Archive 5, Vol.1

Featured

Part of the impetus behind this new era of 100 Films was to solve ‘problems’ like my repeated failure to post reviews. Hopefully my plan for regular groups of capsule-sized reviews will solve that going forward. But this has been an issue for a while, and that’s led to a huge backlog of unreviewed films from 2019 to 2021 — it totals a ridiculous 449 feature films (counting shorts too, it goes over 500). Rather than abandon those to the mists of time, I present a new weekly (more or less — let’s not overcommit myself) series: Archive 5.

Essentially, it’s the same format as new viewing: each post is a collection of short reviews; but here they’re five titles plucked at random from my archive of unreviewed films (and I’ve used a random number generator, so it’s genuinely unmethodical). If I can keep this up weekly, it will take me just under two years to clear the backlog — which means I could still be reviewing stuff from 2019 in 2023. Hahaha… haha… ha… ugh.

With that in mind, there’s no need for further ado. This week’s Archive 5 are…

  • Never Too Young to Die (1986)
  • Bachelor Knight (1947)
  • Little Women (2019)
  • Aniara (2018)
  • Who’s Afraid of Virginia Woolf? (1966)

    (I Care a Lot was originally intended to be part of this post, but then the review turned out a little long, so I spun it off by itself. That’s the kind of thing I’ll probably keep doing, too.)


    Never Too Young to Die

    (1986)

    Gil Bettman | 97 mins | digital (HD) | 1.85:1 | USA / English | 18 / R

    Never Too Young to Die

    If you dropped A View to a Kill, Rocky Horror, WarGames, and Mad Max 2 into a blender, the end result might be Never Too Young to Die. And if that sounds like a ludicrous, unpalatable mash-up… yep, that’s Never Too Young to Die.

    This direct-to-video action-adventure stars a pre-Full House John Stamos as Lance Stargrove, a teenage gymnast whose dad is a secret agent (played by George Lazenby — aged 47 at the time, but looking at least 20 years older). When daddy is killed, Lance teams up with his partner (singer turned actress Vanity) to go after the culprit: gang leader and wannabe terrorist Velvet Von Ragnar (Gene Simmons (yes, from Kiss), chewing scenery as if he’s not been fed for months).

    If you’ve never heard of this film… well, neither had I, until a Cracked article suggesting comical substitutes for Covid-delayed blockbusters. But what really convinced me to watch it is that it has The Greatest Trailer Ever Made. If you set out to make a spoof ’80s trailer, I’m not convinced you’d be able to beat that. Unfortunately, neither can the film as a whole. It’s fun at times (the boob-biting final fight, or a scene where Stamos tries to distract himself from Vanity’s sexuality by… eating multiple apples), but it’s not quite camp or daft enough to really earn a place as a cult classic.

    I’ll say this for it, though: rewatching that trailer has made me really want to watch the film again…

    3 out of 5

    Never Too Young to Die was #70 in my 100 Films in a Year Challenge 2020.


    Bachelor Knight

    (1947)

    aka The Bachelor and the Bobby-Soxer

    Irving Reis | 91 mins | digital (SD) | 4:3 | USA / English | U

    Bachelor Knight

    If you ever need to name an obscure Oscar winner for some reason, you could do worse than Bachelor Knight — or, to give it its even-dumber-sounding original title, The Bachelor and the Bobby-Soxer. Yes, this won the Oscar for Best Original Screenplay (the other nominees aren’t the greatest field you’ve ever seen, but altogether they’re either better-remembered or were considered good enough to nominate for other gongs that evening, so quite how this took the prize, I don’t know).

    The plot also stretches credibility: after high schooler Susan (Shirley Temple) becomes infatuated with artist Richard Nugent (Cary Grant), she sneaks into his place to model for him, much to the disapproval of her older sister Margaret (Myrna Loy), who also happens to be a judge; and when Nugent ends up in her court room, she sentences him to date Susan until her infatuation inevitably wears itself out. I know things are different in the US, and also in the past, but did/do judges there really have the power to hand out any crazy made-up sentences they like?

    On the bright side, the film moves sprightly through its plot. Perhaps that’s because it takes a whole 40 minutes to get through the basic setup, even while running at a pace, means there’s less screen time left to dwell on all that follows. Not that some individual bits don’t go on a tad, like a picnic sequence; but others work very well, like a scene in a nightclub that is a nicely-written bit of escalating farce.

    It’s not the best work of anyone involved, but Bachelor Knight belies its iffy title (both of them) to be a likeable-enough 90 minutes of screwball comedy.

    3 out of 5

    Bachelor Knight was #70 in my 100 Films in a Year Challenge 2021.


    Little Women

    (2019)

    Greta Gerwig | 135 mins | cinema | 1.85:1 | USA / English | U / PG

    Little Women

    Writer-director Greta Gerwig’s adaptation of Louisa May Alcott’s beloved novel was greeted in some quarters by questions of if it was necessary: it’s the sixth big-screen version of Alcott’s book, and came just two years after a major new BBC adaptation. Well, I don’t know if it was ‘necessary’ or not, but Gerwig’s version is definitely a very good film.

    A key point that marks it out from other adaptations is that Gerwig has restructured the story: instead of playing out in a straightforward chronological fashion, it flashes back and forth in the sisters’ lives, starting with them as young women in 1868, with Jo in New York and Amy in Paris, before mixing in events from their childhood, seven years earlier, when the four sisters lived together in Massachusetts. This might seem like a rejig for the sake of differentiation, but Gerwig uses it to create interesting juxtapositions or to reframe plot points. For one example (spoilers follow, if you’re not familiar with the story), I felt it made Laurie and Amy’s relationship less creepy. Told chronologically, they first meet when he’s a young man and she’s a child, and he only moves his affection to her after Jo’s rejected him and Amy’s grown up. In Gerwig’s version, we first meet them together in Paris, and they seem more destined for each other, with a genuine spark between them as individuals, rather than a nagging sense of “if I can’t have one sister, this other will do”. It’s only later we learn the full backstory of Laurie and Jo — and, for that matter, of Jo and Amy — which, yeah, is obviously still a bit creepy, when you think about it.

    Whichever way you cut it, Gerwig seems to really get to the heart of the meaning in the story and characters, as well as giving it a lightly feminist polish (misogynists would probably consider it Terribly Feminist and Evilly Revisionist, if they watched it, which I don’t imagine they would). A star-studded cast ensure the whole thing is well acted, and it’s beautifully shot by cinematographer Yorick Le Saux. Questions about ‘necessariness’ are particularly irrelevant when the work is this good.

    5 out of 5

    Little Women was #4 in my 100 Films in a Year Challenge 2020.


    Aniara

    (2018)

    Pella Kågerman & Hugo Lilja | 106 mins | digital (HD) | 2.35:1 | Sweden & Denmark / Swedish & English | 18 / R

    Aniara

    A sci-fi movie based on, somewhat oddly, a 1950s Swedish poem, Aniara is about a spaceship transporting migrators from Earth to Mars that accidentally veers off course and heads irretrievably into deep space. Rather than the kind of action-adventure this might provoke if it were a Hollywood production, Aniara follows how the passengers and crew attempt to cope with their new lives.

