Category Archives: Editorials

Tomorrow Never Dies (1997)

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100 Films’ 100 Favourites #91

Yesterday is a memory. Today is history.
Tomorrow is in the hands of one man.
Bond. You know the rest.

Country: UK & USA
Language: English, German, Danish, Mandarin & Cantonese
Runtime: 119 minutes
BBFC: 12 (cut, 1997) | 12 (cut more, 1998) | 15 (uncut, 2006) | 12 (uncut, 2012)
MPAA: PG-13

Original Release: 12th December 1997 (UK)
US Release: 19th December 1997
First Seen: cinema, December 1997

Stars
Pierce Brosnan (Dante’s Peak, The Ghost)
Jonathan Pryce (Brazil, Pirates of the Caribbean: The Curse of the Black Pearl)
Michelle Yeoh (Supercop, Crouching Tiger, Hidden Dragon)
Teri Hatcher (Tango & Cash, Coraline)
Judi Dench (Mrs Brown, The Best Exotic Marigold Hotel)

Director
Roger Spottiswoode (Turner & Hooch, A Street Cat Named Bob)

Screenwriter
Bruce Feirstein (GoldenEye, The World Is Not Enough)

Based on
James Bond, a character created by Ian Fleming.

The Story
Secret agent James Bond is deployed to investigate a media baron who is plotting to ignite a war between the UK and China to further his business empire.

Our Hero
The name’s Bond, James Bond. In his second outing as agent 007, Pierce Brosnan has settled comfortably into his interpretation of the hero, a mix of Roger Moore’s eyebrow-raising levity with some of Sean Connery’s slightly harder, man-of-action edge.

Our Villain
Elliot Carver is a megalomaniac media mogul — the owner of the newspaper Tomorrow, who intends to secretly provoke a war in order to boost sales and ratings. James Bond does satire? Kinda.

Best Supporting Character
Wai Lin, a spy who’s investigating Carver for the Chinese. A skilled martial artist, she kicks all kinds of ass. Despite initial mistrust, she and Bond ultimately team up. Lin is arguably one of the first Bond girls who can genuinely claim to be a competent character in her own right. Still ends up sleeping with Bond, though.

Memorable Quote
Admiral Roebuck: “With all due respect, M, sometimes I don’t think you have the balls for this job.”
M: “Perhaps. But the advantage is I don’t have to think with them all the time.”

Memorable Scene
Remote control car, James Bond style: Bond lies in the backseat of his BMW, driving it around a multi-storey car park with his mobile phone, deploying its weapons against a gang of attackers. It was a fun concept back in ’97, but I imagine you could do it yourself with an app now. Apart from the weapons. And the legal implications. So maybe not.

Memorable Music
After the disastrous ‘modern’ score for GoldenEye, music duties were here handed to David Arnold. At the time he had composed the scores for Stargate and Independence Day, but, even more pertinently, he had produced Shaken and Stirred, an album of contemporary-styled covers of great Bond themes. The album was heard by iconic Bond composer John Barry, who then recommended Arnold to producer Barbara Broccoli. Arnold’s score is much more in-keeping with classic Bond music, but given a modern (well, ’90s) flavour. Backseat Driver, the soundtrack to my Memorable Scene pick, is a particularly great action cue. Arnold would become the series’ composer for the next four films, until Sam Mendes chose to use his regular collaborator Thomas Newman for Skyfall and Spectre. With Mendes moving on, perhaps Arnold will be back for Bond 25…

Write the Theme Tune…
Arnold wanted to have a hand in writing the title song and integrate it into his soundtrack, like the great Bond composers of old. To that end he wrote a theme sung by k.d. lang… which plays over the end credits and is titled Surrender, though has a tellingly prominent use of the phrase “tomorrow never dies” in its lyrics.

Sing the Theme Tune…
The producers went with a more marketable proposition for the final opening credits song, however, in the shape of Sheryl Crow, famous for her pop-rock-y hits like All I Wanna Do, A Change Would Do You Good, and Everyday is a Winding Road. In the pantheon of Bond title themes, her Tomorrow Never Dies sits firmly in the middle — it’s not a GoldenEye, but it’s not a Die Another Day either.

Making of
The film was originally called Tomorrow Never Lies, referencing Carver’s newspaper, Tomorrow. Some kind of production mix-up (a typo, a smudged fax — pick your story) led to it being misread as Tomorrow Never Dies, and the new, less meaningful title stuck.

This Category Sponsored By BMW
Apparently Tomorrow Never Dies was the first movie in history to have its entire budget covered by product placement endorsements — that’s over $100 million in advertising. Featured companies include BMW, L’Oréal, Heineken, Dunhill, Ericsson, Omega, Smirnoff, Brioni, Bollinger, and Avis, plus a tie-in game from Electronic Arts.

Previously on…
17 previous Bond films (which are all technically in the same continuity). The previous one, GoldenEye, was the first to star Pierce Brosnan and relaunched the series to mass popularity after a fallow period.

Next time…
Two more Brosnan Bonds, before he was unceremoniously dumped to reboot the series for the first time. With a 25th film now in the works, the series is set to continue indefinitely.

Awards
1 Saturn Award (Best Actor (Pierce Brosnan))
3 Saturn nominations (Action/Adventure/Thriller Film, Supporting Actress (Teri Hatcher), Music)
2 MTV Movie Awards nominations (Action Sequence for the motorcycle/helicopter chase (somehow it lost to Face/Off), Best Fight for “the fight between Michelle Yeoh and some ‘bad guys’.”)

