Tag Archives: Movie

Everest (2015) is nauseating viewing.

Based on the 1996 Mount Everest disaster, this is your generic retelling fare. I hated this movie, utterly hated it. The picture comprised an array of rather irritating archetypes feeling very sorry for themselves because they experience the harsh elements on the highest mountain on the planet. There is no drama to proceedings at all because they are barely characters and get what is coming to them. Like, what did you expect? It’s Mount Everest, not an indoor climbing centre.

What the fuck even is a ‘guided climb’? I do not understand why it is even legal. There is a quote from the only semi-interesting ‘character’ in the movie (the redoubtable Jake Gyllenhaal) which is something like, “If you need help getting up the thing you should not even be here. “

I like the sound of that and it is a rather universal statement which applies to any endeavour. The movie looks nice – well shot and framed. It’s just pointless, a fawning ode to stupidity.

Avoid.

Further reading:

https://www.rogerebert.com/reviews/everest-2015

https://timesofindia.indiatimes.com/entertainment/english/movie-reviews/everest/movie-review/49014666.cms

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Demolition Man (1993) was some premonition.

Another memorable number from the 1993 movie vault, which I often posit the ‘best year ever for movies’: Mrs. Doubtfire, Schindler’s List, The Fugitive, Jurassic Park, Tombstone, Falling Down. Am I wrong? Have I missed anything?

It’s in all honesty not much of an action movie, the scenes terribly staged and edited, another case of the viewer not having a clue what is going on. It’s as unimaginative as it gets, ADHD Eisenstein. However, as satire and social commentary it is terrifyingly on the ball about today’s nightmarish cultural landscape. It actually predicted 2020.

It nails the all-out assault on language, the SJW proscription against alternate viewpoints, the restriction of real individualism in the quest for Utopia. Who knew that offending someone could be a crime? Well, it sadly is these days. Because they (the crusading creatures) have been allowed to get away with this.

The only thing this movie gets wrong is the method of wiping one’s arse. Britons will be doing it ‘Old Skool’ until the next extinction-level event.

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Miami Vice (2006) is peak Michael Mann.

It may not have the character-driven intricacies (and intensity) of Heat (1995) or The Insider (1999), but this is a technically perfect cops-and-robbers flick, pure genre. It takes itself so seriously; indeed, on this recent viewing I did not detect a single comedic moment or anything even approaching irony.

Once again, Mann displays bizarre music choices; why on earth would anyone use Audioslave/Chris Cornell in a movie? It works here, though, something one can not say for Casino Royale (2006).

It’s all about the transcendental moments. Any other director wouldn’t feature the speedboat scene at all but Mann turns it into the movie’s centrepiece. It’s here that Farrell’s Sonny Crockett illustrates everything Mann thinks a … man should be. I imagine the filmmaker would be ashamed at the sight of a grown man crying.

As visual experiences go, the movie is dynamite, action cinema as art. Mann has a thing for dance sequences; here they supplant the need for dialogue. And it doesn’t matter because they are so … cinematic.

And I’ve never seen the TV show Miami Vice so I have no idea how this movie relates to it. Am I missing anything?

Further reading/viewing:

https://www.empireonline.com/movies/reviews/miami-vice-review/

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The Empire Strikes Back (1980) is perfection.

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Back to the cinema.

I first purchased this bad boy in ‘Alps Second Hand Shop’ on Dalry Road in the scorching summer of ’99, which remains to this day the greatest era of recent cinema and probably my life. The VHS was a battered, well-worn pan and scan number that cost less than today’s fare for a single bus journey on one of our ghastly maroon peasant wagons. It suffices to say that the following two hours were a religious experience. The video, if you are curious to know, looked exactly like this:

8163oCUrVJL._AC_SL1500_Ocean Terminal’s Vue Cinema reopened yesterday after a lengthy hibernation, the new ‘distancing epoch’ peppered with PPE and anti-bacterial spray flying everywhere. They are showing some classics, presumably because studios are unsure as to how to proceed with their new releases. £5.99 a ticket for this cinematic baptism? Yes, yes, yes.