    It’s a premise interesting enough that you feel it could fuel a TV series — how this mass of people, forced together by accident and terrible circumstance, comes to function (or not) as a society. Or maybe the remake of Battlestar Galactica already nailed that kinda thing. Either way, here it’s condensed into about 100 minutes; and because it has such a long-term view of what it wants to pack in, there are some surprisingly large time jumps (by the half-hour mark we’ve already reached Year 3). It takes some odd detours when it does that (society completely breaks down into weirdo cults… then a probe that might allow them to return home is discovered, at which point everything goes back to normal), but overall it has a pretty clear thesis about humanity and how we cope with things — “not well”, fundamentally.

    The final act kind of rushes a similar point, skipping ahead (several times) to how things are even worse without really tracking the descent. Maybe that’s why I liked the idea of a series version so much: to fill in all those blanks. But I don’t want to take this criticism too much to heart. If anything, the fact I wanted more detail is a compliment. It’s not the film bungling developments and me searching for justification, but rather that I’d be interested in seeing the themes and characters explored in even more detail. As it stands, Aniara is an epic-scale story told well in a somewhat condensed fashion.

    5 out of 5

    Aniara was #65 in my 100 Films in a Year Challenge 2020. It placed 21st on my list of The Best Films I Saw in 2020.


    Who’s Afraid of Virginia Woolf?

    (1966)

    Mike Nichols | 131 mins | Blu-ray | 1.85:1 | USA / English | 12

    Who's Afraid of Virginia Woolf?

    When a middle-aged college professor (Richard Burton) and his wife (Elizabeth Taylor) have his new young colleague (George Segal) and wife (Sandy Dennis) around for drinks one evening, the occasion soon degenerates into a verbal slanging match between the elder couple, the younger inescapably caught in the middle.

    And as the film takes place in almost-real-time, in just a couple of locations, it feels like we’re trapped with them. With a running time north of two hours, the film’s drunken sardonicism almost becomes an endurance test, particularly when it goes on a bit too long in the middle. But it’s carried through by some magnificent performances. Everyone talks about Taylor — just 33 at the time, she wasn’t sure she could play the part of a bitter 52-year-old, but she’s excellent — or they talk about Taylor and Burton — similarly, he wasn’t sure he could play a beaten-down failure of a man, having been used to taking dashing heroic roles — but Sandy Dennis is great too, and deserved her Oscar. Of the four actors, its George Segal who draws the short straw, not really getting the material to truly stand toe-to-toe with the other three (he still got an Oscar nom, though).

    Director Mike Nichols insisted the film be shot in black & white, which helps it to pull off Taylor’s ageing makeup, but was also intended to stop it seeming too ‘literal’ and instead give an abstract quality. That fits the material, because the characters, events, and revelations are all pretty odd; the way it plays out pretty strange. Plus, the pitch-black darkness of the night fits the film’s themes. Cinematographer Haskell Wexler does a superb (indeed, Oscar-winning) job, the photography looking more striking than you might expect, or even need, for such an actor-focused character piece.

    A whole featurette on the film’s disc release discusses how it was “too shocking for its time”, mainly because of the language used (the fact the film was made relatively unedited set a ball rolling that, just a couple of years later, saw the Production Code replaced by the modern MPAA classification system). While such concerns are no longer really relevant (once-controversial terms like “screw” and “goddamn” are hardly “fuck”, are they?), that the film is still powerful shows it was never truly about what was said, but who said it and how they said it. I don’t mean to say that it would still be offensive today, but rather that it still packs an emotive punch.

    5 out of 5

    Who’s Afraid of Virginia Woolf? was #22 in my 100 Films in a Year Challenge 2021.


  • Devil’s Cargo (1948)

    2019 #93
    John F. Link | 62 mins | digital (SD) | 4:3 | USA / English

    Devil's Cargo

    The history of the fictional detective known as ‘the Falcon’ is a bit complicated (if you want a full summary, try this Wikipedia article), but the short version is that, between 1941 and 1946, RKO produced a series of 13 films featuring the character, starring first George Sanders and then his brother, Tom Conway. You can find my reviews of the series collated across these four posts. (The series is also noteworthy for containing the first screen adaptation of a Raymond Chandler novel: the third film, The Falcon Takes Over, was based on Farewell, My Lovely, two years before it was more famously filmed as Murder, My Sweet.)

    A couple of years after RKO’s Falcon series ended, Film Classics picked up the mantle, casting magician John Calvert as a different version of the character. Their series only lasted three films, of which this first is the most readily available, because it’s public domain. (Consequently, I’ve yet to see the next two. Writing this has reminded me that I was meant to be tracking them down…)

    The plot has nothing to do with cargo, belonging to Satan or otherwise. Rather, it’s the usual murder mystery setup: a playboy has been shot to death, a crook confesses his guilt to the Falcon, certain he’ll be acquitted due to his motives being (kinda) pure, but then he’s murdered too. It all unfolds as a surprisingly decent little mystery — no great head-scratcher, but it offers enough twists and turns to keep it lively. The conclusion may stretch credibility, and our hero more chances upon the identity of the killer than actually deduces it, but it suffices for a short B-movie.

    “Magic your way outta this!”

    Calvert is decent as the Falcon. He’s no Sanders or Conway, and he has the slight stiffness of a non-professional having a crack at acting, but he’s just about charming enough to carry it off. I’ve definitely seen worse performances in similar roles. I have no idea how famous or acclaimed he was as a magician, so I don’t know if the film’s references to magic and inclusion of tricks is meant as an amusing nod to his original vocation, or it was required to placate the leading man’s ego. I can imagine the production meeting, though… “We want to integrate your magic tricks into the plot.” “How?” “Well, a criminal asks you to show him some tricks, so you do.” I’m not kidding, that’s literally what happens. On the bright side, he has a sidekick dog, Brain Trust, who is cute and occasionally useful.

    As these ’40s detective B-series go, Devil’s Cargo is far from top-tier; but I’ve also seen worse — it’s better than it really ought to be.

    3 out of 5

    Rope (1948)

    2019 #24
    Alfred Hitchcock | 81 mins | Blu-ray | 1.33:1 | USA / English | PG / PG

    Rope

    Nowadays fake single takes are all over the place — some of them even last whole movies. But, as with so much cinematic trickery, it’s not actually a new idea. I don’t know if Alfred Hitchcock was the first director to attempt to trick the viewer into thinking they were watching one long take, when in fact it’s several shots stitched together via hidden cuts, but his effort is certainly one of the most famous. As an exercise in style, it’s a mixed success. Hitch is presumably inventing techniques that other filmmakers would polish and perfect in later attempts at the same stunt, but these first attempts don’t always come off perfectly. For example, every ‘hidden’ cut comes via an unmotivated camera move into the back of someone’s jacket — it may hide the cut in a literal sense, but there’s no doubting what’s going on. The entire movie is staged in actual long takes — just ten in total, most of them running seven to ten minutes. That means there are just nine cuts in the entire film, but several times (four, to be precise) Hitch just gives in and resorts to a regular cut. Sometimes you have to put the needs of the story before your showing off, I guess.

