Journey into Fear: Decent, though slightly derivative noir-thriller, co-scripted by star Joseph Cotten and (possibly) Orson Welles. The photography is the most notable thing about the movie, a beautifully expressive black and white that lends the movie some class.
Christmas in August: Similar in plot to the risible Love Story, but executed with a skill and tenderness that is missing in the American film, this features a dying man's tentative relationship with a regular customer and his doubts as they grow closer.
Among the Living: A b-noir, which is pretty routine except for the quality of the performances, in particular a young Susan Hayward as the coquettish girl who manipulates the simpler twin for her own ends. It ends abruptly and too conveniently, a problem often encountered in these types of films, and isn't really that engaging.
Kikujiro: A sublime Japanese comedy, starring and directed by Takeshi Kitano as a past his prime Yakuza ordered by his wife to take a lonely boy to his estranged mother. What follows is a road trip that is both beguiling and hilarious, with the (exceedingly) abrasive Kitano's experiences with "normal" people providing much of the humour. In short, wonderful.
Brother: Another Takeshi Kitano film, this one far different in tone, and his first American production. Kitano's impassive face works perfectly here, as a Yakuza exiled from Japan and setting up home with his brother and building a gang of his own in LA. Omar Epps provides good support, and its matter-of-fact violence is countered by it's melancholy tone.
Tuesday, 16 September 2008
Monday, 15 September 2008
Entry Nineteen
Howl's Moving Castle: A fine fantasy film, full of wonderful ideas and characters. Miyazaki's ability to meld realism with the fantastic is unsurpassed, and there are plenty of memorable moments in the movie, enhanced by the terrific animation.
Tropic Thunder: The all-star cast is hit and miss, but there are plenty of laughs to be had anyway. Tom Cruise is particularly brilliant as the aggressive studio head, and the looks at other films in the "actor'" catalogues are inspired, especially Simple Jack and Satan's Alley.
You Don't Mess with the Zohan: What I thought would be an excruciating 2 hours of non-comedy turns about to be a decent movie with a performance from Sandler that isn't as annoying as his turns in say, The Waterboy or Little Nicky. The chronically unfunny Rob Schneider is given too much screen time though, and a lot of the laughs fall flat, but it's not too bad overall.
Big Doll House: Typical women-in-prison movie, full of the usual cliches found within the genre: lesbianism, misogyny, and oodles of sadism. Just like the other movies, these elements don't necessarily comprise a good movie, and though it has its moments - Pam Grier and Roberta Collins are both attractive and interesting to watch - it's a little dull and isn't quite silly enough to entertain.
Sisters: I've never particularly enjoyed Brian de Palma films, but this one isn't too bad, and is only let down by it's final 15 minutes, which is so completely over-the-top that it took me out of the movie into "what the hell?" territory. Margot Kidder is good as the seemingly innocent french-Canadian model, but Jennifer Salt is better as the small-time reporter who's convinced she's seen a murder in Kidder's apartment. All the de Palma trappings are in place too, with a heavy borrowing of Hitchcock, the same leering camera, and a complete lack of empathy for any of the characters.
The Reluctant Dragon: Technically Disney's first live-action movie, it's basically a fictional tour of the Disney studios of the early 1940s, with a bumbling guide in the form of Robert Benchley as he attempts to sell the children's book of the Reluctant Dragon to Walt Disney. It features some fascinating footage of how writers and animators work, what equipment they employ and what goes into the making of a cartoon. I thought it was pretty great, but the final cartoon - a 20 minute adaption of The Reluctant Dragon - was a little weak, and fizzles the movie out slightly. Look out for future tough guy Alan Ladd as a Disney animator pitching a story.
Tropic Thunder: The all-star cast is hit and miss, but there are plenty of laughs to be had anyway. Tom Cruise is particularly brilliant as the aggressive studio head, and the looks at other films in the "actor'" catalogues are inspired, especially Simple Jack and Satan's Alley.
You Don't Mess with the Zohan: What I thought would be an excruciating 2 hours of non-comedy turns about to be a decent movie with a performance from Sandler that isn't as annoying as his turns in say, The Waterboy or Little Nicky. The chronically unfunny Rob Schneider is given too much screen time though, and a lot of the laughs fall flat, but it's not too bad overall.
