Tag Archives: Cinema

Sep 28 2022
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Cinema, Crime, Film, Movie, Movies, Uncategorized

A Civil Action (1998).

James Gandolfini is the scene-stealer once again. It’s as if in every role outside of Tony Soprano, he went out of his way to demonstrate his range and ability to walk off with the movie.

A non-showy courtroom drama more concerned with characterisation than your standard John Grisham, there are also no Aaron Sorkin-style third-act histrionics. The subtle tête-à-tête is the big spectacle here, Travolta and Duvall making sure to keep it low-key but always interesting.

Rather than the melodrama, this is more concerned with how law works and how it can be manipulated. The good guys don’t always win – it’s not a profound point but so few of these pictures make it. Or have such an out-of-his-depth protagonist.

Better than most.

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Sep 24 2022
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Cinema, Crime, Film, Movie, Movies

The Gray Man (2022). Daft and dull as hell.

This felt like it was seven hours long and not in a good way. It was a series of relentless explosions and fisticuffs all shot through with no imagination and zero need for any of it to be happening. Sometimes with nonsense like this fare it can be a lot of fun, but not here.

The mammoth budget is shocking (what a waste), but the most irritating thing was the totally charmless Chris Evans’ attempt to make himself interesting by having a silly moustache. It’s even commented upon in the movie in a rare moment of self-awareness.

I don’t even know what this was even about (a stolen disc or something). So boring, the highlight was that most of the scenes reminded me of far superior movies.

Pish.

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Sep 21 2022
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Art, Cinema, Film, Movie, Movies, Uncategorized, United States

Million Dollar Baby (2004) is a horrifying watch.

Saw this once. Hated it.

Saw it again last week. Hated it.

Not the movie – I’d say it’s extraordinary, but I hated the experience of watching it. The gloom and the dread and the realism and Clint being a very unhappy Clint. I just mind folk were peeved because he won the Best Director Academy Award over Marty for his The Aviator (2004), a standard Oscar bait biopic and one of the few Scorsese movies not even worthy of a second viewing.

Clint does this thing – he will make five stinkers in a row but then pull a motion picture out the bag that totally blows away all doubters.

But I’m never watching it again.

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Sep 15 2022
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Art, Cinema, Crime, Film, Movie, Movies, Uncategorized, United States

The Card Counter (2021). Brilliant and vintage Paul Schrader.

This guy makes movies about the worst people, humans you don’t even want to know. But he always draws out the dimensions and probes at the reasons why people are the way they are. He’s the most mature filmmaker, a bloke actually interested in the human psyche and how film can treat this. He’s also clearly obsessed with Robert Bresson. The ending here, I think he’s done the Pickpocket (1959) tribute a dozen times now.

The acting in this is magisterial and the style of Schrader always suits his stories; he’s so underrated as an artist, perhaps because he’s not razzmatazz, but he can be when the moment needs it.

Most films these days are fucking pathetic, either derivative tripe, childish nonsense about superheroes, or leftist politics running riot at the expense of story or ideas. There is no fun in The Card Counter but that’s the essence and point of it – it’s gruelling and heartbreaking, like Travis Bickle taking a WASP to a porn movie (thank you, Paul Schrader).

Schrader is one of the few left with a soul and the lad has been kicking about for half a century. I define ‘The Few’ as writers and directors who make cinema about and for adults and aren’t afraid to take risks and put themselves out there. He’s incredible and we need many more gems from the lad.

This is a proper masterpiece.

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Sep 14 2022
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Art, Cinema, Film, Movie, Movies, Technology, Uncategorized

Jean-Luc Godard. Cheers.

I’ll leave it Roger Ebert to summarise the master: ‘Godard is a director of the very first rank; no other director in the 1960s has had more influence on the development of the feature-length film. Like Joyce in fiction or Beckett in theater, he is a pioneer whose present work is not acceptable to present audiences. But his influence on other directors is gradually creating and educating an audience that will, perhaps in the next generation, be able to look back at his films and see that this is where their cinema began.’

Scorsese brought me here:

Further reading/viewing:

https://variety.com/2022/film/columns/jean-luc-godard-tribute-remembered-breathless-1235371061/

https://loeildelaphotographie.com/en/in-memoriam-jean-luc-godard-1930-2022-dv/

https://www.theguardian.com/film/2022/sep/14/godard-shattered-cinema-martin-scorsese-mike-leigh-abel-ferrara-luca-guadagnino-and-more-pay-tribute

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Sep 10 2022
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Art, Cinema, Crime, Film, Planes, Transport, Travel, United States

American Made (2017).

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.

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Aug 23 2022
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Architecture, Art, Cinema, Film, Movie, Movies

The Painted Veil (2006).

The music of Alexandre Desplat can elevate even the most prosaic of scenes but the exposition here would have been just as glorious without his Malick-esque melodies. It’s the cherry on top, though.

I was intrigued from the start, and the movie never faltered in its pacing and performances, the way in which its characters continued to evolve and adapt. The stylistic flourishes, too, were a surprise, as this sort of fare is usually a static camera affair.

Naomi Watts is captivating, and Edward Norton is as far away from an Edward Norton performance as you can get. What a talent he is, as is the seemingly omniscient Diana Rigg.

A lot of these period pieces are a grind, the usual stiff yarns concerning archetypes without agency simply reacting to events. This is different, with characters influencing their calamitous environment, or at least trying to. It also felt like another time and place, not merely an attempt to depict one.

It’s so entertaining, and yet it shouldn’t be.

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Aug 19 2022
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Art, Cinema, Crime, Movie, Movies, Uncategorized

Wolf (1994) – where was this buried?

It’s like it never existed, a forgotten flick, a secret wee thing that few know of. But it’s very good.

A standard horror premise mixed with office politics, James Spader chomping on the Yuppie remnants of his late ’80s heyday, and Jack just loving his life. If I think of a black comedy/thriller done well, Wolf (1994) is sinking its fangs into my mind. Jack could do any role and be great; he’s not capable of ever being uninteresting.

And Ross Geller is in this. Jack steals his handcuffs.

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Aug 17 2022
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Art, Cinema, Film, Movie, Movies, Uncategorized

Prey (2022).

This was way better than I expected – the bar is low these days.

It got so good at one point, I was awaiting a Predator and protagonist temporary collaboration against a truculent tribe. But it lost the momentum, as most movies do.

We also have the worst ever acting job (ever) from a bear, and a highly irritating and needless appropriation of a classic line (“If it bleeds ….”).

And a most unsubtle score rip-off from The Last of the Mohicans (1992).

However, the film has its moments for 55 minutes so it gets a 3/5 on my wee scale.

Definitely better than taking a shit.

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Aug 16 2022
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Cinema, Film, Movie, Movies

Unlawful Entry (1992).

Ray Liotta was for so long the go-to menacing nutjob. Even when he’s not trying to be creepy, it doesn’t work. Henry Hill, for example, never seems quite right despite being one of the more normal Goodfellas. Liotta is a right maniac in this one, and it works perfectly.

The crime-ridden early ’90s Los Angeles, corrupt cops, home invasion paranoia, and a creepy Ray Liotta – talk about capturing the zeitgeist. After watching this I looked up Rodney King just to reacquaint myself with the period.

This is a thoroughly unsettling movie, not just because of the era it’s from and depicts, but the downright creepiness of Liotta in a police uniform.

The word of the day is: creepy.

It works.

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