What the Critics Said
“East meets West, yin meets yang and chop-socky meets kiss-kiss bang-bang in Tomorrow Never Dies, a zippy 007 romp that draws as heavily from the Asian action genre as from the formula that has served the series so well for 35 years. Goldeneye and Pierce Brosnan’s debonair Bond resuscitated the creaky franchise in 1995, but […] Tomorrow, jazzier, wittier and more costly than its predecessor, also comes closer to catching up with ’90s style and politics. […] Hong Kong kung-pow chick Michelle Yeoh, as the cool-headed Chinese agent Wai Lin, proves 007’s equal at kicking post-Cold War butt. The two take on craven communications baron Elliot Carver (Jonathan Pryce), a deliciously exaggerated — or is it? — composite of Ted Turner, Rupert Murdoch and the late Robert Maxwell. Carver’s not only the most plausible Bond nemesis ever but the perfect one for the current global villain shortage.” — Rita Kempley, The Washington Post

Score: 57%

What the Public Say
“TND is somewhat underrated. Jonathan Pryce plays a villain who is essentially Rupert Murdoch smooshed together with Ted Turner. His plan isn’t to take over the world so much as it is getting rich by starting a war and then covering it on his news outlets. This just may be the most plausible Bond villain scheme of all times – which admittedly isn’t saying much. […] TND may not be among the best Bonds, but it’s got more going for it than I think it gets credit for.” — Lebeau, Lebeau’s Le Blog

Verdict

I know some of you will be thinking, “how can you leave out Goldfinger / Thunderball / The Spy Who Loved Me / For Your Eyes Only / The Living Daylights / Licence to Kill [delete according to personal preference] but include Tomorrow Never Dies?!” It’s true, TND is far from the most popular Bond film, but it was the first I saw on the big screen, and that gives me a certain soft spot for it. It’s not just that, though.

Here’s a thing: one of the criticisms levelled at the film is that it’s just an action movie, lacking the peculiarly Bondian thrills a Bond adventure should have. But if it is “just an action movie” then it’s the best action movie in the Bond series. The pre-titles gunfight at the arms meet, the ‘backseat driver’ sequence, and the motorbike-vs-helicopter chase are three of the finest action scenes in the entire franchise, and that’s without even touching on Michelle Yeoh kicking ass. Couple that with Brosnan still new and confident in the lead role, and Jonathan Pryce nibbling the scenery as a lightly satirical villain, and I think you have a Bond film that is pretty entertaining, even if it’s mainly on an adrenaline-pumping level.

#92 has… a friend in me.

The Past Month on TV #10

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If there’s something strange in your neighbourhood, who ya gonna call? Three middle-schoolers on their bicycles, apparently…

Stranger Things (Season 1)
Stranger ThingsHype — it’s a funny old business. It’s hard to have avoided hearing something about Stranger Things, Netflix’s summer hit that went down like gangbusters, its ’80s nostalgia perfectly calibrated to target the kind of people who run entertainment news websites these days — just to be cynical about it. Or truthful. Then there came the backlash, which attested there was nothing more to the show than those callbacks and tributes; a hollow experience of copying and “hey, remember this? That was good, wasn’t it?”

So, I confess, I approached the first chapter with the thought in mind that I might be about to watch the most overrated thing since sliced bread. The opening instalment did little to sway me either way — as with many a ‘pilot’ episode (it’s not a pilot if it goes straight to series, but anyway), it’s got a lot of establishing to do: teaching us the normality of this world, introducing us to the players, setting up a mystery, teasing where that might be going… Stranger Things does all this well, but not exceptionally. It’s good, it makes you want to stick with it, it has promise, but it’s not one of those first episodes where you come away thinking, “Holy moly, this is gonna be great!” (First example of that that comes to mind: Game of Thrones. Another: Firefly. I’m sure you have your own.)

Like so many streaming series, produced with an awareness that they’ll be released all at once like a really long movie, it’s a little slow-going at times, but it’s kept ticking over with some exceptional elements. Yes, it’s bedded in the style and tone of many beloved ’80s genre classics — primarily Stephen King tales and films produced (not just directed) by Steven Spielberg — but that’s just the execution. In storytelling terms, it has its own mythology, and it feels like there’s a rich vein of originality there. Or possibly it’s just references and riffs I’m not familiar with, who knows. Even better than that are the performances. Winona Ryder is incredible as the mother of a missing boy, her raw feelings and frantic actions forming a core of plausible emotional reaction in the centre of fantastic events. Millie Bobby Brown is also excellent as the mysterious Eleven, conveying so much personality and internal conflict with very little dialogue.

Stranger haircutsWithout wanting to get into spoiler territory (despite what the media would have you believe, not everyone has Netflix all the time and not everyone watches every new zeitgeisty series immediately. Apologies if you write for an entertainment site and I’ve just given you palpitations), everything comes together nicely for a barnstorming pair of climactic episodes. For my money, the penultimate chapter is the best one: with a bunch of revelations out of the way (some of them easily guessed but finally confirmed), the series kicks off a run of long-awaited fan-pleasing events (as in many a drama, it takes this long for everyone to finally start talking to each other; also, the bit with the van!) The finale is less accomplished, with some characters wandering around for a bit in a way that feels designed to pad the running time. Still, it’s a satisfying conclusion… to season one, anyway.

As an outsider for most of the summer, the endless and ever-increasing handwringing over whether there would be a second season was actually kind of amusing — and the punchline came when it was revealed Netflix had actually commissioned season two before season one was even released, they’d just decided to keep it secret for a bit. Here’s the thing: Netflix has never not recommissioned one of its original series. Even Marco Polo, which apparently no one watched or talked about, got at least a second run. And here you have a show which everyone’s talking about, and presumably most of them are actually watching too, and you think Netflix aren’t going to bring it back? I mean, it wraps itself up quite well, but there’s a whole pile of blatant teases for future storylines. C’mon, people!

Anyway, I’m happy to report that Stranger Things by and large lives up to the hype, especially by the time it reaches its climax. Bring on season two! Between that and all the Marvel series, maybe I’m going to end up with a year-round Netflix sub after all… You win, Netflix. You win.

Class (Series 1 Episodes 1-5)
ClassTen years to the very day since the launch of the original dark, sexy BBC Three Doctor Who spin-off, Torchwood, we got this dark, sexy BBC Three Doctor Who spin-off. Playing as much like the other 21st century Who spin-off, CBBC’s The Sarah Jane Adventures, it concerns a bunch of Sixth Formers battling alien threats coming through cracks in time and space that occur around their school. And also having sex with each other at the drop of a hat, because that’s totally what life is like for all teenagers. So yes, Torchwood + Sarah Jane x Skins = Buffy, pretty much. I really liked the first episode (as pilot-type episodes go, it’s a strong’un), and the third, Nightvisiting, was also a great concept well executed; but the other three instalments were run-of-the-mill and/or awash with niggles. Plus the two-parter in episodes four and five suffered from having too little story to fill two whole episodes. So it’s a mixed bag, but Torchwood was the same at the start and eventually produced one of the best miniseries ever made (Children of Earth), so you never know.