Big Doll House: Typical women-in-prison movie, full of the usual cliches found within the genre: lesbianism, misogyny, and oodles of sadism. Just like the other movies, these elements don't necessarily comprise a good movie, and though it has its moments - Pam Grier and Roberta Collins are both attractive and interesting to watch - it's a little dull and isn't quite silly enough to entertain.
Sisters: I've never particularly enjoyed Brian de Palma films, but this one isn't too bad, and is only let down by it's final 15 minutes, which is so completely over-the-top that it took me out of the movie into "what the hell?" territory. Margot Kidder is good as the seemingly innocent french-Canadian model, but Jennifer Salt is better as the small-time reporter who's convinced she's seen a murder in Kidder's apartment. All the de Palma trappings are in place too, with a heavy borrowing of Hitchcock, the same leering camera, and a complete lack of empathy for any of the characters.
The Reluctant Dragon: Technically Disney's first live-action movie, it's basically a fictional tour of the Disney studios of the early 1940s, with a bumbling guide in the form of Robert Benchley as he attempts to sell the children's book of the Reluctant Dragon to Walt Disney. It features some fascinating footage of how writers and animators work, what equipment they employ and what goes into the making of a cartoon. I thought it was pretty great, but the final cartoon - a 20 minute adaption of The Reluctant Dragon - was a little weak, and fizzles the movie out slightly. Look out for future tough guy Alan Ladd as a Disney animator pitching a story.
Saturday, 13 September 2008
Entry Eighteen
Tales of Earthsea: Hayao Miyazaki's son, Goro, takes the helm for this adaptation of Ursula K. Le Guin's fantasy novel. It's not as disastrous as I'd been first led to believe, and while it may not be in the same class as his father's work, it still demonstrates the considerable skill of studio Ghibli in its ability to render realistic characters and environments, despite working in the oft-overlooked fantasy genre. The big downside for me was a rather horrible drawn out ending and the underwhelming nemesis that accompanied it.
Pom Poko: Also known as the Raccoon War. Another studio ghibli film, a bizarre, yet frequently delightful and alternately sober look at a group of raccoons' attempts to stop human encroachment into their forest. It's wonderful, accomplishing humour, pathos, and wonder in all the same movie. It's the sort of thing Disney would screw up completely and ham-handedly, but Ghibli excels in.
Dead or Alive: Final: The last film in Miike's loosely connected trilogy is his weakest, but isn't a bad film by any means, it just doesn't match the absurd delights of its predecessors. Your opinion of Miike's films may depend on whether you can stand his blatant weirdness and sometimes shocking gratuity, but I admit to frequently loving his work.
Million Dollar Duck: A routine Disney live action movie, enlightened by the charming presence of Sandy Duncan (too young to play opposite Dean Jones, though), who reminds me a little of Amy Adams in the wide-eyed innocence she can bring to the screen. The movie's a little tiresome and becomes downright boring towards the "wacky" end chase sequence.
Soldier Girls: A brilliant Nick Broomfield documentary, looking at a group of women undergoing basic training for the US army in 1980. Surprisingly candid, and shot through with great characters, it's a real eye opener on how "normal" people prepare to become killers. The DVD also features a couple of "where are they now" interviews, and give much needed happy endings to the troubled character of the Staff Seargeant, who's eloquence at the end of the movie dispels the myth of the glory of battle.
Tarzan and the Leopard Woman: Not actually featuring a Leopard Woman (but plenty of men dressed in leopard skins) this banal Tarzan movie is enough to turn anyone off the popular 40s franchise. A pity, then, that this is my first.
Pom Poko: Also known as the Raccoon War. Another studio ghibli film, a bizarre, yet frequently delightful and alternately sober look at a group of raccoons' attempts to stop human encroachment into their forest. It's wonderful, accomplishing humour, pathos, and wonder in all the same movie. It's the sort of thing Disney would screw up completely and ham-handedly, but Ghibli excels in.
Dead or Alive: Final: The last film in Miike's loosely connected trilogy is his weakest, but isn't a bad film by any means, it just doesn't match the absurd delights of its predecessors. Your opinion of Miike's films may depend on whether you can stand his blatant weirdness and sometimes shocking gratuity, but I admit to frequently loving his work.
Million Dollar Duck: A routine Disney live action movie, enlightened by the charming presence of Sandy Duncan (too young to play opposite Dean Jones, though), who reminds me a little of Amy Adams in the wide-eyed innocence she can bring to the screen. The movie's a little tiresome and becomes downright boring towards the "wacky" end chase sequence.
