisited since this fine outing. There's also a fair amount of black humour, and a wealth of sparkling cameo performances (Izzy and Wife) that add depth and quirkiness to the film - making the overall experience even more enjoyable.

I get the impression that director Alan Parker was at a point in his career where he could choose the style of movie he wanted to make, and was willing to direct against "type" with this private eye/occult thriller. This must have been magnificent freedom for a director - along the lines of David Lynch and Spike Lee making the movies they wanted to, with seemingly little studio interference. Alan Parker had had great success up to this point with films like Fame and Midnight Express, so he had some clout with the studios, and they knew that he was likely to produce a quality movie.

I think that Angel Heart is one of those buried treasures that has not even achieved "cult status" - it seems to be below the radar for most movie watchers - even the UK DVD release seemed low-key and budget-priced, but very well done with a superb transfer, director commentary and informative extras. IMDb review comments mostly praise the film - but I feel that it's an 80's gem that ranks along side Good Fellas, Blue Velvet and deserves a much wider audience.

So… now that Angel Heart has been made - I will have to set my sights on making another classic unknown film, I suppose the world is my celluloid oyster…..

Monster (2003)

Sympathy For The Devil.

[7/10 · 5 January 2006]

A great little film with a power-house central performance by Charlize Theron as Aileen Wuornos, one of America's female serial killers.

The film is essentially a love story, as Aileen meets and falls for Selby (Christina Ricci) - a young girl who is estranged from society and her immediate family. This infatuation takes place whilst Aileen is beginning to murder her victims and Selby seems to ignore any tell tale signs of the murders taking place - the film shows Aileen hiding this from Selby for most of their relationship. Making Selby an innocent party in this portrayal of the events.

Most Serial Killer flicks are driven by the killer being hunted by the detective, but Patty Jenkins (writer and director) moves away from this and progresses the movie by character development, emotional insight and empathy - it's a very female approach and works extremely well with this story. I think a male director may have taken a different slant with this subject matter, both in the character motivation and lesbian aspects of the movie, but Patty's approach softens these themes and lets the characters come through, but still leaving them interesting and slightly ambiguous.

Patty and Charlize have a lot of sympathy for Aileen and this shows in the screen treatment - even the title demonstrates this - here "Monster" refers to a Ferris Wheel and Aileen's fondest childhood memory, rather than the human "Monster" that she became. It's a brave move as a lot of the Genre's fans may be expecting a gore or chase movie, and this gives a very human portrayal of Aileen Wuornos, exploring a lot of her abusive back-ground and examining the potential inherent violence in prostitution. She also shows regret and reserve when the murders are not as a result of direct violence against her. The "serial killer mythos" is also de-glamorised in this instance, both in appearance (with Charlize Theron made up with a blotchy skin condition and shaved eye-brows) and in portrayal - Alieen is shown as a regular working woman trying to make life's circumstances work for her, not the cold-blooded reclusive ultra-intelligent sociopath from most of these flicks.

It's a sad little tale, and you feel that the cards were really stacked against Aileen, but there must be thousands of people in exactly the same circumstances who do not end up as serial murderers. Well worth a watch.

Freeze Frame (2004)

Freeze Frame. Some nice ideas

[6/10 · 5 January 2006]

**Mini Spoiler*** The plot of this film is a little too obvious, and why do scripts have to have one of the main four characters end up as the killer? I will not let on as to who, just to keep you in suspense. **Mini Spoiler Ends***

This flick has the feel of a modern day Agatha Christie novel, and could have been a stage-play with it's limited locales. But…. It has some great visuals, and I loved the broken up, jerky digital images that got thrown up in the early part of the film. The vault of Camcorder Tapes detailing an obsessive man's life was great.

Lee Evans shows he is a good actor, but I do not think this was the break-through film for him. He has the potential of doing what Robin Williams cooked up in One Hour Photo - and just needs the right part…

The Point-Of-View footage and multiple camcorder images did wear after awhile, and the rest of the movie was so jet-black that things got a little dull visually - even the likes of ultra-bleak Se7en had a few "colourful" moments - but this was probably the look the makers were striving for.