The Flash (Season 3 Episodes 1-2)
Arrow (Season 5 Episodes 1-2)
The Flash season 3The CW’s raft of superhero shows restarted on UK TV this month. I’ve given up on Legends of Tomorrow and am still not joining Supergirl (though I got hold of the opening episodes, co-starring Superman, to maybe make time for at some point); but, five seasons in, Arrow has me suckered for the long-haul, and The Flash tempted me back with the intrigue of adapting Flashpoint. I’ve never got on the bandwagon with Flash, which attracted a lot of praise during its first season that I simply didn’t agree with, leading it to outshine Arrow in ratings and people’s affections. Arrow has long been off the boil, and season five certainly hasn’t got it back up to temperature so far, but The Flash had plenty of issues of its own. It’s not problem free now, but I actually really liked the first couple of episodes of the new season. It’s still a long way from the top tier of TV superheroes (Netflix have that sewn up), but it’s likeable.

Also watched…
  • Castle Season 7 Episodes 2-15 — it feels like the quality takes a nosedive with this season, and, sure enough, as I suspected, it turns out this is when they changed showrunner. Halfway through it’s beginning to pick back up a bit, at least.
  • The Crystal Maze Stand Up To Cancer Celebrity Special — I used to love this as a kid. As an adult… eh. I’m sure it’s a lot of fun to actually do, though.
  • The Great British Bake Off Series 7 Final — bye bye, Proper Bake Off. Whatever Channel 4 do in 2018, it won’t be the same.
  • The Musketeers Series 2 Episodes 8-10 — in which everything is wrapped up… and then left open-ended. Good thing there’s a third series.
  • The National Lottery: Who Dares Wins Series 9 Episodes 1-4 — I don’t waste much time on gameshows, but naming as many things as you can think of from semi-obscure lists? Right up my street. An impossible show to watch live, though — you need to fastforward the filler and pause the answers.
  • The Rocky Horror Picture Show: Let’s Do the Time Warp Again — full review here.

    Things to Catch Up On
    The CrownThis month, I have mostly been missing the most expensive TV show ever made*, Netflix’s much-discussed The Crown. I don’t know if they’ve been pushing it as much in the rest of the world as they did in the UK, but it certainly felt like it was everywhere… for about a week, as is usually the way with Netflix series. Also missed: the equally-discussed Netflix-exclusive new run of Black Mirror. Both of these are because I don’t keep up a permanent Netflix subscription, but between them, the forthcoming Gilmore Girls revival, and the Series of Unfortunate Events remake in January, I will be signing up again late in December (using the free month voucher they had in the Radio Times, hurrah!)

    * Apparently it isn’t, actually.

    Next month… I’ll be out of the country when the next update is due, so it may be a little later than normal — perhaps a ‘Christmas special’.

    • Three Kings (1999)

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    100 Films’ 100 Favourites #90

    They’re deserters, rebels and thieves.
    But in the nicest possible way.

    Country: USA
    Language: English & Arabic
    Runtime: 115 minutes
    BBFC: 15
    MPAA: R

    Original Release: 1st October 1999 (USA)
    UK Release: 3rd March 2000
    First Seen: DVD, c.2001

    Stars
    George Clooney (Batman & Robin, Ocean’s Eleven)
    Mark Wahlberg (Boogie Nights, The Fighter)
    Ice Cube (Boyz n the Hood, Ride Along)
    Spike Jonze (Being John Malkovich, Where the Wild Things Are)

    Director
    David O. Russell (Flirting with Disaster, Silver Linings Playbook)

    Screenwriter
    David O. Russell (Spanking the Monkey, American Hustle)

    Story by
    John Ridley (U Turn, 12 Years a Slave)

    The Story
    After ceasefire is called in the Gulf War, a group of American soldiers discover a map to a stash of gold stolen by Saddam Hussein’s forces. Setting out to steal it for themselves, the soldiers encounter a group of rebels who need their help and find their priorities changing.

    Our Heroes
    Army reservist Sergeant Troy Barlow and his friend, the comically naïve Private Conrad Vig, are the first to discover the map, which they take to Staff Sergeant Chief Elgin to translate. Then self-serving, disillusioned Special Forces Major Archie Gates turns up and convinces them to follow it to the gold. (Yes, despite the title, there are four of them.)

    Our Villains
    The war may officially be over, but the Iraqi Republican Guard are still the enemy.

    Best Supporting Character
    I know I mentioned him in the heroes bit, but Conrad is the de facto “fourth king”, so… He gets the lion’s share of either the best lines or the lines that set up the best lines.

    Memorable Quote
    Chief: “I don’t want to hear ‘dune coon’ or ‘sand nigger’ from him or anybody else.”
    Conrad: “Captain uses those terms.”
    Troy: “That’s not the point, Conrad. The point is that ‘towelhead’ and ‘camel jockey’ are perfectly good substitutes.”

    Memorable Scene
    Archie explains what actually happens when you get shot in the gut, complete with an explanatory cross-section of the human body, and bile.

    Making of
    The stories of behind-the-scenes conflict between director David O. Russell — still a relative newcomer, making his biggest movie so far — and George Clooney — dividing his time between E.R. three days a week and the film on the other four — are legendary. If you want a lengthy-ish full account, check out this trivia entry on IMDb.

    Awards
    1 Blockbuster Entertainment Award (Favourite Action Team — it beat Will Smith and Kevin Kline from Wild Wild West, and those were all the nominees)
    1 Political Film Society Award (Peace)
    2 Political Film Society Award nominations (Democracy, Exposé)

    What the Critics Said
    “[an] emotionally and politically responsible movie set in Iraq during the immediate aftermath of the gulf war — a damning yet idealistic satire about the motives behind U.S. foreign policy. The visuals are wild, the sound track has the audacity to underscore the subtext instead of just echoing the obvious, the comedy is irreverent and occasionally slapstick, and the metaphorical details are consistently strong. The movie even examines the conventions of star-studded actioners without stripping the leads of the charisma and apparent immortality of full-blown action heroes.” — Lisa Alspector, Chicago Reader

    Score: 94%

    What the Public Say
    “Three Kings, at its core, deals with serious themes and serious subject matter surrounding the end of the first Gulf War, and is therefore a war narrative before anything else. That being said, it’s refreshing how Three Kings doesn’t drown in its cynicism, isn’t exploitative in terms of gore or shocking violence, and isn’t hitting its audience over the head with either jingoistic propaganda or hamfisted pacifist social commentary. Moreover, Three Kings is funny enough often enough to be qualified as a comedy in its own right. It’s the humanist, dare I say, heartfelt combination of the two, that makes it a bonafide winner.” — The Celtic Predator, Express Elevator to Hell

    Verdict

    Writer-director David O. Russell may have become increasingly acclaimed this decade with Oscar-nominated movies like The Fighter, Silver Linings Playbook, and American Hustle, but for me this is still his best work. It mixes laugh-out-loud comedy with serious points about war and an ultimately emotional storyline, created with a filmmaking verve that is frequently exciting and inventive — something I’d argue is less present in Russell’s more widely-acknowledged work.