    But, in other ways, the film is a great technical success. The camera moves elegantly around the apartment, employing moveable walls and stagehands shifting props while out of shot to get the moves Hitch was after. A large window at the back of the set shows a cityscape, which in other films would’ve just been a photo blowup, but here is made more convincing and alive with smoke and lights. Similarly, the passing of time is subtly emphasised because, through that window, we can see the sunlight gradually transition from daytime to evening. All of this helps sell the fact that the film takes place in real-time… sort of. Although it only runs 80 minutes, scientific analysis (yes, some scientists analyse this kind of thing) has shown the events cover about 100 minutes. Certain action is sped-up to close that gap — for example, the sun sets too quickly. Apparently this is so effective that the analysis concluded audience members feel like they’ve watched a 100-minute movie, even though it’s only 80… which, er, I don’t think was meant to sound like a criticism…

    Look, a rope!

    Ostensibly based on Patrick Hamilton’s play of the same name, which in turn was inspired by the Leopold and Loeb case (also the inspiration for Compulsion, amongst various other works of fiction), this adaptation changes the setting, almost all of the character names, and some of their personality traits too. Wherever they come from, the film offers an interesting array of characters. The most obvious are the two murderers — smug, cocky Brandon and worrisome Phillip — along with James Stewart, who portrays a gradual realisation that something is amis, culminating in devastation at what was really a silly thought exercise being writ into reality. Apparently Stewart thought he was miscast, but I think he’s very good, conveying much with just looks and expressions, and making you believe his moral about-turn at the end.

    Other parts have, perhaps, dated: the film attracted some controversy for its homosexual overtones, but to modern eyes there’s very little to emphasise such an interpretation. Perhaps some social cues that once indicated homosexuality have fallen by the wayside in the past seven decades; or perhaps, because there’s no need to bury such things anymore, what was once ‘weird’ is now just normal behaviour. Nonetheless, much of the screenplay remains quite fun, including various nods and winks to the situation, and one slightly meta scene where two female characters talk about male movie stars they adore in front of Jimmy Stewart. But there are also sequences of familiarly Hitchcockian suspense, one great bit coming when all the characters are distracted chatting but we’re watching the maid who, while she slowly clears stuff away, is on course to discover the hidden body…

    As the end credits roll, the actor who plays David — the victim, who dies in the first shot of the movie; really, no more than a prop — Is listed first, and then every other character is defined in relation to him. It’s almost like they film’s very credits are underlining the message of the film: that no one’s inferior, including David; like they’re giving him some kind of dignity in death by making him the focus of the final element of the film. It’s another neat little trick in a film that’s full of them.

    5 out of 5

    Rope was viewed as part of Blindspot 2019.

    The 100-Week Roundup XVIII

    Here we are, then: the final reviews from December 2018, which are also therefore the final reviews from 2018 (er, aside from that one I’m keeping for another time).

    Also worthy of note: buried in the middle of this selection is the 2,000th feature film review I’ve published on this blog. It was way back in August 2019, 16 months ago, that I reached 2,000 films listed for review, so it’s taken me quite a while to catch up.

    So, reviews number 1999, 2000, and 2001 are…

  • Torment (1944)
  • Music in Darkness (1948)
  • Hachi: A Dog’s Tale (2009)


    Torment
    (1944)

    aka Hets

    2018 #249
    Alf Sjöberg | 97 mins | DVD | 4:3 | Sweden / Swedish | 12

    Torment

    Torment won a prize at Cannes and was nominated at Venice, but it’s most noteworthy for being the first film in the career of Ingmar Bergman: he was the screenwriter, and also served as assistant director — in which capacity he directed the film’s very final scene, meaning this film technically contains his first work as a director.

    Initially it seems like just a classroom drama — students vs a demanding teacher — but it takes a very different turn once one of the boys becomes involved with a girl of ill repute. She’s being tormented by a sadistic stalker — guess who that might turn out to be.

    With its realistic location photography and attitudes about schoolboys (disrespectful of schoolmasters; smoking; talking about getting girls pregnant; expressing opinions like “all women are tramps, and if they’re not they want to be”; and a lead female character who demonstrates they might be right), Torment feels more like a film from the ’60s film than the ’40s. But perhaps that’s just because it took Puritan America a while to catch up.

    The film is also critical of the strictures and pressures of the education system, which is still an accurate observation over seven decades later. In particular, a speech by a doctor about how schoolboys are overworked, and so they’re justified in trying to dodge some of that work, could be repeated word for word in a modern setting. There’s another scene where a kindly teacher berates a harsh one about his methods that, hopefully, we’ve moved slightly past, although I imagine every school still has teachers that are thought of as bastard taskmasters.

    Outside of its social views, the film does seem more of its time in its shot choices and production style, though not in a bad way — there’s some very effective stuff, like a bit of misdirection into a dream sequence, or its use of shadows. There’s one moment on a staircase that’s worthy of a horror movie — it’s almost a jump scare — and a chilling sequence follows which, again, feels like it’s from a different genre entirely.

    I liked a lot of Torment, not least the way it went beyond a tragic plot twist to explore the fallout in a fairly realistic manner — the lack of justice, the lack of revenge — but, unfortunately, the ending didn’t quite land for me. There’s a kind of justice for one character, but another ends up seemingly positive and optimistic, getting over events a mite too quickly. That said, it’s a quality production overall. It’s a shame it seems destined to relegation as a minor work (it’s not even in Criterion’s “comprehensive” Bergman box set), because I think it merits a wider rediscovery.

    4 out of 5

    Music in Darkness
    (1948)

    aka Musik i mörker / Night is My Future

    2018 #255
    Ingmar Bergman | 84 mins | DVD | 4:3 | Sweden / Swedish | PG

    Music in Darkness

    This is an early film by Ingmar Bergman — his fourth as director, from an era when someone’s fourth movie was an early one rather than their second or third studio blockbuster. That said, what Music in Darkness most feels like is a Hollywood romantic drama of the era, albeit with a couple of artistic flourishes and a flash of nudity, just so you know it’s definitely European.

    The film begins when master pianist Bengt Vyldeke suffers an accident that leaves him blind. Not a terrible inciting incident on paper, but on screen it’s so implausible it’s like a spoof: he’s injured while trying to save a puppy on a military shooting range. Where did that puppy come from?! Then there’s a kinda-experimental dream sequence, before we’re finally off to the races with a fairly standard romantic melodrama.

    Bengt may‘ve saved the life of a puppy, but he turns out to be a bit of a git. At first it seems his grumpiness stems from despair at his new situation, but then he begins to soften as he spends time with Ingrid, a maid who’s helping him. Sweet-natured, romantically-minded Ingrid is played by the ‘loose woman’ from Torment, Mai Zetterling; a remarkably different kind of role. So far, all so standard. But maybe Bengt saw Torment before he was blinded, because he starts calling Ingrid a wench and a last-resort marriage prospect behind her back. Yeah, maybe he’s not such a reformed character after all.