Also, I kept thinking "why do that?" and "what a stupid thing to have done" - normally plot-holes do not bother me, but the storyline was straying a lot from it's initial edgy, hyper-realistic, noir style. Things just seemed to get more and more illogical, but with everyone still playing it fairly straight - unless I was missing something…..

So…. A nice effort and lots of style for a limited budget - but a little too formulaic and over-stylised for my liking.

The League of Gentlemen's Apocalypse (2005)

League Of Gentlemen . Extraordinary

[8/10 · 13 June 2005]

A great little film - funny, clever, silly, entertaining and British! Made with great aplomb for the same amount as the catering budget for most "Block-Buster Movies" this humorous romp takes the fictional characters of Royston Vasey into our real world to stop the writers "killing" them off. You have a quick recap of some of the League's characters at the start of the film, and then the story starts at a pace.

Just when the initial "oh look, that's my writer" gag is starting to stretch thin - the barmy 1690 Period Python-Style piece kicks in, and this is great - pure League black-comedy with lush costumes, facial ticks and faecal comedy….

There's lots of nods to great cinematic moments, and the plot is layered with a film within a film - fictional Geoff Tipps writes himself into the writer's 1690 movie with a "Big Cock" and ends up saving the King in that story. This could be viewed as a bit "up it's own back-side", but I thought it was clever and a departure from the "Grace Brothers on holiday" outings that TV Series movies can descend into.

Well worth going to see, and it should appeal to die-hard League Fans (if not - shame on you….) and regular cinema goers wanting something different - (Start stirring National Anthem) It's British, damn it…. (Bottom lip quivering…).

Blade (1998)

Bladexploitation?

[11 January 2005]

Anyone notice this fine Vampire Action Flick has a heavy slice of Blaxploitation mixed into it? This could be due to the adaptation of a Marvel Comic Character from the 70's, when Afros, Leather, Bell Bottoms and Bad Muthers were everywhere.

Of course, in today's PC climate, I am sure the film makers wanted to be true to Bade's roots (no pun intended) or had a dose of Post-Modern irony in the production of the movie. I am talking more about the clothing, cars and attitude than the fine performances from the two lead actors Wesley Snipes and N'Bushe Wright.

Blaxploitation films really took black culture and sold (exploited) it to a mainstream audience, but Blade works as a great horror action flick in it's own right, rather than needing to exploit any particular culture. However….. I think it still owes a debt, in tone, to the likes of Shaft, Action Jackson, Coffy, etc. Bad-Ass dude in leather clothing with bitchin' weapons and cool one-liners - all that was missing was the Isaak Hayes Soundtrack ("ain't talking about Blade…..") and a Pimp in Flares that could double as Bay Window Curtains….

Anyway…. Blaxploitation Cinema has influenced a ton of movies over the years - directly with the likes of Jackie Brown, spoofed by Goldmember and Uncover Brother…. It is also recognised as an influential period of film making, now given a higher cultural status than it's low budget grass-roots origins. So, nothing wrong with Blade laying down a slice of this in it's production.

Daredevil (2003)

Daredevil - The best Super-Hero Movie?

[3 September 2004]

Daredevil is the movie that Burton's 1989 Batman should have been. I know Special Effects have moved on since then, but Daredevil has the pacing, storytelling, character development, direction and overall style that Batman lacked. The director obviously has a lot of fondness for the character, and drops a shed-load of comic book references into the film, like creators names and situations, making it a labour of love - but with the technical ability to make an accessible film for all audiences.

From the opening shot of Daredevil grasping the cross atop the church, the excellent origin structure and the character interaction between Daredevil and Electra, Bullseye and the Kingpin - this movie bridges the gap between the original Comic Book sources and the end film magnificently.