    #91 never… lies dies.

    Star Wars (1977)

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    100 Films’ 100 Favourites #88

    A long time ago
    in a galaxy far, far away…

    Also Known As: Star Wars: Episode IV – A New Hope

    Country: USA
    Language: English
    Runtime: 121 minutes | 125 minutes (special edition)
    BBFC: U
    MPAA: PG

    Original Release: 25th May 1977 (USA)
    UK Release: 27th December 1977
    First Seen: VHS, c.1990

    Stars
    Mark Hamill (Batman: Mask of the Phantasm, Star Wars: Episode VIII)
    Harrison Ford (American Graffiti, The Fugitive)
    Carrie Fisher (When Harry Met Sally…, Star Wars: The Force Awakens)
    Alec Guinness (Kind Hearts and Coronets, The Bridge on the River Kwai)
    James Earl Jones (Field of Dreams, The Lion King)

    Director
    George Lucas (THX 1138, Star Wars: Episode I – The Phantom Menace)

    Screenwriter
    George Lucas (American Graffiti, Star Wars: Episode II – Attack of the Clones)

    The Story
    When he discovers a distress call from a beautiful princess, a young farmhand joins forces with an old warrior, a roguish pilot, his bear-like first mate, and a pair of bickering robots to rescue her — which involves taking on the evil galactic Empire, and in particular their chief enforcer: Darth Vader.

    Our Heroes
    Farm boy Luke Skywalker just wants to go off and join the rebellion, but little does he realise how much that path leads to his destiny. Helping him get there is smuggler Han Solo, who may come from a wretched hive of scum and villainy and is happy to shoot first at the same time as his opponent, but has a heart of gold really. The object of their mission, and both their affections, is the strong-willed Princess Leia.

    Our Villains
    A man in a black suit with breathing problems might not sound like one of the most effective screen villains of all time, but that’s what you get when you come up with pithy descriptions like that. In fact, Darth Vader is so badass, he’s not above choking members of his own side, the evil Empire — and they’re evil.

    Best Supporting Character
    R2-D2 is the best supporting character in every Star Wars film, but in this one we are also introduced to Obi-Wan Kenobi. A mysterious old man who inducts Luke into the ways of the Force, Obi-Wan is played by veteran character actor Alec Guinness, meaning he is bestowed with instant awesomeness. Not as handy with a lightsaber as he used to be, mind.

    Memorable Quote
    Darth Vader: “Your powers are weak, old man.”
    Obi-Wan Kenobi: “You can’t win, Darth. If you strike me down, I shall become more powerful than you could possibly imagine.”

    Quote Most Likely To Be Used in Everyday Conversation
    “I have a very bad feeling about this.” — Luke Skywalker

    Memorable Scene
    It’s fair to say Star Wars is loaded with memorable scenes, but for pure effectiveness you’d have to go a long way to beat the opening sequence: giant spaceships flying overhead, blasting laser beams at each other; walking, talking robots bickering; a gunfight between men and armoured soldiers; and then Darth Vader, stalking into the movie like a sci-fi vision of Death himself.

    Memorable Music
    George Lucas wanted a score reminiscent of classic Hollywood movies to help inform audiences about what they were watching — that although it was set on alien worlds with giant spaceships and laser swords, it was a familiar kind of heroic adventure tale. Composer John Williams delivered exactly that, drawing on influences including classical composers, like Stravinsky and Holst, and film composers, like Erich Wolfgang Korngold (King’s Row) and Alfred Newman (How the West Was Won). He produced not only a great soundtrack all round, but arguably the most famous movie theme of all time.

    Truly Special Effect
    Star Wars did so much to break new ground in special effects, it’s difficult to know where to start. Some of it’s a little skwiffy (the lightsaber effects are notoriously problematic, their colours varying even in recent remastered versions), but the model work — the spaceships and their battles — is fantastic.

    Letting the Side Down
    Han shot first! *ahem* Yes, A New Hope is definitely the movie where Lucas’ unpopular Special Edition fiddling is it at its least liked, primarily for that bit where Han no longer shoots Greedo in cold blood. What do you have to do to get a merciless good guy these days, eh? Other changes have varying degrees of effectiveness: having extra X-Wings in the Death Star battle looks pretty neat, but the CGI Jabba the Hutt — complete with Han stepping jerkily over his tail — is terrible.

    Making of
    George Lucas screened an early cut of the film for a group of his director friends, most of whom agreed with him: it was going to be a flop. Brian De Palma even called it “the worst movie ever”. There was one dissenting voice: Steven Spielberg, who predicted it would be a huge hit. As if that man’s entire career wasn’t proof enough that he knows what he’s talking about…

    Previously on…
    Star Wars’ influences can be clearly traced back to the sci-fi cinema serials of the ’30s and ’40s, like Flash Gordon. In-universe, the saga begins with the Prequel Trilogy, and there’s shedloads of other spin-off media. Most pertinently, this December’s first live-action non-saga Star Wars film, Rogue One, should lead more-or-less directly into the start of A New Hope.

    Next time…
    Star Wars essentially inspired the next 39 years (and counting) of effects-driven summer blockbusters. It also started a mini-industry all of its own — well, quite a large industry, actually: films, TV series, novels, comic books, computer games, board games, role playing games, toys, clothes, lunch boxes… anything you can imagine, I’d wager. Primarily, the story is directly continued in The Empire Strikes Back and Return of the Jedi, and resumed in The Force Awakens, with more to come in 2017 and 2019.