Soldier Girls: A brilliant Nick Broomfield documentary, looking at a group of women undergoing basic training for the US army in 1980. Surprisingly candid, and shot through with great characters, it's a real eye opener on how "normal" people prepare to become killers. The DVD also features a couple of "where are they now" interviews, and give much needed happy endings to the troubled character of the Staff Seargeant, who's eloquence at the end of the movie dispels the myth of the glory of battle.
Tarzan and the Leopard Woman: Not actually featuring a Leopard Woman (but plenty of men dressed in leopard skins) this banal Tarzan movie is enough to turn anyone off the popular 40s franchise. A pity, then, that this is my first.
Friday, 12 September 2008
Entry Seventeen
Rocknrolla: The first Guy Ritchie film I've liked, and I liked it a lot. Funny, though a little shaggy plotwise, this is a good lads movie, with a fine ensemble cast who seem to be having just as much fun as the audience.
The Atomic Submarine: Trashy sci-fi movie (surprisingly put out by the usually respectable Criterion) about a subamrine who encounters an alien spaceship under the ice of the antarctic. It features some nonsensical melodrama between crewmates at the beginning which is dropped once the plot kicks in and is never really mentioned again, and though it has some nice design aspects, it's terribly generic.
Whisper of the Heart: Utterly wonderful studio Ghibli movie about a teenage girl who becomes interested in a boy's name which keeps reoccuring in the numerous books she takes out at the library. It's a beautifully understated look at the relationships between teenagers with a slightly magical air to the whole proceedings and I couldn't recommend it high enough.
On Any Sunday: Documentary about the sports around the world involving bike-riding. That's basically it, though it certainly approaches the subject with an obvious passion for the whole thing, and features some really nice photography. It's a little wearing though, and the monotone narration doesn't help.
Phantom from Space: Unremitting dreck from the 50s, where a film was made based on its poster and its title. A couple of the special effects are decent, but otherwise it's an awful trudge through the dregs of science fiction.
The Atomic Submarine: Trashy sci-fi movie (surprisingly put out by the usually respectable Criterion) about a subamrine who encounters an alien spaceship under the ice of the antarctic. It features some nonsensical melodrama between crewmates at the beginning which is dropped once the plot kicks in and is never really mentioned again, and though it has some nice design aspects, it's terribly generic.
Whisper of the Heart: Utterly wonderful studio Ghibli movie about a teenage girl who becomes interested in a boy's name which keeps reoccuring in the numerous books she takes out at the library. It's a beautifully understated look at the relationships between teenagers with a slightly magical air to the whole proceedings and I couldn't recommend it high enough.
On Any Sunday: Documentary about the sports around the world involving bike-riding. That's basically it, though it certainly approaches the subject with an obvious passion for the whole thing, and features some really nice photography. It's a little wearing though, and the monotone narration doesn't help.
Phantom from Space: Unremitting dreck from the 50s, where a film was made based on its poster and its title. A couple of the special effects are decent, but otherwise it's an awful trudge through the dregs of science fiction.
Sunday, 7 September 2008
Entry Sixteen
Tell Me Something: The only thing remarkable about this Korean cop drama is how routine it is. No cliche is left unturned as the cop tries to protect a mysterious victim from a mysterious killer. The ending is silly, too.
Drugstore Cowboy: A fine drama, with a superb central performance from Matt Dillon as the pharmacy robber.
American Ninja 1, 2, 3, 4, and 5: All pretty similar, with a wooden lead (Michael Dudikoff and then David Bradley) facing ridiculous villains. 5 is my favourite, as it's easily the worst, and by turns, best, involving ninja magic and a villain dressed as a failed superhero.
Wasp Woman: Familiar Corman trash, along the lines of the similar Leech Woman, probably made in about 3 days. Depending on your taste for bad movies, it's either wonderfully bad, or just plain bad.
The Strangers: This attempt to tap into the 70s strain of horror movies works quite well, and the director manages to build tension effectively and often. The problem I had is that though it's supposedly based on a true story, the characters behave is contradictory and "horror movie" stupid ways, emphasising the artifice of the entire thing. Another crappy ending, too.
The Boy in Striped Pyjamas: Never the cheeriest of genres, this holocaust drama takes a different perspective in the form of the son of the camp's commandant. The two young leads are good, and the script's tendency to treat them like actual kids is quite refreshing in the age of preternaturally wise youngsters. I'm not sure the end works properly, but it's very effective in displaying the hopelessness and horror of the interned Jews.