There are a few sections of the film that did not come up to par - the opening titles are a nice idea (braille to letters) but it looks a little cheap and computer-generated, and Daredevil being entombed in the water filled coffin (to block out all outside noise?) seemed surplus to requirements. The end piece with the Kingpin is a little rushed, but I suppose we had all the Super-Hero Slug-Fest we could ask for with the Bullseye church section? I would have preferred a standard music score throughout, and not the "alternative rock track" that got dropped in occasionally. But these little gripes aside - the movie really does hit the spot throughout.

Daredevil also marks the first mainstream venture into a mature audience market for a "kids" super-hero character. The comic character was always a darker version of Spider-Man, with mature storylines supplied by the likes of Frank Miller. But it's still a gent in spandex underwear leaping around New York after hours, brawling with other costumed nut-cases, and leading the customary double-life (Lawyer by Day, Hero by Night) of your regular Super-Hero. The 1989 Batman film, and even Spider-Man, moved Comic Character movies away from the younger audience - but Daredevil really pushed it further without an all-out on-screen blood and sex agenda. A brave move as the potential audience must be reduced by this approach, and it has to be a harder sell to the studio and money-backers.

I am sure there are a legion of Spider-Man and X-Men fans out there that would wave the flag for these to be crowned "best super-hero movie", but my vote would go to this horned devil. Bring on Daredevil 2, by the same team…..

Urban Gothic (2000–2021)

Urban Gothic. Tales Of The Uneven.

[10 March 2004]

Having seen the 1st Season of this TV Horror anthology series on DVD, I wanted to comment on it - as there are not many postings relating to this little late night gem.

Best way to describe the 13 episodes is to imagine "Tales Of The Unexpected" meets "Hammer Horror" on a cable station budget. Due to this the quality is very uneven, but this could be to do with the direction and production on the individual episodes, assuming the same money is allocated across the board...

I found all the episodes watchable, and allowed for the budget restraints - but there are a few real gems that stand out, and make the DVD purchase all the worthwhile (but it was going cheap..) - Vampirology, Old Nick, Cry Wolf and Boy's Club all romp along, look fantastic and are pretty scary, with new (ish) spins on standard horror themes. The filming is pretty basic, and tends to be in one or two locations - depending on the warehouse, theatre or hospital that's available - but making the most of the location, lighting and mood. The creepy London council flats in Old Nick are a great example, and you could just imagine real life horrors played out in those lifts and balconies.

I read somewhere that the writer Tom De Ville, was only thirteen when he penned these - this could be an "urban myth", or he spent way too much time with old Hammer and Amicus Films, taking in large dollops of 70's psychological drama and 80's splatter flicks along the way. The retro 70's feel could come deliberately from the directors, but the lovely Ingrid Pitt gets a mention in Vampirology, so that's a direct Hammer Horror writing nod.

The 30 minute format (even less on DVD as you lose the advert break) puts a strain on making the stories clear and straight - in fact, most are a bit muddled with slightly rushed "wrap end" endings, but I think this adds to the charm. The acting is also hit and miss, with some performances really great, and others very wooden.

Overall - a real nice run of "Old School" inspired horror, with some great ideas - especially if Mr. De Ville was only 13....

Red Dragon (2002)

Hey! Leave it out with the Norton bashing .

[26 January 2004]

Hey! Leave it out with the Norton bashing….

Now… what's all this Edward Norton bashing in these IMDB reviews? I think Edward provides a great performance as William Graham in this adaptation of the excellent Red Dragon novel by Thomas Harris.

It's one of my favourite books, so I am comparing the film against this, rather than the Manhunter movie from 1986. Norton's portrayal of Graham is how I pictured the character in my head - methodical, caring, emphatic and a little scared at his ability to think like a serial killer. I never thought about an age for Graham (one of the IMDB review criticisms) but thirty-something seems about right, and provides a nice counter-point to the older actors like Hopkins and Keitel.