What a BELTER it is, magically flawless, deep escapism imbued with universal themes, a compendium of genre tropes and technique. PhDs have been written about this motion picture, and I cannot pinpoint even a single thing in it that should not … be in it. One could deem the experience Citizen Kane (1941) in space. There is no point me highlighting the highlights, as we all know what those are.

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“NOOOOOOOOOO, NOOOOOOOOO!”

I would just like to say that 99.9% of cinema today is fucking gash, total tripe. Pure shite.

This isn’t.

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Bram Stoker’s Dracula (1992) should be essential. But it isn’t.

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This is the last good Coppola movie, the last in his oeuvre made on a grand scale with sumptuous visuals.

It was always one of those films that popped up at least once a year on British terrestrial TV, and I until recently (Netflix) last viewed it in Slovenia on a hotel TV whilst dribbling over beers and multipack crisps in another failed attempt to ingratiate myself with the local culture. Anyway, what I’m getting at is that the movie is everywhere, as omniscient as Lidl.

I have never given much thought for anything in the Dracula canon but I see the potential in the source material. This film could have been an absolute belter were it not for the unnecessary campiness, the ludicrous casting, and the frankly appalling screenplay replete with cringe dialogue and baffling character decisions. Anthony Hopkins is playing it all for laughs, Gary Oldman and Winona Ryder both appear bored shitless, and Keanu Reeves once again proves that an American should not under any circumstances attempt a British accent. It is high comedy whenever he speaks.

For all of that, however, it is a delight at times from a purely visual standpoint. It just looks so lovely, every special effect and bit of camera trickery a throwback to early cinema. Indeed, the movie is better viewed on mute. What a wasted opportunity.

And I never even knew this SNES game existed until yesterday:

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Further reading/viewing:

https://www.empireonline.com/movies/reviews/bram-stoker-dracula-review/

https://www.rogerebert.com/reviews/bram-stokers-dracula-1992

 

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Good Bye, Lenin! (2003) revisited.

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I saw this movie many years ago and thought it rather great, but time distorts things. Goodbye Lenin! (2003) is an occasionally semi-funny insight into global changes impacting on the small scale; here, day-to-day life as experienced by an East German family going to increasingly elaborate lengths in maintaining the illusion of the GDR’s omniscience. The director’s stance as to reunification is a bit too ambiguous for me, the movie more concerned with a broad view of how the personal and political interweave, assessing the extent to which the society we live within affects us.

Why bother with such a contentious subject if you sit on the fence? This happens again and again.

It is at times a nauseating watch, almost an apologia for state tyranny. The film’s premise, pure Ostalgie, is that the economic and social constructs of the GDR, because of its restrictions on private wealth and public expression, harnessed a deep sense of togetherness felt by families. Wow. I won’t be watching it again. And all the Kubrick stylistic homages in it irritated me immensely.

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If Lenin! refrains from showing the horror of life in East Germany in vivid detail by opting to examine why in recent years it has been de-emphasised, it has paved the way for a more meticulous and exacting probing of the Stasi state in contemporary cinema through devastating films such as The Lives of Others (2007), with all the GDR’s greed, hypocrisy, paranoia, and corruption laid bare.

It is 2020 and some folk (I call them “social spastics”) identify as communists.

They are the walking demonstration of why society is forever crumbling.

Anyway, I fucking despised this movie. HATED it. Stay away.

Further reading/viewing:

https://www.theguardian.com/culture/2003/jul/25/artsfeatures.dvdreviews 

https://www.rogerebert.com/reviews/goodbye-lenin-2004

https://www.theguardian.com/film/2007/apr/13/worldcinema.drama

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Jojo Rabbit (2019) has the lol factor.