Drugstore Cowboy: A fine drama, with a superb central performance from Matt Dillon as the pharmacy robber.
American Ninja 1, 2, 3, 4, and 5: All pretty similar, with a wooden lead (Michael Dudikoff and then David Bradley) facing ridiculous villains. 5 is my favourite, as it's easily the worst, and by turns, best, involving ninja magic and a villain dressed as a failed superhero.
Wasp Woman: Familiar Corman trash, along the lines of the similar Leech Woman, probably made in about 3 days. Depending on your taste for bad movies, it's either wonderfully bad, or just plain bad.
The Strangers: This attempt to tap into the 70s strain of horror movies works quite well, and the director manages to build tension effectively and often. The problem I had is that though it's supposedly based on a true story, the characters behave is contradictory and "horror movie" stupid ways, emphasising the artifice of the entire thing. Another crappy ending, too.
The Boy in Striped Pyjamas: Never the cheeriest of genres, this holocaust drama takes a different perspective in the form of the son of the camp's commandant. The two young leads are good, and the script's tendency to treat them like actual kids is quite refreshing in the age of preternaturally wise youngsters. I'm not sure the end works properly, but it's very effective in displaying the hopelessness and horror of the interned Jews.
Entry Fifteen
Island of Death: A rare video nasty from England, and as such lends a legitmately creepier air to the movie, though it doesn't make it good. The location work is nice and the main couple are decent, but it doesn't seem to have much of a point besides the torture of innocent people.
America 3000: Ridiculous sci-fi movie, which is so silly, that it actually becomes entertaining. Lots of naive suppositions about the future, and the 80s fashion manages to last almost 1000 years. Pretty fun!
Crimson Kimono: Samuel Fuller thriller which changes tack mid-way through to concentrate on the burgeoning relationship between the 3 protagonists and finally emerges as an attempt to explore the nature of interracial relationships.
City that Never Sleeps: A decent film noir, which is enhanced through its use of authentic locations and some naturalistic performances. It's a little odd at the end, where it goes a little metaphysical, but it isn't bad.
Invisible Boy: A typical sci-fi effort from the 50s, though it's odd balance between comedy and sci-fi frequently falters, and completely abandons that balance for a straight thriller toward the end. It fails at both, with the main child protagonist being annoying in the extreme and the thriller elements failing to engage or excite.
Trapeze: Burt Lancaster and Gina Lollobrigida offer good value in this otherwise dull effort, and some of the stunt work is impressive, but it's too bland to recommend.
Porco Rosso: Miyazaki's attempt at a cartoon for adults is pretty good, though not the uproarious fun I was hoping. However, it is frequently impressive, with some beautiful animation work and a fine voice cast.
Nausicaa: Valley of the Wind: A tremendous animated feature from studio Ghibli, it's themes echo that of the later Princess Mononoke, but I feel this a superior effort, creating empathetic characters and a believable world, without sacrificing coherency or plot integrity.
America 3000: Ridiculous sci-fi movie, which is so silly, that it actually becomes entertaining. Lots of naive suppositions about the future, and the 80s fashion manages to last almost 1000 years. Pretty fun!
Crimson Kimono: Samuel Fuller thriller which changes tack mid-way through to concentrate on the burgeoning relationship between the 3 protagonists and finally emerges as an attempt to explore the nature of interracial relationships.
City that Never Sleeps: A decent film noir, which is enhanced through its use of authentic locations and some naturalistic performances. It's a little odd at the end, where it goes a little metaphysical, but it isn't bad.
Invisible Boy: A typical sci-fi effort from the 50s, though it's odd balance between comedy and sci-fi frequently falters, and completely abandons that balance for a straight thriller toward the end. It fails at both, with the main child protagonist being annoying in the extreme and the thriller elements failing to engage or excite.
Trapeze: Burt Lancaster and Gina Lollobrigida offer good value in this otherwise dull effort, and some of the stunt work is impressive, but it's too bland to recommend.
Porco Rosso: Miyazaki's attempt at a cartoon for adults is pretty good, though not the uproarious fun I was hoping. However, it is frequently impressive, with some beautiful animation work and a fine voice cast.
Nausicaa: Valley of the Wind: A tremendous animated feature from studio Ghibli, it's themes echo that of the later Princess Mononoke, but I feel this a superior effort, creating empathetic characters and a believable world, without sacrificing coherency or plot integrity.
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