I feel that Edward was also well chosen - this role is pivotal to the success of the film, as it's Graham who gets the most screen time and provides the back-bone to the story. The film makes more of the relationship between Reba McClane, the blind woman and Dolarhyde, the Red Dragon character, I assume to build the tension as quickly as possible. Where as the book has this as the end piece, and focuses more on the invisible connections between Dolarhyde and his nemesis, William Graham. This is difficult to pull-off in a film, so the dialogue between Graham and Hannibal is given more screen-time - this connects nicely with Silence Of The Lambs, and caters for the Hopkins/Hannibal fans. Edward provides good solid naturalistic acting throughout the movie, imagine what someone like Jack Nicholson would have produced - you would have had eye-rolling and laboured breathing by reel two...

I can't think of a better choice for Graham, unless you wanted a "Star" to get bums on seats - like Brad Pitt or Johnny Depp, but I do not think that the film would be any better for another choice. Norton must also have his own fan-base from past projects like Fight Club and American History X, so these disciples would have parted with their money for an entrance ticket.

So, enough of the Norton bashing - if you are going to lay into anyone, try Ralph Fiennes for his portrayal of Francis Dolarhyde, but I am not getting started on that

Safe Conduct (2002)

Safe (but slightly indulgent) Conduct.

[14 March 2003]

It's really interesting that there are so few reviews on this film, as of 14.03.03! I caught it in a small University Film Theatre in Stoke-On-Trent, but surely this must have had a country wide release in France, so why not more reviews for this work from acclaimed French Film Director Bertrand Tavernier?

The film is nicely shot with an interesting story-line that looks at the lives of two men involved in the French Movie industry during the German occupation of Paris in the 40's. It has a frenetic camera style, and drops the viewer straight into the lives of the characters with no back-ground or build-up - so this, along with sub-titles (as I do not speak French), made for a bewildering first 15 minutes - however you soon adapt to this, and the lives of the two main characters are easy to follow.

There is a meandering, almost self-indulgent style to this film that made it a long 170 minutes for me. There would be lots of speedy camera moves around the great period movie set or Parisian streets, but no real point to these segments as it would not develop the story or characters. The character Jean Devaivre is always busy - so perhaps this is designed to capture some of that energy and the merciless deadlines of producing movies during this period. However, this style really grated on me after awhile and ended up being distracting, as there a very few "stationary" shots during the film.

The film explores life during extreme war-time experiences like Air-Raids, rationing, occupation, racism - and how people would deal with this. I refrain from using the term "ordinary people" as these characters (by there own admission) are French Bourgeoisie and almost exempt from the war as they are "artists". But they still feel compelled to resist in some way, and either do so by refusing to work for the German owned film company, or by aiding the French resistance where they can. Based on real events and people - this is the strongest aspect of the movie, however I felt this got lost in the meandering storyline, and blurred by the sub-plot concerning the politics of 40's film-making - with the lack of materials, writing talent and censorship. In my opinion it would have been better to concentrate on fewer aspects, had stricter editing and brought it in at 120 minutes - however that's just my view and story preference....

Aside from the above, this is a fine film and worth viewing if only to get away from the dominance of the Hollywood Movie Machine for a few hours. It will make you think, engage you and elicit some form of a reaction - as all good movie-making should.

Session 9 (2001)

Session Took Too Long....

[14 March 2003]

A well crafted psychological horror thriller that unfortunately just misses the mark. I liked this film as it did not have a huge budget, and took the time to build the characters and story - something that you do not see too much in today's "MTV" movie culture. However, it took too long to get the story going and I started to get bored about half-way through. I usually forgive any glaring holes or errors in the plot, as I like to feel that belief should be suspended for movies - but it really bugged me that these four men are on a tight weeks' deadline to remove asbestos from an old Mental Asylum, and then spend all their time messing about with boxes, tapes and coins in the basements! From then on I lost interest in the characters.

Perhaps I have seen a movie with a similar plot-line, but I guessed the killer from early on. There's also a huge clue if you listen to the back-ground soundtrack, and this scene is repeated several times. So the usual "surprise" ending did not happen for me.

I read another review that thought that the Asylum had been found first, and then a movie shot around it - I tend to agree with this, but it would have been better to explore the straight real horror of these type of institutions, rather than this "murderer within our midst" fodder. But this would have been a different type of movie, and not the film that Brad Anderson wanted to make.