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Third Reich satire has at its apex the twin OTT delights of The Great Dictator (1940) and The Producers (1967), two films so unabashedly barmy it’s easy to overlook the human element beside (or within) the bawdy farce. Jojo Rabbit (2019) is made, I presume, in the vein of these crackers.

It is a riot at times, taking the piss out of the ludicrous ideology and its glaring contradictions yet outlining its attractions for subscribers. Among the things most difficult to attain in cinema is the seamless veering between comedy and drama and this is the picture’s most impressive achievement, a mastery of tone.

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And an imaginary der Führer karate-kicked through a window in rather cathartic fashion by a 10-year-old member of his own Hitler Youth is quite the enduring image.

Further reading/viewing:

https://www.theguardian.com/film/2020/jan/05/jojo-rabbit-review-taika-waititi-hitler-scarlett-johansson-sam-rockwell

https://www.independent.co.uk/arts-entertainment/films/reviews/jojo-rabbit-review-taika-waititi-nazi-hitler-comedy-cast-director-scarlett-johansson-a9264151.html

https://www.irishtimes.com/culture/film/jojo-rabbit-between-daring-and-bad-taste-in-nazi-germany-1.4115985

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Knives Out (2019) is splendid.

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This is one terrifically entertaining whodunnit with an unexpected political undercurrent that comes to the surface in the third act. The time flew by, mainly due to Daniel Craig’s outrageous PI southern shtick. His voice is so uncannily like that of House of Cards’ Frank Underwood, I closed my eyes and pictured Kevin Spacey and all the resultant grisly news following the accusations about the bloke. It didn’t ruin the movie, only giving it a creepier edge.

Most films of this ilk hark back to Agatha Christie and are mere pale imitations of those superior yarns; Knives Out (2019) is something more than that, with its contemporary setting and subtly subversive reworking of the genre. You also believe these characters.

Even Chris Evans failed to vex me.

Further reading/viewing:

https://www.theguardian.com/film/2019/dec/01/knives-out-review-rian-johnson-superior-whodunnit-agatha-christie

https://www.rogerebert.com/reviews/knives-out-2019

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Film Noir Gorgie.

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Perhaps one day it will happen but I very much doubt it – a lauded director decides to use Gorgie Road as a seedy backdrop for a modern noir. I imagine a jaded Bogartesque PI stopping off at Aldi for a few cheap beers after a draining day spent with myriads of local scum.

In fact, I’m going to have to make this motion picture, the drama shot on a battered HTC, Gorgie City Farm the site of the climactic shootout.

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Great scenes in otherwise forgettable/bad movies.

Most films are rather terrible, either your average generic copycat picture (sequel, superhero, franchise) or a total disaster zone. A very small elite of films are incredible, and then we have a hefty batch of escapist fare which feature a sublime scene deserving to live within a better movie.

Blade (1998).

Operation Blade (Bass in the Place), a song so synonymous with late ’90s techno it defines it. And that is the essence of the scene. Ropey CGI, Wesley Snipes struggling to make the choreography work, but the 100% chav tune papers over it all. It is a ghastly movie and the sequels likewise. Incredible music, though.

Deep Blue Sea (1999).

This film was dire, but Samuel L. Jackson’s stirring speech interrupted by extreme-close up bite-action was something else, totally unexpected, utilising the Hitchcock technique to perfection. If it happened later on in the movie it would have been wiser, as after this scene of madness there is no point in watching the remainder of it.

The Matrix Reloaded (2003).

An unabashed muddle, a shambolic mess as coherent as The Architect’s monologue. The highway chase, though. That’s what a short movie should be. And that’s what sequels should have been – short snippets.

Hannibal (2001).

I think the first hour of Hannibal (2001) is a mightily classy affair. You’ve got Florence and vistas and art chat and Hannibal running the show. If they kept the movie there it could have approached masterwork status. But they didn’t and it descends into calamity as soon as Italy is discarded. Sad.

 

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