    Anyway, more tribulations follow, but eventually they overcome what was separating them to get together — hooray, and all that. But that’s not the end: next, there’s some minor palaver over getting married, the organising of the wedding, etc… but then that’s solved and they leave together, newlyweds… the end. All of which seems thoroughly extraneous — the story ends when they (suddenly, out of nowhere, without either really saying anything to the other) finally get together, not after some faffing about with wedding planning.

    Perhaps this is the European sensibility again, lacking the strict formal awareness of a Hollywood studio production. I don’t make that comparison as a criticism, incidentally. Like many a solid studio programmer, Music in Darkness is perfectly fine for what it is; but little about it truly stands out, either.

    3 out of 5

    Hachi: A Dog’s Tale
    (2009)

    2018 #259
    Lasse Hallström | 89 mins | TV (HD) | 1.85:1 | USA & UK / English & Japanese | U / G

    Hachi: A Dog's Tale

    Inspired by the true story of Hachikō, a dog in 1920s Japan who every day would wait at the train station for his owner to return — and continued to do so for almost ten years after the owner died. The tale was made into a Japanese film in 1987, which clearly caught the attention of someone in Hollywood, with this remake relocating the action to modern-day USA.

    This is really a film for people who like dogs. Without the pooch, it would be a terribly twee Hallmark TV movie — any scene where Hachi is absent is excruciating. In other words, if you don’t care for dogs, give it a miss. For the rest of us, fortunately, the pup’s is in most of it. The story takes us on an emotional rollercoaster, its impact only emphasised by the fact it’s (fundamentally) a true story. Of course, the dog dies — he wouldn’t have stopped waiting at the train station if he didn’t, would he, because he’s a very good boy.

    Yeah, if you hadn’t already guessed, this is an unabashed tearjerker for any dog lover.

    4 out of 5

  • The Three Caballeros (1944)

    2020 #61
    Norman Ferguson | 72 mins | download (HD) | 4:3 | USA / English | U / G

    The Three Caballeros

    At one point Disney had a reputation for churning out rubbish direct-to-video sequels to their animated classics, a practice they put a stop to because, well, they were getting a reputation for churning out rubbish direct-to-video sequels to their animated classics. But there have also been a small selection of films in the Disney Canon that were granted sequels also within the canon. I have no insight into why this was the case, but I’d love to know the thinking because some of them are random. Like, okay, Frozen was a mega-hit, so makes sense you’d make the sequel ‘official’. Winnie the Pooh? Sure, Pooh is awesome (and also a reliable moneyspinner). Fantasia? Well, it was a passion project, and I guess its inherently artistic nature seems a reasonable way to mark the millennium. Wreck-It Ralph? Um… The Rescuers? Er… Saludos Amigos? Wait, really?

    Yep, The Three Caballeros is, technically, the first sequel in the Disney Canon, and that’s only really surprising when considered without context. It’s from the period when Disney were bundling together shorter films to make package features, of which there are half-a-dozen spanning the gap between Bambi (Canon #5) and Cinderella (Canon #12). The first of those was Saludos Amigos, which was basically a propaganda film to showcase South America with the aim of improving relations between the continents. Donald Duck starred in two of that film’s segments, and it introduced José Carioca, a Brazilian parrot character. The Three Caballeros is a sequel in that it also presents a series of shorts about lands south of the US, strung together via a linking device of Donald Duck opening birthday presents from his Latin American friends. José eventually pops up, and the titular trio is rounded out with the introduction of Panchito Pistoles, a Mexican rooster.

    The three sex pests

    For all the similarities, I thought The Three Caballeros was considerably more enjoyable than its predecessor. Its depiction of South America is perhaps a little more twee, leaning on culture and tradition rather than the modern cityscapes that were so important to the impact of the first film, but that doesn’t grate too much because it’s not striving so hard to be educational. Because of that, it’s also able to be more straightforwardly entertaining. That said, it very much has the feel of a “kids’ cartoon”, rather than the artistry that’s to be found in Disney’s best efforts. Although Donald Duck comes across as a bit of a sex pest at times, which I guess is just changing attitudes. Conversely, the sequences that blend live-action and animation hold up incredibly well, although that might be because Disney’s use of DNR is so heavy-handed that the live-action practically looks the same as the animation. And the finale, where it suddenly explodes into a psychedelic nightmare, feels like someone didn’t know how to end the film and so had a mental breakdown all over the screen.

    While I’d chalk up The Three Caballeros as a superior movie to its immediate predecessor, it undoubtedly remains a minor entry in the Disney canon. That said, apparently they updated it into a spinoff series a year or two ago (which I only know about because I happened to spot it on Disney+ the other day), so it obviously endures somewhat.

    3 out of 5

    The 100-Week Roundup IV

    When I started my 100-Week Roundup project, I thought I’d be posting a lot of unedited notes and/or summary paragraphs skirting across multiple films (like I did in my FilmBath shorts roundup, for example). Instead, I’ve mostly still been writing full, albeit short, reviews. Well, that continues here, although these reviews often stop dead rather than being fully-formed pieces.

    Today’s roundup contains the remainder of my unreviewed films from June 2018, with one exception: A Thousand and One Nights, the first film in the Animerama trilogy, which I intend to review along with its two brethren. I watched the second of those in 2019 and the third just this month, so that’ll come up in due course.

    As for what’s still here, if these weren’t linked by the theme of when I watched them, maybe I’d’ve bundled them together for having the same star rating. They are…

  • Doubt (2008)
  • Gaslight (1944)
  • The Florida Project (2017)
  • Swingers (1996)
  • Amadeus: Director’s Cut (1984/2002)
  • Becoming Bond (2017)


    Doubt
    (2008)

    2018 #133
    John Patrick Shanley | 104 mins | download (HD) | 1.85:1 | USA / English | 15 / PG-13

    Doubt

    It’s funny how time can change perspective. For instance: Doubt is a drama starring three widely acclaimed powerhouse actors, Meryl Streep, Philip Seymour Hoffman, and Amy Adams… except Adams doesn’t get above-the-title billing, which, yeah, is a bit of an inside technicality for people who are aware of these kind of things, but does remind you that this came out just a year after Enchanted helped propel her to mainstream awareness. But at least she makes the poster, unlike Viola Davis.

    All four stars earnt Oscar nominations (Adams and Davis went up against each other for Supporting Actress, which was instead won by Penélope Cruz for Vicky Cristina Barcelona), which only seems fair. The film may set itself up as a mystery (did this priest abuse a child?), but the film’s real qualities lie not in the investigation, but in the people involved — the confrontations, the act-offs, between these great players, all of whom give powerful, nuanced performances,

    This is a film that leans on ambiguity in almost every regard. I mean, we know what it’s about, and yet no one ever even outright says what they suspect the priest of, they just intimate it. It’s also there in the morality, which moves in shades of grey, something such emotive subject matter could easily lose in lesser hands. Writer-director John Patrick Shanley earnt the film’s fifth and final Oscar nomination for the screenplay he wrote based on his own play (losing to the ubiquitous Slumdog Millionaire), and that also seems well deserved.

