Tag Archives: Adventure

Rob Roy (1995).

A decent enough, semi-rousing yarn that is better as an example of missed stylistic choices than a superior entertainment. It’s mature but has a soap opera ‘quality’ to it, which makes you wish it went all out and 100% ridiculous for it’s so damn plodding at times. The cast are the best thing about it. Tim Roth is suitably supercilious and looks like he’s having a ball. What happened to him? He was Mr. Nineties. Perhaps that’s his decade and no more. Brian Cox, though, is the gem here. He’s a total slimeball and unashamedly so. He excels at those roles.

The score, sadly, is horrendous and frankly intrusive; it detracts from the would-be drama on display. Listening to it, I kept thinking of Miller’s Crossing (1990) or Fargo (1996), and then realised it was the same bloke who scored those movies.

A cracking sword fight with actual decent editing rounds off proceedings. There aren’t a million cuts to the sequence, which is shocking. But then this was made prior to ADHD being a prerequisite for the job of editor.

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Mad Max: Fury Road (2015).

I wasn’t expecting much from this, the picture released decades after the last instalment. It smelled of a desperate reboot, and all the chatter of on-set discord (to put it lightly) between the leads wasn’t encouraging. But how stunning this movie turned out to be, a nonstop thrill-ride serving as the antidote to today’s CGI-laden borefests.

It looks like it was storyboarded to the max, and thank fuck as it’s expert spectacle. So many movies give the impression that the cinematographer and director never even discussed the visuals before the day’s shoot. Fury Road, however, defines … creative carnage.

I recommend the best way to view this treat is as a double bill with Mad Max 2: The Road Warrior (1981). Fittingly, Roger Ebert’s review of the Mel Gibson classic captures the appeal of both:

‘What is the point of the movie? Everyone is free to interpret the action, I suppose, but I prefer to avoid thinking about the implications of gasoline shortages and the collapse of Western civilization, and to experience the movie instead as pure sensation. The filmmakers have imagined a fictional world. It operates according to its special rules and values, and we experience it. The experience is frightening, sometimes disgusting, and (if the truth be told) exhilarating. This is very skillful filmmaking, and “Mad Max 2” is a movie like no other.’

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The Last Crusade (1989). Oh my.

The chemistry between Ford and Connery is magical and even if the other components weren’t there, it would still be a memorable film because of the relationship. However, the prologue is still fabulous. Donovan’s ultra-ageing after sipping from the gold cup is still nightmare worthy. The action is still fast and inventive. It’s such a relentlessly entertaining yarn, and even the bad guys have something about them. The SS lad somehow rocked up in Braveheart (1995) and … of all things, Corrie Street as a member of the Gail Platt outfit. And Grange Hill’s Mr. Bronson plays Hitler here.

And Marcus got lost in his own museum.

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If you designed the perfect blockbuster The Mummy (1999) would be it.

There’s a deep and thoughtful longing – which I very much approve of – at the moment for the return of Brendan Fraser, and it appears to have been massively aided by this GQ article, the piece a rarity of this sort in how well written and insightful it is. The lad is captivating, refreshingly honest, and an actor who was simply great in everything – believable, relatable, but with an edge. He always gave me the impression that he had been parachuted into the film and we were there to follow him on his journey. A stoic naïveté was strong with this one. Is that not what a reluctant hero is?

The Mummy (1999) is awesome, Fraser pulling off the Indiana Jones role with aplomb. It was awesome at the time but now it has been elevated. I’d sum the never-boring riot as good old-fashioned popcorn entertainment which uses CGI in a productive way, i.e., you can see the point of its use. It works and without it the movie wouldn’t succeed to the extent that it does. A fine juggling act is mastered between live action, the digital effects, pacing, and characterisation. It is a silly affair but a good silly.

Even John Hannah isn’t that annoying. And he annoys me in everything. Aside from this, where he is only slightly annoying. Special mention to Kevin J. O’Connor whose Beni Gabor steals the show, an apparent weasel of greed, self-interest, and opportunism, yet somehow in the most underwritten role he squeezes out the comedy and, dare I say it, the pathos. Almost everything he does, I’d do the same in his shoes.

I would recommend this movie to just about anyone.

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Thai road-trippin’.

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Time flies. This was six years ago today, and what a silly wee adventure it was, Bangkok to Rayong to Pattaya to Ayutthaya. The piece-of-shite motorbike I purchased off a Burmese borderline dwarf exploded about two hours into the journey to Rayong so I had to sit on a rotten minibus like a tinned sardine for half the day. But Fleetwood Mac got me through proceedings. I hate to appropriate the word ‘epic’ but this sojourn really was because it had everything; it was The Wolf of Wall Street (2013) but without Velcro dartboards to launch midgets at.

Good times.

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Getting pished in Wroclaw.

Nothing of note happened on this wee adventure to the land of the Pole. I drank lots of alcohol, sat in a square all day, watched some bad movies on my tablet, and smoked a packet of fags. I also saw a pigeon. Bye for now.

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