Griping aside, this film did have some fine moments, good acting, intriguing images and a moody atmosphere - but it reminded me of those low-budget horror movie from the 70's, and I guess I was not in the mood for this type of flick - but credit is due to the makers for producing quality work on a budget.

Blue Velvet (1986)

A Velvet Touch...

[14 March 2003]

For a bit of fun, I am going to attempt a review using only text from IMDB's Memorable Quotes from Lynch films - here goes:

See that clock on the wall? In five minutes you are not going to believe what I just told you. I'm in the middle of a mystery and it's all secret. I'm seeing something that was always hidden. What does that mean?

A ride? Hell, that's a good idea. This is where mechanical excellence and one-thousand four-hundred horsepower pays off! I had a dream. I had a dream about this place. In fact, it was on the night I met you.

In the dream, there was our world, and the world was dark because there weren't any robins and the robins represented love. And for the longest time, there was this darkness. And all of a sudden, thousands of robins were set free and they flew down and brought this blinding light of love. And it seemed that love would make any difference, and it did. So, I guess it means that there is trouble until the robins come. It's a strange world. This uncertainty adds an exquisite element of torture to the sitution, don't you think?

Well, that's for me to know and you to find out. Well, I don't think much of anything. I like to remember things my own way. A man's attitude... a man's attitude goes some ways toward how a man's life will be. You sure you're doing okay? Everything all right?

It's no longer your film. There's something I've been meaning to ask you for some time now. Am I a good man? Or a bad man? Oh no... no... you're a Romeo. Okay, I'm thinking. That ain't no way to treat your wife, buddy. I don't care what she's done. Is that somethin' you agree with? Well, just stop for a little second and think about it. Can ya do that for me? Now I want ya to think and quit bein' such a smart aleck.

Now! We're leaving now! I didn't want to come here in the first place! It's kind of embarrassing.

It's been a pleasure talking to you.

Se7en (1995)

John Doe - Right or Wrong?

[28 February 2003]

With so many reviews on this great movie, I thought I would take a singular track, and examine one character of the film - John Doe.

Kevin Spacey plays John Doe - the serial killer chased by the two detectives. There is a neat twist in the way John Doe is captured, but the real character development comes when he is taken to where "two bodies are buried" at the end of the movie. He requests that only the two detectives accompany him, and they question him during the car ride. This is a fantastic scene, where we are given the opportunity to listen to the reasons why the serial killer murdered his victims.

The intriguing piece of this scene is that the film-makers make a sympathetic case for John Doe, and give Spacey the chance to show off his acting talent. To try and elicit a sympathetic audience response for Doe, after all the horror of the murders and the trawl through his dark alien world, is a tall order indeed. I feel that Spacey does a remarkably job of this, with understated acting and a spaced-out, slightly bored feel to the character - just right for a sociopath who feels he above the moral restrictions of the common man.

The main thrust of the argument is that Sin has become so common-place that we have become numb to it, and indifferent to the every-day horrors that surround us. Doe has taken a stance and his murders will shock us and change this situation - we will puzzle over his seven murders, and look again at Sloth, Greed, Envy, Gluttony, Lust, Pride and Wrath. There is a religious under-current to the argument, but Doe accepts that he had carried out the murders, rather than hiding behind the explanation of a external dominant force. He also indicates that Mills (Brad Pitt's character) is very similar to himself, and might descend into murder if there were no rules or laws. Perhaps Mills is meant to represent "everyman", and that there is a tiny piece of Doe in all of us? In fact - this is the only time when Doe becomes animated - as if convincing Mills as to his logic is of importance and worth heated discussion.

Of course, the problem with the above is that Doe uses the ultimate sin, murder, to punish lesser sins. So the argument really makes no sense - but the pacing, camera-work, dialogue and acting of the scene makes for a first-class piece of cinema. I suppose only someone who has the same physiological make-up that Doe has would agree that he is right. There is no reason given as to what made Doe the way he is - he is an almost blank character, showing little emotion or remorse for his murders.