    Awards
    7 Oscars (Editing, Score, Sound, Art Direction-Set Decoration, Costume Design, Visual Effects, Special Achievement Award for Sound Effects)
    4 Oscar nominations (Picture, Supporting Actor, Director, Original Screenplay)
    2 BAFTAs (Music, Sound)
    4 BAFTA nominations (Film, Editing, Costume Design, Production Design/Art Direction)
    13 Saturn Awards (Science Fiction Film, Supporting Actor (Alec Guinness), Director (tied with Spielberg for Close Encounters), Writing, Music (John Williams tied with himself for Close Encounters), Costumes, Make-Up, Special Effects, Editing, Sound, Art Direction, Set Decoration, Special Award for Outstanding Cinematographer)
    4 Saturn nominations (Actor (both Harrison Ford and Mark Hamill), Actress (Carrie Fisher), Supporting Actor (Peter Cushing))
    Won the Hugo for Best Dramatic Presentation.

    What the Critics Said
    “The battles, the duels, the special effects — and what special effects! Swords made of light, blasters shooting laser beams, exploding planets — it goes on and on. All the aging acid-heads who tripped out to Stanley Kubrick’s overrated 2001: A Space Odyssey, will go bananas over Star Wars. Not to mention comic-book freaks, science fiction and fantasy fans, lovers of old westerns, romances, mysteries and movies about the Crusades. In addition to being a slickly produced and highly entertaining adventure suitable for the whole family, Star Wars is richly evocative of a whole range of old film forms and I predict that entire books will be written on the sources, the religious symbolism, the mythological and historical allusions, and so on and so forth that Lucas has incorporated” — Robert Martin, The Globe and Mail (This review from the original release, before it was called Episode IV, also notes that it “opens like Episode 6 of a serial”. Good call, sir.)

    Score: 93%

    What the Public Say
    “To this day, A New Hope is used as a primary example of storytelling. It perfectly establishes a world and introduces audiences to a protagonist that goes on his hero’s journey. There’s a reason that so much pop culture parodies and pays tribute to this film and it’s because of how near perfect it is. You have the Princess in peril still holding her own against what will always be one of the greatest movie villains of all time in Darth Vader. That is also one thing the prequels do that take away from this movie and the two that come after: They soften Vader. Vader is cold, ruthless, robotic, and menacing. Not someone who cries about his girlfriend. […] A New Hope just does everything the right way. When it wants you to be excited, you are. When it wants you to be sad, you are. John Williams contributed to this a great deal with his score; and Lucas’ use of practical effects to tell his story make it a masterpiece.” — Reed, We’re Not Sorry

    Elsewhere on 100 Films…
    I’ve written about the original Star Wars trilogy twice before, both times back in 2007. Of A New Hope’s modified DVD version, I said that “there are a few extremely minor changes from the ’97 version… sadly, though, not to the CGI: Jabba still looks dire, not even as good as the Episode I version — CGI that was five years old by the time of this release.” Then, treating the film as the fourth part of the saga, I wrote that “the biggest change [from the prequel trilogy] is in tone: I to III present an epic fantasy story, full of wizard-like Jedi, intricate galactic politics, and ancient prophecies; by contrast, A New Hope is straight-up action/adventure, far more concerned with gunfights, tricky situations, exciting dogfights, and amusing banter than with whether the President has been granted too much executive power.”

    Verdict

    In my post on The Empire Strikes Back, I said it wasn’t actually my favourite Star Wars film. For all the popularity the series has as a whole, there’s only really one other possible contender for that crown: the first one. By which I mean this one, not Phantom Menace. Here, Lucas almost instantly conjures up a universe that feels wholly-imagined and genuinely lived-in (which is part of the reason people ended up so disappointed by the made-up-as-they-went-along, fill-in-the-blanks prequel trilogy). Throw in an array of likeable and entertaining characters, plus groundbreaking special effects, and you’re on to a winner. The plot may just be a classical hero narrative, but it’s in space and has laser swords — that counts for a lot.

    Next: #89 ! Fuck yeah!

    Spy Game (2001)

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    100 Films’ 100 Favourites #87

    It’s not how you play the game.
    It’s how the game plays you.

    Country: USA, Germany, Japan & France
    Language: English, German, Arabic, French & Cantonese
    Runtime: 126 minutes
    BBFC: 15
    MPAA: R

    Original Release: 21st November 2001 (USA)
    UK Release: 23rd November 2001
    First Seen: DVD, c.2002

    Stars
    Robert Redford (The Sting, All is Lost)
    Brad Pitt (Twelve Monkeys, Ocean’s Eleven)
    Catherine McCormack (Braveheart, 28 Weeks Later)
    Stephen Dillane (Welcome to Sarajevo, The Hours)

    Director
    Tony Scott (Crimson Tide, Man on Fire)

    Screenwriters
    Michael Frost Beckner (Sniper, To Appomattox)
    David Arata (Brokedown Palace, Children of Men)

    Story by
    Michael Frost Beckner (Cutthroat Island, Prince Valiant)

    The Story
    When a retiring CIA agent’s one-time protégé is captured by the Chinese, he recalls their years training and working together, while battling internal agency politics to free his former friend.

    Our Heroes
    Nathan Muir is on the cusp of retirement, a former CIA field agent who’s now desk-bound and disregarded by his superiors. Previously, he recruited sniper Tom Bishop into the agency, training him to be a spy with Muir’s own values — which Bishop didn’t necessarily share, and his reaction against has ultimately led him into the hands of the Chinese. But how? Well, that’s what flashbacks are for.

    Our Villains
    Lots of Johnny Foreigners — but also some factions within the CIA itself…

    Best Supporting Character
    One of the CIA agents handling Bishop’s capture, and so attempting to handle Muir, is his oleaginous colleague Charles Harker. He’s played by the always-excellent Stephen “Stannis Baratheon” Dillane, who is perfectly snide in the role.

    Memorable Quote
    Bishop: “You don’t just trade these people like they’re baseball cards! It’s not a fucking game!”
    Muir: “Oh, yes it is. It’s exactly what it is. And it’s no kid’s game either. This is a whole other game. And it’s serious and it’s dangerous. And it’s not one you want to lose.”

    Memorable Scene
    After an asset is killed, Bishop confronts Muir on a rooftop about the morals of what they do and why they do it. See also: Memorable Quote; Making of.

