The weird behaviour of the extras and background actors in this is hilarious to watch, as is the entire movie. Cary Grant’s accent makes no sense, nor does the film. The rear projection is so bad that it can only be a Hitchcock joke. As entertainment, I enjoyed every moment of it, because it’s self-aware and self-deprecating, and most unpredictable.
I think the career of Hitch was just a case of him taking the piss out of people whilst brushing up on his film aesthetics. And that’s fine with me.
This channel is what the Internet was made for (aside from cat videos and staged pranks). The wealth and detail of info in these vids, the animation, the music, the narrator and his redoubtable voice.
This was verily an impressive motion picture, and it starts with the cast, even though the highly irritating, 100% talentless ‘lad’ from ghastly ’90s British TV series Men Behaving Badly is somehow in it.
The music is pure Vangelis and it suits the story and locales surprisingly well; one wouldn’t expect Blade Runner (1982) stuff to work in this setting. The attention to detail (life on a ship) is necessary, the toils a clear element in the breakdown of the crew, most of them toothless goons who appear to have been press-ganged. You can see the temptation to mutiny. It’s the late 1700s and you’re presented with Tahiti when all you’ve got upon return to Great Britain is living in a cesspool.
The weirdo Anthony Hopkins does his best weirdo Anthony Hopkins, which is just the right amount of weird.
The Robert Bolt screenplay is a tad disappointing. After the craftily put together exposition, he resorts to homoerotic undertones to explain Bligh’s reaction to Christian’s shagging, which is just lazy writing. And there’s not enough drama on display, which sounds nuts considering the scenes. Not enough characterisation, no scenes exploring a character doing anything outwith the collective, not enough style that grabs; you’re in the hands of a most journeyman director.
I am most familiar with Brussels by night – a vignette from real life that was the glorious Eurotrip of 2010. Belgium was my Waterloo (1815), hell but like a dreamland in retrospect. I’ll never go back. No point.
This was most interesting as a documentation of a time and place as well as for its drama and peculiar narrative style
The protagonist has quite the rugged and haggard face, unusual for a film, aye. He isn’t likeable but you still keep engaged.
The seemingly random progression of scenes and their emphasis on the mundane – everyday tasks which accompany our hissy fits – do a proper job of drawing you in to this wholly unpredictable and almost peak Godardian semi-banger.
It reminded me of Last Tango in Paris (1972) a bit, but without the psychobabble and the creepiness.
The pull of this being a true story is enough for one to recommend it, but it does have more than that, capturing the fear and suspicion of the time in impressive ways, the claustrophobia seeping from every room. The casting and performances also elevated it above your standard spy fare. The premise appeared ripe for the pedestrian BBC-style treatment, but it was a surprise to see a riskier exercise in the spycraft genre.
The actor Merab Ninidze who plays Oleg Penkovsky. He needs to be in more movies. He’s simply excellent here.
With his natural, unforced charm and (still) boyish looks, it’s easy for many to dismiss Cruise as being of a limited range, a man of few talents but maximising them. It’s a nonsense argument when you scroll through the magnificent works and superlative performances. You can name at least 15 films worthy of repeat viewings, some verified modern classics. I don’t think he’s ever had a bad role, and to lazily use a well-worn idiom, he has aged like a fine wine.
American Made (2017) is rollicking fun, an ’80s throwback which is amusing as Cruise remains an ’80s throwback but he’s an ’80s throwback … throwing back … the present. What I’m trying to get at is: he’s still relevant.
Best job I ever had. My duties consisted of putting ramps on trains, turning off my radio and hiding in the ScotRail toilets whenever there was a crisis, and occasionally pointing an annoying member of the general public in the wrong direction or directing them to an incorrect platform if they vexed me.
An hour in and you’re thinking that if the movie can keep it together the experience could quite possibly be up there with the best of them, a thought-provoking sci-fi masterpiece for the ages. But then it descends into sub-slasher ridiculousness, a third act that feels like the team behind Event Horizon (1997) rejected it. This happens quite a lot with these movies, and even more so when it comes to TV shows. There’s so much expertly paced build-up that goes … nowhere. Why try and turn it into a horror? The makers simply didn’t know how to fulfill all the promise or how to end it so resorted to cheap genre ‘thrills’, frenzied cutting and pointless bombast.
But for 70 minutes this is great. I highly recommend turning it off once it gets silly. And then proceed to stick 2001: A Space Odyssey (1968) on.
Shockingly (for me as I’ve catalogued most of these ’80s classics) I’d never seen this until last week. It could be made today, that’s how ‘undated’ it is. What an experience – genuinely a hoot and wholly relatable. We’ve all been stuck next to some annoying blabbermouth on what seems like a never-ending journey into the abyss. And who can’t relate to a transportation fiasco.
It’s also a subtle portrayal of class, the difficulties of breaking barriers, and ultimately and reluctantly working together to get where you need to be. A life lesson! This should be screened at office training days or something.
One scene came out of nowhere in its profanity, and it’s quite the spectacle seeing Steve Martin finally crack. He wasn’t going to intimate that rental agent, but he did a wonderful job in articulating the pain of dealing these sorts.
Wanderings and ... wonderings. 