This scene and character interaction is meant to make us consider the level of sin in our society - I think the prevalence of greed, envy, etc is out of control, but has become such a fabric of modern living that there is nothing we can do about it - apart from living your life to your own moral code.

Planet of the Apes (1968)

A healthy dose of 60's Sci-cology.

[19 February 2003]

The sixties and early seventies seemed to be a great time for Sci-Fi movies to be made with a "social" message or metaphor. Kubrick had the chilling indifference of the computer with 2001, Soylent Green examined our compulsion with age, and Planet Of The Apes had monkeys ruling a warped apocalyptic future. It seems to me that prior to this, the main-stay of Sci-Fi movies was bug-eyed monsters threatening bikini clad space farers.

POTA (Planet Of The Apes) does a good job of examining the inverted logic of apes keeping Man as slaves and treating him as a animal, with the Orang-utan hierarchy refusing to believe the possibility of a Darwian descent from these "creatures" or the existence of a soul within them. The more I thought about it, the more I thought it would make an unusual thesis for a University Dissertation - but I am sure there must be 100's of them by now from lovers of this fine film....

I can't imagine that anyone reading this will not know the ending, but I will not reveal it just in case. The film is fairly slow in it's pacing, using mainly cinema shock tactics to keep the audience interested (the dead astronaut Stewart, the gorillas on horse-back, Taylor's first words to the apes, etc). The cinematography for the first segment of the film is really fantastic with superb shots of the "Forbidden Zone" land-scape, and the tension builds nicely as the astronaut survivors slowly realise that they are not alone on this world. This then escalates when they find out that Man is not the dominate species. The storyline then slows for the middle of the film as the apes judge Taylor (Heston's character) and consider where he comes from - as his explanation of a distant planet is too ridiculous. Scientific theories of mutation and illegal medical surgery are considered.

Heston's performance as the cynical astronaut Taylor is used mainly to reaffirm the sense of isolation as the crew are sent 2, 000 years into the future - and to provide a central character that would be able to survive such a situation. I think he pulls this off well, and is very believable in his interaction with the apes that help and try to protect him. He has some corny dialogue to deliver at the beginning of the film about "man's inhumanity towards man" - but this can be forgiven against the back-drop of social conscious that must have been prevalent in 1968.

The make-up, sets and costumes are fantastic - and set the look for the rest of the films in the series, along with the TV spin-off. There is just something very satisfying about seeing monkeys on screen, so perhaps this accounts for the longevity of the appeal of this franchise.

Lost Highway (1997)

A world where time is dangerously out of control.

[14 February 2003]

"A world where time is dangerously out of control" and "A graphic investigation into parallel identity crises" are both quotes from David Lynch's Lost Highway Screenplay - I got this Screenplay from an un-official web-site, so I assume that this can be credited to Mr. Lynch. I start this review with these quotes, as I feel they neatly sum up this perplexing film.

The great thing about Lost Highway and Mulholland Drive is that they are both films that engaged me, and left me with a riddle I felt I had to try and solve. This involved checking other IMDB reviews and the Internet for "clues" and solutions to the storylines. This is a rather futile exercise, as I do not think the answers are that simple, but it's rather endearing that movies can still have this effect within a culture that expects everything to be neatly wrapped up and explained.

I will not try to explain the plot, apart from that it seems to be two stories and characters that merge together at the end of the film, only to Moebius loop around to leave you where you started (how's that for a Lynchian explanation?).

I have read several reviews that ask you to "let the art of this film speak to you on an subconscious level/just enjoy the images" and not try to make too much sense of it. Now that's fine - but a little unfair to mainstream movie goers, who would (should?) get a storyline that at least make's sense after a little effort and thought from the audience. Lynch is well know for refusing to explain his work, and that should be his artistic right - so is he being deliberately antagonistic with this work, or does it all make sense and we are missing the message? Either way - it's got me thinking about the film and writing this review....

Personally, I find this the "weirdest" of all the Lynch films I have seen. But I like his work, and am pleased that art-house movie making is still taking place, and known directors like Lynch can bring this to a mainstream audience. Seeing something that is very personal and un-filtered by the Hollywood system is pretty rare these days - so we should applaud Lost Highway for this fact alone.