    4 out of 5

    Gaslight
    (1944)

    2018 #134
    George Cukor | 109 mins | TV | 4:3 | USA / English | PG

    Gaslight

    In modern parlance, “gaslighting” is when you manipulate someone into disbelieving something they (correctly) believed was true, which has come up an awful lot in the past few years thanks to the actions of politicians in particular. It’s a bit of a random term, but that’s because it stems back to the plot of this film (and/or the 1938 play it’s adapted from, or the 1940 British film that inspired MGM to buy the remake rights to produce this version, which was originally titled The Murder in Thornton Square in the UK to avoid confusion). The connection comes because it stars Ingrid Bergman in an an Oscar-winning turn as Paula, whose new husband messes with her sanity to cover up his criminal activities.

    Leaving aside its cultural importance, as a tale in its own right this version of Gaslight is well performed and directed, but Evil Husband’s scheming is so damned obvious from very early on (at least to modern eyes_ that it becomes a bit of a finger-tapping exercise in waiting for someone, anyone, to do anything about it. I guess part of the point is that it’s a long, slow game of convincing her she’s mad, but it still felt like it needed to get a wriggle on to me. We know what he’s doing and how he’s doing it — how it will be undone and saved is what we’re left waiting (and waiting) for.

    At least it’s worth the wait, with a helluva climactic scene where Paula turns all her husband’s lies back against him. What it lacks in suspense it makes up for with a fantastically committed performance from Bergman, which evolves gradually and believably over the course of the film, and gets some excellent showcase moments too, not least the aforementioned confrontation. As her husband, Charles Boyer makes for a suitably sneering villain — too suitable, in a way, in that it’s almost hard to believe Paula would ever fall for him.

    4 out of 5

    The Florida Project
    (2017)

    2018 #136
    Sean Baker | 112 mins | streaming (HD) | 2.35:1 | USA / English | 15 / R

    The Florida Project

    A story of life on the poverty line in modern America, about a young single mother and her six-year-old daughter struggling to make ends meet in Kissimmee, Florida. You’d be forgiven for not having heard of the city, unless you’ve visited its neighbouring tourist magnet: Walt Disney World.

    It’s a slice-of-life kind of film — relatively light on plot, more about showing the difficulties of the characters’ lives. Some viewers will (indeed, have) lose patience with it for that, and at times it does feel a little long in the tooth. It’s worth sticking with, but paring it back by 10 or even 20 minutes would help.

    It’s mostly shown from the kid’s point of view, but there’s enough there that, as adults, we can see the struggles and choices the adults are dealing with. That these kids’ hand-to-mouth make-your-own-fun lives exists in the shadow of expensive, hyper-consumerised Disney World would seem like a contrivance were it not a truth, and the film acknowledges the juxtaposition (it’s hard not to — Disney is everywhere over there) without leaning into it too heavily (although the film’s title is a reference to how Disney referred to the park while it was in development).

    It’s a portrait that’s sympathetic to these people and their lives. How objective is it? It doesn’t blame them for the situation, but also shows it isn’t right, especially in their (limited) interactions with the authorities — maybe if there was different, better help offered earlier, the actions they eventually have to take wouldn’t be necessary.

    The film’s final sequence sits weirdly with the rest of the movie, which provokes some to write if off. The contrast is clearly a deliberate choice, but I’m not sure how I feel about it — it smacks of not knowing how to end the movie, or wanting to put a more upbeat capstone on something that’s become too depressing. It’s certainly striking, at least.

    4 out of 5

    Swingers
    (1996)

    2018 #141
    Doug Liman | 96 mins | streaming (HD) | 1.85:1 | USA / English | 15 / R

    Swingers

    To be honest, this is one I watched more out of box-ticking (of Doug Liman films) and vague curiosity (it’s sometimes (though decreasingly, I feel) mentioned as a key work of ’90s indie cinema), but I wound up genuinely enjoying it. It’s not what I expected from the posters and blurb — I thought it’d be all about slick operators and The Scene, but really it’s about some jobbing twentysomething mates just living and trying to have fun during the swing revival in ’90s Hollywood. In other words, it’s a lot less obnoxious than I’d feared. In fact, it has a kind of sweet positivity. That even extends to Vince Vaughn, who’s playing kind of a dick as usual, but he’s kinda likeable anyway. That said, if you cringe and squirm at people making fools of themselves in social situations (as I do), oh boy, this film has some examples that are more uncomfortable than any horror movie.

    It feels typically ’90s in so many ways, but then as it’s about the ’90s lifestyle, that’s wholly apt. One aspect of this is its cinematic literacy. For example, the characters debate whether Tarantino is copying or homaging Scorsese, and then later the film both homages (or copies) Reservoir Dogs and Goodfellas. And like Tarantino, the film came to be an influence on the ’90s itself, through catchphrases like “you’re so money” and “Vegas, baby!”, and popularising the term “wingman”. There’s probably a whole book to be written on the self-referential-ness of ’90s culture as an expression of angst at the forthcoming millennium, or something like that.

    4 out of 5

    Amadeus:
    Director’s Cut

    (1984/2002)

    2018 #142
    Miloš Forman | 180 mins | download | 2.40:1 | USA, France & Czechoslovakia / English | PG / R

    Amadeus

    The story of the one-sided rivalry between court composer Salieri (F. Murray Abraham) and wunderkind Mozart, aka Wolfgang, aka Wolfy (to his wife) — who also had the middle name Amadeus, of course, which for some reason lends itself as the title. (As per IMDb Trivia, “an important theme of movie is the change of Salieri’s belief in God. That might have been the reason for the title Amadeus, which means ‘love of God’.”)

    Amadeus‘s reputation places it as a 10-out-of-10 absolute-classic kind of Great Movie, including ranking in the top 100 of IMDb’s Top 250, the top 200 of Letterboxd’s equivalent, and placing on various other lists, like the 1,000 Greatest Films. I wouldn’t go that far, personally, although I did think it was good. There are very strong performances (amusingly, Tom Hulce studied the temperamental behaviour of John McEnroe to help inform his interpretation of Mozart). There are great depictions of music and its creation. The production values are strikingly high, including sumptuous sets, locations, and costumes; nice camerawork (apparently the entire film was shot with natural light, which makes the cinematography even more impressive); and some spots of excellent editing.

    The version released theatrically in 1984 was cut down to 160 minutes because, according to Forman, it was the era of MTV: a long movie about classical music was already a risk, so it was decided to limit the running time. 2 hours 40 minutes is hardly shot, though, is it? Anyway, come 2002 and the DVD release, Forman felt they may as well recreate the film as written, leading to the longer cut, which has since become the standard version (it’s even the one shown on TV, which is by no means guaranteed with director’s cuts, I find). Forman says the shorter version was created by ditching every scene not directly related to the plot, though I’m not sure how much I buy that. Having read what was added back, I’m sure an awful lot more could’ve gone without impacting the story a great deal, if that was indeed their goal. One thing the longer cut did achieve was up its US certification from a PG to an R, thanks to a brief appearance by boobies. Oh, you prudish Americans!

    The film also inspired the song Rock Me Amadeus. Now that’s something I might give five stars.

    4 out of 5

    Amadeus was viewed as part of What Do You Mean You Haven’t Seen…? 2018.

