Tag Archives: Cinema

99 Homes (2014).

Michael Shannon is quite an extraordinary actor, and only a Tom Hardy or Michael Fassbender could inject such pathos and reasoning in a snake like Rick Carver. It’s Gordon Gekko for the 2007-2008 financial crisis, but with more of a backstory and a wee bit more humanity in the very naughty lad. He clearly exploits Garfield from the start but also sees massive potential in his brains and work ethic; it’s a relationship built on a knife edge.

And it shows you, to a degree, how this system works – exploitation, cynicism, government and corporations working together to screw you. And the exploited bails them out. It’s shocking but not really surprising.

Gripping all the way through, a life lesson and a character study.

Fabulous stuff.

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Daredevil (2003) isn’t shite.

I expected something abysmal but instead found Mark Margolis, David Keith (not to be confused with Keith David), Vondas from The Wire, Joey Pants, the hulking Michael Clarke Duncan, and a possessed Colin Farrell having the time of his life, seemingly (“I want a bloody costume”). A colourful cast, folk that can act. Despite the unwatchable Jon Favreau (he is awful in everything), it’s not bad at all.

I was terribly entertained, and a sequel would have been at least pleasant. The movie has the standard silly one-liners and inevitable awkward attempts at comedy, but it’s suitably grim and grimy, and the story has some basis in a believable reality. I was also borderline shocked to see how much of this movie was appropriated for Batman Begins (2005), and the ending lifted verbatim.

Affleck is also fine in it. And the music is banging. 

#WakeMeUpInside. 

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Das Leben der Anderen (2006).

This movie is beyond masterpiece. Exquisite in all ways. It shows how awful, petty, cruel and overbearingly nasty folk are when they’re in a system built on dogma which makes no sense … it’s essentially communism in your nutshell. Imagine having to live within this horrid wee cocoon environment?

Anyway, big kudos to the hero who makes up shit and at the end of it all gets a wee book dedicated to him. Top lad.

And Gabriel Yared should score everything in life. The opening of a door or the emptying of a bin (any bin). I’d watch that with his tunes. He engulfs the mundane with tragedy.

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Godzilla vs. Kong (2021). This is what cinema boils down to. And it’s ….

A behemoth chimp with an affinity for sign language. It wouldn’t be the first time for such a revelation – Koko.

It’s quite average in a pleasing fashion compared with most of the shite you see from these Multiverse/Monsterverse/Whatever worlds. What remains is the excruciating dialogue.

A non-character/cardboard hiree offers an observation regarding a life-changing vignette and a lad (usually a lad) retorts by saying the glaringly obvious.

It goes like this:

“It’s an easy mission, a kid could do it.”

“I hate kids.”

That’s the nature of these loopy exchanges, the gems from the writing room. There is no reason for anyone to spiel stuff like this, but they still do. It’s all confusing.

Just have folk in these flicks not speak, and present them reacting all flummoxed to stomping monsters merely through facial tics.

Good stuff in it: the voice of Lance Reddick (beautiful), and a monkey fighting a lizard on an aircraft carrier was absolutely insane in its realisation.

Is that it?

Watch it for 45 mins and then have a nap.

You won’t remember this film.

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Crimson Tide (1995).

Crimson Tide (1995) is fucking amazing, and it’s not just for the extended screaming stand-off between Gene and Denzel. It’s a film about an issue, a rather big issue, yet is shot with such electricity, edited and paced as good as any action-thriller, and with a Hans Zimmer score sounding like it was composed when he was conducting an esoteric shite. Even the intermittent pop culture references, weird as they are, kind of work, a way to relieve the unbearable tension.

You have five heart attacks watching this movie.

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Barbie (2023). I bit the bullet.

I didn’t mind it at all, and just watched it for the daftness and the epic tunes. 

I’m not going to read much into a movie about dolls. I got the the whole intention of the male/female power-dynamic/divide or whatever. It’s nothing I’ve ever thought about. Or cared to. Or ever will in this moment of time. 

Never seen a Barbie or Ken doll in my life, never wanted one, and have no interest in these creations. 

I’m sure there is a massive yet subtle subtext to everything in this film, but I’ll leave that to the ‘professionals’. 

It was entertaining. It has made a billion. Is that how easy it is? Movie about Bagpuss next. I want to see Bagpuss on a cocaine binge that Jordan Belfort would clap at.

Meow.

And ‘Barbie Girl’, THE tune of the ’90s, made an ‘appearance’. In a way ….

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In the Mood for Love (2000).

Talk about the transcendental. In its artistry and superior articulation of its themes, this really did remind me of the works of Yasujirō Ozu, and Toyko Story (1953) in particular.

It’s also a devastating watch and not something you’d stick on every year as it’s too accurate, too affecting, too profound. The ending is as haunting as anything I’ve seen.

It’s ranked 5th in Sight & Sound’s “Greatest Films of All Time” critics’ poll.

They’re not wrong.

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Bull (2021).

This was just your usual shite and defines what’s so crap about British cinema.

I hated every minute of it, from the moment the director films a moving car in the most irritating way. The writing was frankly ghastly, and I despise, again with the vehicle stuff, scenes of characters looking all serious in cars at night with classical music inevitably playing on the radio. It’s the worst kind of writing. It was all pathetic. There’s even a bit in here involving parents arguing about murder as they are gobbling down fish and chips. TV-quality acting as always; these folk should just stick to Corrie Street.

Another disgrace to cinema this. But check it out if you want some torture.

Next.

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Michael Mann is back with Ferrari (2023).

It’s been so fucking long, and Blackhat (2015) so unmemorable as to make the wait feel … much longer.

Welcome back, Michael Mann. I’m sure you’ve never been away but a trailer from your immense talents hasn’t been dropped for quite some time.

I have faith in you. I’ve read/seen your résumé many, many, many times.

High hopes for this one.

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