Mystery Men (1999)

You will need more than Forks and Flatulence.

[13 February 2003]

As the terrible mysterious Sphinx says: "You will need more than Forks and Flatulence..." - but do you?

A fun Comic-Book Superhero movie that uses the premise of real people dressing up and fighting crime. And, of course, being real people - they are rather lame at it, over-shadowed by the city's real hero, Captain Amazing.

The sadness and sheer stupidity of grown men (and women) running around dressed up as Super-Heroes is the main gag of the film, and this is played fairly straight - with conflicting home-lives and the effect on jobs acted out in several scenes. But it's mainly fart gags, sarcasm and situation-comedy that provide the laughs throughout the film.

All the cast turn in good performances, but it is Hank Azaria (Blue Rajah) that really makes it for me. He has a little cameo in Heat - but you would not recognise him in this film as the camp British Fork-Flinging mother-dominated hero, who uses cutlery as weapons (but not "lethal" Knives - just Forks and Spoons). Each hero has their Achilles Heel and do not jell as a Team - leadership is required in the form of Sphinx, who teaches them in riddles. "When you can balance a Tack-Hammer on your head - you will then have a balanced attack". The super-hero Try-Outs 'round someone's Pool where they discover even lamer heroes is just fantastic - check out PMS Avenger, who only works four days a month and Waffle-Man ("Gold and Crispy - bad guys are history") with his Griddle Of Justice and Lo-Cal Truth Syrup.

The last 1/4 of the film does drag a little - where you have the build up to the Super-Hero/Villain end battle, but overall a great way to waste a few hours. Just writing this review is making me smirk - it gives you that type of feeling after a few viewings.

The Fifth Element (1997)

Pop-Art Celluloid.

[10/10 · 15 November 2002]

A fantastic pop-culture feast for the eyes. A simple good-vs-evil tale told with humour, stylish costumes, sharp direction and great effects.

I am going to stick my neck out here, and say it's the best "fun" Sci-Fi Movie ever made - taking on the likes of Star Wars, Star Trek, Battlestar Gallaticar, and knocking them into a cocked Stormtroopers Helmet. With it's U.K. 15 Certificate, it is able to explore more mature themes - so perhaps this is its appeal when comparing it against standard "bubble-gum" Sci-Fi flicks.

It's beautifully filmed, with eye-popping colours, sets and costumes by Jean-Paul Gaultier. Nearly all the costumes are fun and widely impractical, allowing Gaultier to squeeze muscle-bound extras into Lycra shorts for some mild homo-erotic images. Milla Jovovich (Leeloo) gets carefully placed 2 inch straps as a costume to jump off buildings with, for the heterosexuals in the audience.

The humour ranges from slap-stick with Lee Evans, black with Gary Oldman, subtle with Ian Holm and deadpan with Bruce Willis. I think it's this that really makes the film - it will just not take it's self seriously, but still delivers tension and conflict. Oldman showing off his latest multi-function ZF-1 gun is just a cinemagraphic treat - with real punch on the effects and treacle dialogue delivery from Oldman. "A word on firepower. Three thousand round clip with bursts of 3 to 300. With the Replay button (another Zorg invention) it's even easier. One shot, and Replay sends every following shot to the same location".

Luc Besson is not worried about using character actors for most of the smaller parts - so the screen is filled with a superb looking supporting cast, rather than the "bland" model-look-alike extras in most films. Some of the lighting and effects emphasise this aspect, which makes for great viewing, and adds realism to the experience - as most scientists will probably not look like Male Fashion Models!

I suppose the only flaw in the film is the simplistic story-line. It is almost childish in its concept, but gets such a superb cinematic treatment, I can forgive this - and get on with enjoying what it has to offer.

It's up there with the Sci-Fi greats, head-and-shoulders above most of them - so make a date with a Pop-Culture Classic, and then get it voted into the Top 50 - for heaven's sake....

Excalibur (1981)

Boy to King. King to Legend.