    Becoming Bond
    (2017)

    2018 #144
    Josh Greenbaum | 96 mins | streaming (HD) | 2.35:1 | USA / English | 15

    Becoming Bond

    A documentary about the life of George Lazenby, most famous — or, rather, only famous — for replacing Sean Connery as James Bond for the sum total of one film. The blurb tries to spin it as “a unique documentary/narrative hybrid”, but it’s just a docudrama — i.e. a documentary with some scenes dramatised by actors. In fact, it’s basically just an interview with Lazenby that’s been dressed up with reenactments.

    Lazenby comes across as likeable and it’s a helluva story, and it doesn’t hurt that they’ve had a lot of tongue-in-cheek fun with how the recreations are done (swearing, sex, nudity, hanging boots off erections…) It’s mostly a “mad, true story” kinda thing, but it pulls out some surprisingly heartfelt, emotional stuff later on, including regret of opportunities missed (and not just Bond ones). The only significant downside comes from being a British viewer, because the dramatisations were all clearly shot in the US with American actors: most of the British and Australian accents are terrible; their idea of the exterior of a British pub is questionable; frankly, I’m amazed they even bothered to use right-hand drive cars (err, most of the time).

    (Bit of an aside, but just think: there’s an alternate universe somewhere in which Lazenby didn’t behave like an idiot and instead starred in Diamonds Are Forever, and therefore probably carried on into Live and Let Die and The Man with the Golden Gun, and maybe The Spy Who Loved Me and Moonraker too… And I guess in that universe Roger Moore never played Bond (because surely they wouldn’t’ve cast him for the first time when he was over 50, would they?) Funny to think about, isn’t it?)

    There’s an interview clip included where David Frost asks Lazenby if he carries on the James Bond thing in real life, and Lazenby says no, it’s just a movie, no one could carry on like that in real life — which is funny because we’ve just been hearing all about how Lazenby basically did lead Bond’s life (minus, you know, the spying and killing). Whether that’s actually a desirable way to lead an entire life… you be the judge.

    4 out of 5

  • The 100-Week Roundup II

    I had a nice little introduction written for this post when T2 3D was going to be part of it, but then that got too long and I posted it separately. So, anyway, here are three other films I watched almost two years ago but haven’t reviewed yet…

    Laura
    (1944)

    2018 #93
    Otto Preminger | 85 mins | download (HD) | 4:3 | USA / English | U

    Laura

    This classic film noir stars Dana Andrews as a New York detective investigating the murder of an advertising exec and society girl played by Gene Tierney, the eponymous Laura. And there’s a good twist halfway through that completely turns the film on its head, so I’ll keep this vague. (We can debate the merits or otherwise of openly discussing plot points from 75-year-old films another time. Heck, go on Twitter — I’m sure someone’ll be ranting about it from one side or the other right now.)

    As a murder investigation, Laura is a decent little mystery — there aren’t a huge number of suspects, but enough to keep you guessing; though I did eventually wonder if it actually hangs together 100% as a case. But that doesn’t matter when everything else about the film plays out so well. For starters, it’s noticeably well directed by Otto Preminger, with some nice shot construction and editing. Then the screenplay (based on a novel by Vera Caspary, and penned by three credited writers and one uncredited, as per the interweb) boasts lots of great dialogue. It’s rarely show-off-ily snappy, but it is effective and sometimes witty. That’s only appropriate considering one of the characters (Clifton Webb’s Waldo Lydecker) has a rep as a wordsmith — that wouldn’t fly if he didn’t have plenty of bons mots to offer.

    The rest of the cast are similarly noteworthy. Tierney is very plausible as the kind of gal everyone would fall in love with, and Andrews is equally so as the solid copper. A key supporting role is filled by a young-ish Vincent Price. (Can we call 33 “young”? As someone who was born in 1986, I’m going to go with “yes”.) It’s an accident of history how effective his casting is — not that his performance is bad in and of itself, but his later reputation brings certain expectations about how things might pan out. Is that warranted? Well, you’ll have to watch it to see…

    5 out of 5

    Jigsaw
    (2017)

    2018 #104
    The Spierig Brothers | 92 mins | streaming (HD) | 2.35:1 | USA & Canada / English | 18 / R

    Jigsaw

    After seven films between 2004 and 2010, the Saw series seemed well and truly done. But nothing once-popular can stay dead for long in Hollywood, and so 2017 saw this revival (and this year will see another, pandemic permitting). It seemed to go down quite poorly, and I’m curious as to why. It’s a Saw film through and through — if you don’t like the series, there’s no reason you should like this — so, I mean, why would you want or expect a Saw film to not be a Saw film? Maybe it’s just people who don’t actually liking Saw films all that much but chose to watch an eighth one anyway? Well, it’s up to them how they choose to spend their time…

    Anyhow, as a Saw film, I thought it was one of the better ones. Not the very best (that’s still the first), but definitely top end. I liked the final reveal, which is a big part of these films’ appeal — what twist they’re going to pull in the final moments. Sure, I’d guessed part of it well in advance, but it still had some neat aspects. (I do wonder how many people were fooled into thinking Jigsaw was still alive, somehow? He died many, many films ago; he’s not coming back.) In terms of the whole series, it does raise a load of questions — but digging into them is really getting navel-gazing about the series’ continuity. I’m not sure it’s worth worrying about.

    3 out of 5

    Inferno
    (1953)

    2018 #107
    Roy Baker | 84 mins | Blu-ray (3D) | 1.37:1 | USA / English | PG

    Inferno

    3D and film noir aren’t things you readily associate with each other, but there are a couple of them — see here for a few. Some might count Hitchcock’s Dial M for Murder, too. Inferno here is another borderline case. The plot definitely has a whiff of noir — a husband left for dead by his wife and her lover, which cause her moral quandaries but him not so much — but the telling is more of an Adventure movie, some might even say a Western, with the husband struggling through an arid wilderness. Plus it’s all shot in brightly-lit Technicolor.

    Whether you count it as noir or not, it’s most noteworthy for its 3D. It was one of the last films made in the format during the fleeting ’50s experiment, especially as its studio, Fox, were backing CinemaScope as a TV-beater instead (well, I guess they were right). It doesn’t make blatant use of its 3D — there’s no stuff poking at the camera (until the punch-up finale) — but it often brings a nice sense of depth often, including to the wide-open desert vistas. It was well received, too, with the New York Times saying it was where “3-D comes of age”, and others comparing it favourably to other movies of the era, which treated 3D as no more than a gimmick and squandered its potential. All of that said, a climactic fight does indulge in all the in-your-face aspects we associate with classic 3D movies — but it was a late addition forced on the film by studio head Darryl F. Zanuck, who wanted to see more overt 3D action. In summary up, director Roy Ward Baker commented, “the critics gave it unanimous applause, largely because it has a good story to which the process contributed greatly, as opposed to the usual stereo films which were simply exploitation stunts. However, we did include a few of the cliches, at the behest of DFZ. I guess he was right at that.”