    Technical Wizardry
    The cinematography and editing haven’t yet reached the crazed heights Tony Scott would later display in Man on Fire and Domino, but it’s not without its affects. The flashbacks occur in a few different eras, so Scott decided to give each period a distinct look to remind the viewer of that time. For example, Vietnam is desaturated to a “strange sepia green”, while the colours in Beirut are heightened to mimic news clips from 1985. Conversely, Scott found the talky scenes within the CIA to be the “most challenging part of the movie” — without all his usual tricks, he had to rely on the quality of his actors to bring the scenes to life.

    Making of
    For the Berlin rooftop confrontation between Muir and Bishop, Tony Scott asked for more money to rent a helicopter. The producers refused — not unreasonably, when you consider it’s a dialogue scene. But Scott believed it was important and so rented the helicopter with his own money. Robert Redford was reportedly baffled by Scott’s use of a helicopter to film such an intimate conversation, but when he saw the final result he was impressed by how dynamic it made the scene.

    What the Critics Said
    “beneath the film’s nostalgic veneer and tooth-rattling visual and aural effects lies a mature ambiguity that’s unusual for a holiday blockbuster — and all but unheard of in a Tony Scott movie. […] the portrayal of Muir, Bishop, and their employers as significantly less than moral beacons makes the film surprisingly demanding as a whole. Rather than requiring us to take its desperate heroes and their dubious redemption entirely at face value, Spy Game slips in a refreshing dose of uncertainty with its cinematic jolts.” — Mark Holcomb, The Village Voice

    Score: 66%

    What the Public Say
    “I have seen it three times now, and I still don’t have a full grasp of all the phone calls and cutaways and violent edits. This aspect, rather than being a distraction, is one of the film’s virtues. The idea is that Redford’s Nathan Muir is so smart that he is hoodwinking the CIA. Part of the game that the movie plays is that we the viewers are given just enough of a hint that we can appreciate his cleverness, but even we aren’t intended to fully ‘get it’. Tony Scott’s hectic, pulse-pounding visual style is largely responsible for this mesmerizing and confusing effect. Similar to (but far superior to) Guy Ritchie’s penchant for seemingly random visual tampering, Scott hits more often than he misses in Spy Game” — Ian Kay, Taking a Look

    Verdict

    Spy Game is not normally considered the pinnacle in the careers of anyone involved, but there’s something about it that really works for me. In part it’s the chemistry between Redford and Pitt, a pair of actors who look like they could be father and son and exude a similar level of connection. The dual timeline structure keeps things rattling along, with Redford entertainingly running rings round the CIA in the present, while the flashbacks consider “the greater good” — how far should they go, and is it ever worth it? Possibly such questions weren’t appreciated on the film’s immediately-after-9/11 initial release, but they’ve since become more relevant than ever.

    That’s no moon… it’s #88.

    Be Our Guest

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    You may remember Dan Stevens from Downton Abbey, when he looked like this:

    Pudgy.

    Pudgy.

    Then he starred in The Guest, where he looks like this:

    Phwoar.

    Phwoar.

    And this week saw the release of the first images from his new role, as the titular chap in Disney’s live-action remake of Beauty and the Beast, where he looks like this:

    Phurry.

    Phurry.

    As if by design (but more likely by coincidence), the UK TV premiere of The Guest is tonight at 9pm on Film4. It was one of my favourite films I saw last year, so I heartily recommend it. Indeed, here’s a link to my full ★★★★★ review:

    The Guest

    Spider-Man 2 (2004)

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    100 Films’ 100 Favourites #86

    A man will face his destiny.
    A hero will be revealed.

    Country: USA
    Language: English
    Runtime: 127 minutes | 135 minutes (2.1 extended cut)
    BBFC: PG (cut, 2004) | 12A (2004) | PG (uncut, 2009)
    MPAA: PG-13

    Original Release: 25th June 2004 (Lithuania)
    US Release: 30th June 2004
    UK Release: 16th July 2004
    First Seen: cinema, July 2004

    Stars
    Tobey Maguire (Pleasantville, The Great Gatsby)
    Kirsten Dunst (Interview with the Vampire, Melancholia)
    James Franco (City by the Sea, 127 Hours)
    Alfred Molina (Frida, An Education)

    Director
    Sam Raimi (The Evil Dead, Drag Me to Hell)

    Screenwriter
    Alvin Sargent (Gambit, Ordinary People)

    Story by
    Alfred Gough (Lethal Weapon 4, The Mummy: Tomb of the Dragon Emperor)
    Miles Millar (Shanghai Noon, Herbie Fully Loaded)
    Michael Chabon (John Carter)

    Based on
    Spider-Man, a comic book superhero created by Stan Lee and Steve Ditko; in particular the story Spider-Man No More! by Stan Lee and John Romita, Sr.

    The Story
    Peter Parker battles problems in his personal life while his superhero alter ego Spider-Man battles the machinations of evil scientist Dr Otto Octavius.

    Our Hero
    Spider-Man! Spider-Man does whatever a spider can — spins a web any size, catches thieves just like flies. Is he strong? Listen bud, he’s got genetically-modified blood. Wealth and fame he’s ignored, action is his reward… though he’s having doubts about if it’s worth it. With great power comes great responsibility, and neither sit well with a kid who wants a normal life.

    Our Villain
    Doc Ock! Guy named Otto Octavius winds up with eight limbs, four mechanical arms welded right onto his body — what are the odds?

    Best Supporting Character
    Before he won an Oscar for Whiplash, or posted photos of his insanely ripped body on social media, J.K. Simmons brought himself to everyone’s attention as the hilariously irascible editor of The Daily Bugle newspaper, J. Jonah Jameson. He was so good, they haven’t even bothered to recast the character for any of the three live-action Spidey films that have come since the first reboot.

    Memorable Quote
    “So here I am, standing in your doorway. I have always been standing in your doorway.” — Mary Jane

    Quote Most Likely To Be Used in Everyday Conversation
    “With great power comes great responsibility.” — Uncle Ben may be dead, but they manage to have him say it in this one too.

    Memorable Scene
    The elevated train fight between Spidey and Doc Ock. It was the first major sequence filmed, before the screenplay was completed, but Raimi had dreamt it up personally. It was shot in Chicago because New York no longer has an elevated railway, but Raimi was seeking to create an idealised version of the city.