[13 November 2002]

A lush piece of film-making from John Boorman. I found this his most satisfying movie, from those I have recently seen. Deliverance was a little too long with patching acting, and Zardoz is just pleasantly "out there"....

The King Arthur Legend is covered in full, with wonderful set pieces like the drawing of the sword, the creation of the Round Table, the knighting of Arthur, the meeting of Arthur and Lancelot, and the quest for the Grail. The whole film has a nice moody quality about it, and explores the dark nature of the tale - with the fall-from-grace of Lancelot and England dying as Arthur loses faith and fails the Country.

The only criticism I would have is with Nicholas Clay's portrayal of Merlin - I know he is pulling some humour out of the film - but it's a bit too "pantomime" for my liking, and grates a little whenever he's on screen. It's also a little too "ethereal" on occasions - but I think that adds to the overall dream-like quality - and it is a Legend, after all...

The cinematography is first-class with some very nice images - I liked the shining Castles, the knighting in the moat - shot just above the waterline to give it an intimate feel, and the creepy giggling young Mordred in gold armour just glimpsed through ravaged trees. Acting is good, all the cast give strong performances with real feeling for their characters.

A most pleasing film - that took an "mature" take on a tale normally aimed at a children's market.

Twins of Evil (1971)

Hammer Double Trouble.

[13 November 2002]

In my opinion a Hammer Vampire Classic. It's early 70's, so Hammer Studios are mixing blood sucking with naked buxom wenches. Prior to this, punters had to be content with heaving bosoms, rather than the full monty.

This is the 3rd part of the Karnstein Trilogy, with Vampire Lovers and Lust For A Vampire being the other movies in the series. They are all a similar take on the same story - Vampire Lovers has a lesbian flavour, and Lust For A Vampire is set in a finishing school for girls. All have the Karnstein family as the predatory vampires in one form or another.

Twins Of Evil has Playmates Mary and Madeleine Collinson in the title roles, the twist being one is good and one evil. The evil one is drawn to the roguish Count on the hill, and falls prey to his blood-sucking tendencies. Meanwhile, Uncle Gustav (Peter Cushing) is hunting down suspected witches in a puritanical fervor, leading to him doubting the purity of his twin nieces. Satanic undertones and a love interest with handsome Anton Hoffer are thrown in to keep the movie rolling along.

Hammer Horror Films are always full of great sets, costumes and stirring music (usually re-used from the previous five movies) and this scores high on all three. The Collinson twins are better Playmates than actresses, but fill their parts and costumes magnificently. Peter Cushing had just lost his wife, and his acting has a harder edge to it than normal - perhaps due to this sad loss.

Anything from the 70's is going to look a bit dated now, but I think that Hammer got the Gothic feel and sex-horror mix about right with this fine outing. It's a Midnight Matinee vampire romp that should not disappoint.

The Invisible Man (1933)

Classic Invisible Man.

[13 November 2002]

Writing about 30's Black-And-White movies can be difficult, as they need to be considered in light of the era the films were made. You have to adopt the mind-set of some-one viewing it for the first time, without the baggage of umpteen remakes and special effects improvements, to remain objective. Here goes:

Claude Rains does a good job with a mainly "speaking" part - lots of emotion and command there. Una O'Connor as the Innkeepers wife does a bit too much shrieking for my liking - but required "reaction" acting fodder for the time, I assume.

The effects still hold up, and must have been cutting edge at the time. The storyline covers all the basics of the Wells Novel - a quest for knowledge and power, alienation and drug inducessed madness. It's an enjoyable watch with good pacing and steady performances throughout. A sort of lazy Sunday afternoon type of movie.

Universal's take on a British Pub raises a smile, with some fantastic looking weathered-faced locals populating the place. I love the way the gag with a local "fake-playing" a coin driven piano gets a roaring laugh (as if that's the first time the pub's drinkers have seen it). However, the British film-industry was putting out the same type of stereotypes, so Universal can be forgiven there.

A part of Sci-Fi/Horror movie making history, and worth watching for this fact alone.