    It is a pretty good tale. Baker wanted to make a film in which “the leading character spends long periods alone on the screen, where the interest would be in what he does, rather than what he says.” Nonetheless, we’re given a voiceover narration from the hero, which gets a bit twee, albeit with an enjoyable dry wit now and then, and an interesting pragmatism about his situation. There’s some neat editing to juxtapose his situation with that of his condemners, too: when he’s starving it cuts to wifey enjoying a lavish meal; as he digs in the desperate hope of water it cuts to her lover casually fixing himself a drink. Said wifey is played by Rhonda Fleming, who apparently was known as “the Queen of Technicolor” because of her complexion and vibrant red hair. Everyone in the film is in love with her — even the cops who’ve just met her comment on it — and, yeah, I buy that. There’s an amusing bit where her lover is desperate to throw caution to the wind and visit her room that night simply because it’s “been four days”, wink wink nudge nudge. Men, eh?

    4 out of 5

    Black Narcissus (1947)

    2018 #49
    Michael Powell & Emeric Pressburger | 101 mins | Blu-ray | 1.33:1 | UK / English | U

    Black Narcissus

    It’s over a year since I watched Black Narcissus, but this review is only materialising now for two reasons: first, my overall tardiness at posting reviews nowadays (my backlog currently numbers north of 140); and second, but actually more relevant, I’ve struggled to make sense of what I thought of it.

    On the surface a story about some nuns opening a convent in the Himalayas, there’s so much more going on beneath the film’s surface than just conflicts with locals and amongst the small group of nuns — that much is clear. But what else is going on? Critics often talk about the film’s eroticism, but (even allowing for the fact it was made in 1947 and so could hardly be overt about such things) I rarely felt that. In his video introduction on the Criterion Blu-ray, Bertrand Tavernier says it’s all about desire, specifically female desire, and the prohibition of said desire. Hm. I mean, I don’t disagree that’s in there somewhere, but it doesn’t feel like that’s what it’s “all about”. Writing in Criterion’s booklet (reproduced online here, critic Kent Jones says that “the reduction of Black Narcissus by admirers and detractors (and cocreators!) alike to the three Es — expressionist, exotic […] and erotic — has often deprived this bracing film of its many nuances and complexities.” So, I’m not alone in thinking there’s other stuff going on here… though I’d wager Mr Jones has a better handle on what that is exactly than I do.

    I confess, I find this a bit frustrating — not the film itself, but my inability to ‘get’ it. I was never bored, so something kept me engaged, there’s something to it, but I can’t get at what this is. I felt a bit like there’s a germ of a good thing, but it’s not brought out. Like, the characters all being gradually driven mad or hysterical by the place — it’s an effect that’s almost there, but not quite; and it only affects, like, two-and-a-half of them anyway. But maybe I’m expecting the film to be too overt; maybe it was just too subtle for me. Whatever it is, it clearly disturbed the Christians: when the film was released in the US, Catholic weekly The Tidings reportedly asserted that “it is a long time since the American public has been handed such a perverted specimen of bad taste, vicious inaccuracies and ludicrous improbabilities.” Reason enough to like the film, there.

    Nuns gone wild

    Oh, but my overall confusion aside, there are many specifics that deserve concrete praise. The last 10 or 20 minutes, when it almost turns into a kind of horror movie, are fantastic. (Even the original trailer is largely composed of footage from the film’s final 25 minutes. It’s definitely the best bit.) It all looks ravishing, magnificently shot and designed. There’s the always-stunning work of DP Jack Cardiff (apparently a Technicolor executive claimed the film was the best example of the process), plus the work of production designer Alfred Junge and costumer Hein Heckroth. The luscious backdrops were blown-up black-and-white photos that the art department coloured with pastel chalks, which partly explains the film’s otherworldly beauty. Indeed, considering it was all shot in the UK, the location is very well evoked. That’s not least thanks to the constantly blowing wind, which ruffles clothing and hangings even during interior scenes — a detail that could’ve been easily overlooked during production, but whose presence certainly adds to the atmosphere.

    It’s difficult to sum up and rate my reaction to Black Narcissus, because I feel like I missed something — not literally (I followed the plot ‘n’ that), but like I didn’t understand something about it. And yet I was engaged throughout, it’s gorgeous to look at, and the final 20 minutes are stunning on every level. One to revisit, for sure.

    4 out of 5

    Black Narcissus was viewed as part of my Blindspot 2018 project.

    Coincidentally, it’s currently available on iPlayer, but only until tomorrow afternoon.

    The Ragtag Review Roundup

    My review backlog has got a bit silly: there are currently 128 unposted reviews on it, dating back to stuff I watched in January 2018. I was hoping to really get stuck into that as 2019 began, but I’ve been busier than expected. Anyway, I’ll keep trying — and here’s a start, with a real mixed back of films that have basically nothing in common.

    In today’s roundup:

  • American Psycho (2000)
  • Logan Lucky (2017)
  • A Nightmare on Elm Street (1984)
  • The Treasure of the Sierra Madre (1948)


    American Psycho
    (2000)

    2018 #66
    Mary Harron | 102 mins | streaming (HD) | 2.35:1 | USA & Canada / English | 18 / R

    American Psycho

    The film that made Christian Bale’s name sees him play Patrick Bateman, a high-flying New York banker with psychopathic tendencies — well, that just sounds like all those Wall Street types, right? Except hopefully they’re not actually engaging in literal killing sprees, unlike Bateman.

    While the murdering stuff may look like the draw, American Psycho is more interesting as an examination of the corporate mentality. It manages to be remarkably insightful, satirical, and terrifying all at once. Take the scene where they compare business cards, for instance: it’s ridiculous how much interest and importance these guys are placing in little cardboard rectangles with their name and number on, and yet you can believe such business-wankers would care about it. The anger Bateman feels when other people’s cards are considered classier than his is palpable.

    It’s a great performance by Bale across the board — so well judged, despite being barmy. It’s also interesting to observe the links between this and his version of Bruce Wayne, which is a wholly appropriately connection. I mean, who’s more of an American psycho than a guy who spends his days pretending to be a playboy businessman and his nights dressing up as a bat to beat up bad guys? I’m sure someone must’ve already developed a theory / amusing trailer mashup connecting the two films…

    The only thing that really let the film down for me was its final act. No detailed spoilers, but while I thought the rest of the film was engagingly made, the ultimate lack of resolution felt empty. To me, it seemed like it didn’t know how to end.

    4 out of 5

    Logan Lucky
    (2017)

    2018 #65
    Steven Soderbergh | 119 mins | Blu-ray | 2.39:1 | USA / English | 12 / PG-13

    Logan Lucky

    Two brothers, whose family has a historical proclivity for bad luck, decide to rob one of the US’s largest sporting venues, the Charlotte Motor Speedway, during one of its quieter events. But when the situation changes, they end up having to pull the job off during the biggest race of the year.

    Director Steven Soderbergh’s return to the heist genre a decade after Ocean’s Thirteen is something to be noted; and while Logan Lucky is a very different kind of heist movie (there’s none of that trilogy’s Hollywood glamour to be found here), it’s a more successfully entertaining movie than either of the Ocean’s sequels.