    Technical Wizardry
    The sound effects for Doc Ock’s tentacles were created using motorcycle chains and piano wires, while the sound of him ripping open the bank vault was a hubcap scraping along the floor. The designers consciously didn’t include the noise of servomotors, to enhance the idea that the tentacles have become a part of Ock’s body.

    Truly Special Effect
    Doc Ock’s tentacles were built practically. Each one was 13ft long, made up of 76 pieces, fully articulated, and controlled by four people. Obviously some of their appearances are CGI, especially when Ock’s using them to move around, but every scene was first filmed using the real props to see if CGI was truly necessary

    Making of
    Tobey Maguire injured his back before filming began, to the extent that Jake Gyllenhaal (at the time only really known for Donnie Darko) was tapped to replace him, and even began preparing for the shoot. Ultimately Maguire recovered enough to participate (obviously). A couple of years later Gyllenhaal was one of the final contenders for Batman in Batman Begins, but didn’t get to do that either. I’m sure Marvel will find a superhero for him eventually — they do for most people.

    Previously on…
    Ignoring the many and various animated series and failed attempts to bring Spidey to the screen, there was the first Sam Raimi-directed Spider-Man, which was the first film to gross over $100 million on its opening weekend. Also, MTV animated series Spider-Man: The New Animated Series is technically set after Spider-Man and therefore before Spider-Man 2, but I don’t think anyone remembers it…

    Next time…
    Spider-Man 3 concluded the trilogy with a whimper thanks to behind-the-scenes clashes, which also scuppered plans for Spider-Man 4. The series was rebooted with the unpopular The Amazing Spider-Man, which was followed by the even-more-unpopular The Amazing Spider-Man 2, leading to the character being rebooted again and integrated into the Marvel Cinematic Universe. The latest version debuted in Captain America: Civil War before starring in a solo movie, Spider-Man: Homecoming, next summer.

    Awards
    1 Oscar (Visual Effects)
    2 Oscar nominations (Sound Mixing, Sound Editing)
    2 BAFTA nominations (Sound, Visual Effects)
    5 Saturn Awards (Fantasy Film, Actor (Tobey Maguire), Director, Writer, Special Effects)
    3 Saturn nominations (Supporting Actor (Alfred Molina), Music, DVD Special Edition Release)
    Nominated for the Hugo for Best Dramatic Presentation Long Form
    1 World Stunt Award (Best Overall Stunt by a Stunt Man (Peter Parker falling into clothes lines))
    2 World Stunt Awards nominations (Best Work with a Vehicle, Best Speciality Stunt (Doc Ock waking up))

    What the Critics Said Then
    “a sequel that not only outstrips its predecessor but has a perversity and quick-wittedness that hardly seem to belong in a comic-book movie. […] It’s unusual and gratifying to find a multimillion dollar movie that’s been put together with some thoughtfulness, that doesn’t neglect subtlety in between delivering the smash-bang-wallop. […] It’s the interest in human fallibility that sets this movie apart. The superhero who bridles at his own responsibility may not sound an especially gripping prospect, but his dilemma is explored with a conviction that, within the fantasy genre, feels almost groundbreaking.” — Anthony Quinn, The Independent

    Score: 93%

    What the Critics Say Now
    On placing the film in his top ten for BBC Culture’s 100 Greatest Films of the 21st Century: “First of all, the 21st century is the century of superheroes. To approach the history of this era without acknowledging that is to miss the story. Many of my peers opted to make The Dark Knight the film that represented superheroes for them, but while I like that movie it’s a crime film in superhero drag. Spider-Man 2 is an unabashedly comic book superhero movie, a film that is pulsing with the vibrant four color life of the best comic book panels and that is soaked in the sudsy soap opera of the best comic book word balloons. It’s a movie that is a perfect fusion between filmmaker and material, and it is, without a doubt, the best example of superhero filmmaking ever attempted.” — Devin Faraci, Birth. Movies. Death.

    What the Public Say
    “The most interesting relationship that gets explored in Spider-Man 2, however, is with Spider-Man himself. In the first Spider-Man, Peter basically became Spider-Man the instant he decided to live his life by Uncle Ben’s last few words and donned on the Spidey suit, and that was that. Here, Peter Parker basically breaks up with Spider-Man and with Uncle Ben, as he says he is “Spider-Man, no more,” and has to start over and re-bond with the hero inside of him. [The] movie makes use of this psychological relationship to refine its definition of a hero as established in the first film. It isn’t just about responsibility. It argues that the hero is inherently sacrificial. They give up even their dreams to salvage yours. This definition is much more mature and sophisticated […] It goes to show that a big budget doesn’t have to translate into senselessness. Spider-Man 2 is the intellectual experience I was looking for in a Spider-Man film with all the action that I always imagined was possible.” — Kevin Tae, Taestful Reviews

    Elsewhere on 100 Films…
    Just before Spider-Man 3 came out they released an extended cut of the first sequel on DVD, dubbed Spider-Man 2.1 (remember when they briefly called extended cuts things like that?) At the time I concluded “it’s still a 5-star film because it doesn’t ruin the original — but it’s not at all essential”, though I later added a postscript to note that “I probably should have rated this lower. It may still be a good film, but the fact is the original cut’s better — even if just for the superior version of The Lift Scene. I rather doubt I’ll ever watch it again.”

    Verdict

    In a simpler time before every superhero movie was connected to every other superhero movie, filmmakers were free to only have to tell one story and develop the ongoing life of their lead characters (rather than juggle everyone else’s lead characters for cameos, too). Spider-Man 2 is a pinnacle of this. It takes the seeds sown by the first movie and nurtures them into more interesting and complex emotional dilemmas, without losing sight of the fact it’s a movie based on a comic book about a man who swings around the city in a red-and-blue onesie fighting crime. Nonetheless, it’s as memorable for Peter and MJ’s up-and-down relationship as it is for the stunning action sequences, which become icing on the cake rather than the raison d’être.

    #87 is… no kid’s game.

    The Strange Monthly Update for October 2016

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    TV dominated my viewing this month, with whole seasons of Luke Cage, Red Dwarf, and Ripper Street released, plus sundry other shows, new and old — so many I’m not even going to list them. And I’m currently most of the way through Stranger Things too (more on that in next month’s TV round-up).

    Despite that, I still found the time to watch a decent number of films — in fact, October isn’t even the lowest-totalling month this year.