    Like them, it’s not terribly serious, instead ticking along as generally quite good fun — though there’s a scene with Take Me Home, Country Roads that’s quite affecting. Between this and Kingsman 2, I’m left to wonder how that wound up becoming just about the most emotional song ever recorded…

    Anyway, the showpiece heist is clever, in its own way, and rolls around sooner than I expected — it’s funny to read some people criticise how long it takes to get to, because I assumed it would be Act Three. Instead, the film constructs a post-heist third act that was the only time it really got too slow for me, though it does eventually reveal a purpose that was kinda worth the wait. That said, the whole thing might benefit from being a little bit tighter and shorter — ten minutes trimmed across the pre- and post-heist acts might make it zing just that bit more.

    4 out of 5

    A Nightmare on Elm Street
    (1984)

    2018 #71
    Wes Craven | 87 mins | TV (HD) | 16:9 | USA / English | 18 / R

    A Nightmare on Elm Street

    It may be regarded as a horror classic, but I have to admit that I found A Nightmare on Elm Street to be a crushing disappointment. To me, it seemed to be a pretty poor movie (all weak: the acting, the dialogue, the music, the timescale events supposedly occur in) with some fantastic imagery. Director Wes Craven was a master, of course, and he manages to construct some truly great shots and moments amid a dirge of mediocrity. There’s a lot of nonsensical stuff too. I guess “dream logic” is meant to excuse it, but… eh.

    I do really like that poster, though.

    3 out of 5

    The Treasure of the Sierra Madre
    (1948)

    2018 #6
    John Huston | 121 mins | TV (HD) | 4:3 | USA / English | PG

    The Treasure of the Sierra Madre

    Set in the mid ’20s, two American drifters in Mexico (Humphrey Bogart and Tim Holt) team up with an old and experienced prospector (Walter Huston, director John Huston’s father) to hunt for gold in them thar hills. Along the way they have to contend with rival prospectors, violent bandits, and — most dangerous of all — their own suspicions and greed.

    The Treasure of the Sierra Madre blends genres like there’s no tomorrow: it’s been described as a plain drama, an adventure movie, a neo-western, it’s included on film noir lists… Of course, depending which angle you look at it, it’s all of the above. It’s both an exciting adventure movie and a character-centric exploration of the effects of greed. In depicting that, Bogart’s performance is excellent, though Huston Sr threatens to steal the show. Poor Tim Holt is overshadowed by them both, even though he gives a likeable turn.

    5 out of 5

  • “Christmas in July” Review Roundup

    Being someone who lives in the northern hemisphere, and up towards the top of it too, we celebrate Christmas at, y’know, Christmas. But for people who live in places where 25th December falls in summery weather, all the trappings of the festival don’t feel so appropriate. Hence at some point someone conceived of “Christmas in July”.* I don’t know when — a long time ago, probably — but I first encountered the concept a year or two back.

    Anyway, I don’t think it’s celebrated on a specific date (it’s just a thing some people do some places), but it turns out there is a “Christmas in July” in London — a great big marketing event, self-described as “the ‘London Fashion Week’ of Christmas press launches.” Well, what could be more Christmassy than massive commercialisation? That’s occurring today and tomorrow, and seemed as good a point as any to post this selection of leftover reviews from the festive viewing I enjoyed seven months ago.

    In today’s roundup:

  • Elf (2003)
  • Scrooged (1988)
  • It’s a Wonderful Life (1946)


    Elf
    (2003)

    2017 #173
    Jon Favreau | 93 mins | streaming (HD) | 16:9 | USA / English | PG / PG

    Elf

    Regarded by some as a modern Christmas classic (though it’s 15 years old now, so I’m not sure if “modern” still applies), Elf is about a human raised as one of Santa’s elves (Will Ferrell) who travels to New York to find his real dad (James Caan), in the process spreading Christmas joy with his charmingly innocent view of the holiday.

    An early starring role for Ferrell, the film is more concerned with letting him get up to funny antics than it is with, say, building fully rounded character arcs — Caan goes through his inevitable redemption in the space of one cut. It’s less character development, more character transplant. Heck, transplants take time to perform — it’s character transmogrification. By taking such short cuts it fails to earn the changes of heart for its characters, leaving it to feel kind of empty and unsatisfying on an emotional level. Nonetheless, the focus on comedy and an innocent’s eye-view of Christmas means it makes for a fairly entertaining, pleasantly festive time-killer.

    3 out of 5

    Scrooged
    (1988)

    2017 #174
    Richard Donner | 101 mins | streaming (HD) | 16:9 | USA / English | PG / PG-13

    Scrooged

    Director Richard Donner transplants the most famous of all Christmas stories (that doesn’t star a divine baby, anyhow), Charles Dickens’ A Christmas Carol, to the corporate ’80s in this fantasy comedy. (Most Christmas movies are “fantasy comedies”, aren’t they? Even the ones that aren’t (like, say, Home Alone) kind of are. But I digress.)

    Bill Murray stars in “his first comedy since Ghostbusters”, as the UK poster boasts (“Bill Murray is back among the ghosts. Only this time, there’s no one to call.”). He’s the Scrooge figure, Frank Cross, a miserly TV executive visited by three ghosts who expose his negative effect on the world, and in turn on himself. Obviously, therefore, the film retains the broad shape of Dickens’ original story, but it goes a little further than that, taking all the salient details and adapting them to its own variation. It’s a good modernisation: true to the original, but without being slavishly beholden to translating the story word for word.

    It does feel like it could’ve been tightened up a bit, though according to Murray they “shot a big, long sloppy movie, so there’s a great deal of material that didn’t even end up in the film,” which I guess means this is already the improved version. Nonetheless, this is a Christmas tale with just enough ’80s cynicism and gentle horror to stop it being too twee, while retaining an appropriately goodhearted festiveness.

    4 out of 5

    It’s a Wonderful Life
    (1946)

    2017 #171
    Frank Capra | 130 mins | streaming (HD) | 1.33:1 | USA / English | U / PG

    It's a Wonderful Life

    I’m a little late to the party here: It’s a Wonderful Life is a Christmastime TV staple that most people have been enjoying for decades, many since childhood. Frankly, that’s the main reason I watched it — almost out of a sense of duty, owing to it being an iconic Christmas film, and also well rated on polls like the IMDb Top 250.

    So I set out merely to rectify my oversight, expecting to find it a bit saccharine and twee, and probably overrated. But no, it’s not that at all: it’s a beautiful, brilliantly made, genuinely moving film — I even got something in my eye during the conclusion, even if its heartwarmingness was objectively inevitable. Now, my only regret is I didn’t watch it sooner, so that I could’ve been re-experiencing it all my life.

    It’s not often you get a film with a reputation like this that manages to live up to it, but It’s a Wonderful Life is that rare exception. Indeed, it’s so good I’d even say it exceeded its reputation. Wonderful indeed.

    5 out of 5

    It’s a Wonderful Life placed 6th on my list of The 17 Best Films I Saw For the First Time in 2017, which can be read in full here.

    * If you happened to think this had something to do with the football — you know, like, “if England get through to the final it’ll be like Christmas in July for the fans” — then, um, no. Sorry. ^