    And those films were…


    #158 The Russia House (1990)
    #159 The Quay Brothers in 35mm (2015)
    —#159a In Absentia (2000)
    —#159b Quay (2015)
    —#159c The Comb (From the Museums of Sleep) (1990)
    —#159d Street of Crocodiles (1986)
    #160 A Knight’s Tale (2001)
    #161 The Big Short (2015)
    #162 Raiders!: The Story of the Greatest Fan Film Ever Made (2016)
    #163 Moneyball (2011)
    #164 Raising Arizona (1987)
    #165 The Rocky Horror Picture Show: Let’s Do the Time Warp Again (2016)
    #166 The Transporter Refuelled (2015)
    #167 The Spy Who Came in from the Cold (1965)
    #168 Cover Girl (1944)
    #169 Doctor Strange (2016)
    #170 The Twilight Saga: New Moon (2009)
    #171 The Witch (2015), aka The VVitch: A New-England Folktale
    The Russia House

    The Spy Who Came in from the Cold

    Doctor Strange

    .


    • I watched 14 new films this month, for the 29th consecutive month with 10+ films.
    • No WDYMYHS film this month, the first time I’ve faltered this year. Concerted effort at a double-bill in November, then.
    • 2016 slips behind 2015 for the first time this month: by the end of October last year I’d reached #172, whereas this year it’s only #171. Not a huge difference, but how much more will that gap widen over the next two months? Well, November 2015 was unexceptional, but I’m away for most of this December (more on that this time next month). Time will tell.
    • Two Le Carré adaptations this month, The Russia House and The Spy Who Came in from the Cold. Later in November, Our Kind of Traitor is coming to Amazon Prime Video; and of course we had The Night Manager earlier this year. I would say I’ll be Le Carré’d out, but his stuff is so darn good.
    • I can’t spend a whole month watching horror movies like some people do — if I spend a week watching one kind of thing I’ll usually get fed up of it. Nonetheless, I had a whole load of horror movies lined up for the last weekend or so of October… but then Stranger Things happened. Well, it happened in July, but I finally got round to it. Anyway, that’s why the extent of my horror viewing became New Moon and The VVitch.



    The 17th Monthly Arbitrary Awards

    Favourite Film of the Month
    Quite a few films I liked this month, but only a couple that stand out as worthy of a “favourite” award. The biggest pleasant surprise was Cold War spy thriller The Russia House, an underrated Le Carré adaptation.

    Least Favourite Film of the Month
    Oh, but this one’s hard! A couple of weaker films are spared this award by a pair of horrors: Fox’s Rocky Horror remake and the second Twilight movie, New Moon. Which was worse? Rocky Horror was insultingly poor, but it did have a couple of enjoyable parts, whereas New Moon was just dull.

    Best Worst Fake Action Movie Title Ever
    Face Punch! Whatever else it does or doesn’t offer, I will always be grateful to the Twilight saga for giving us the scene where they decide to go and see Face Punch.

    The “Oh, Look Who It Is! This Must’ve Been Before He Was Famous” Award
    goes to The Russia House, for featuring an abundance of recognisable British faces in smaller roles, from Martin Clunes as an aide who doesn’t have a single line of dialogue, to David “grandad from Outnumbered” Ryall as Sean Connery’s chum whose face we don’t even see properly because he’s filmed half from behind.

    The Audience Award for Most-Viewed New Post of the Month
    Whether or not people wanted to do the Time Warp again I don’t know, but it certainly seems they wanted to read about it: my review of Fox’s dire The Rocky Horror Picture Show: Let’s Do the Time Warp Again isn’t just my most-viewed new post of October, it’s already my most-viewed new post of 2016.



    More of the most popular movies of all time in this month’s selection, starring big damn actors, made by big damn directors, and featuring big damn heroes.


    As my 10th year of 100 Films heads into the home straight, I’m not only thinking about what the final tally for 2016 will be, but also my total for the past decade of doing this blog. Exciting times.

    The Sixth Sense (1999)

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    100 Films’ 100 Favourites #85

    Not every gift is a blessing.

    Country: USA
    Language: English
    Runtime: 107 minutes
    BBFC: 15
    MPAA: PG-13

    Original Release: 6th August 1999 (USA)
    UK Release: 5th November 1999
    First Seen: DVD, c.2000

    Stars
    Bruce Willis (Pulp Fiction, Sin City)
    Haley Joel Osment (Bogus, A.I. Artificial Intelligence)
    Toni Collette (Muriel’s Wedding, Little Miss Sunshine)
    Olivia Williams (Rushmore, The Ghost)

    Director
    M. Night Shyamalan (Unbreakable, Signs)

    Screenwriter
    M. Night Shyamalan (Wide Awake, The Village)

    The Story
    Child psychiatrist Dr Malcolm Crowe tries to help a new patient, Cole Sear, who claims he can see ghosts.

    Our Heroes
    Dr Malcolm Crowe doubts his abilities to help people after a former patient shot him before committing suicide, an event which has also left him distanced from his wife. But he may be the only person who’ll believe young Cole Sear, a reclusive child who’s struggling with delusions of seeing dead people… unless they’re not delusions…

    Our Villains
    Are the dead dangerous, or do they just need help?

    Best Supporting Character
    Cole’s mom, Lynn, who loves him a great deal and worries about him just as much, but has no idea what’s really wrong or how to help her son.

    Memorable Quote
    “I see dead people… Walking around like regular people. They don’t see each other. They only see what they want to see. They don’t know they’re dead.” — Cole

    Memorable Scene
    Stuck in traffic, Cole reveals his ability to his mother for the first time — that there’s been an accident ahead and someone died, which he knows because they’re stood at his window. Naturally Lynn doesn’t believe her son, but then he begins to talk about his grandmother…

    Technical Wizardry
    The twist ending is immaculately constructed. There are clues throughout the film, but, like all the best twist-ending clues, the vast majority of viewers will completely miss them first time through, even though they seem almost blatant when revisited.

    Making of
    The colour red is used only to indicate times and items where the worlds of the living and the dead have connected; if something red was present in a scene where this wasn’t relevant, Shyamalan had it changed. There’s a massive list of these moments here, but if you somehow haven’t seen The Sixth Sense yet, do beware of spoilers.

    Next time…
    There are no actual sequels to The Sixth Sense, but it kicked off M. Night Shyamalan as a kind of one-man genre, making supernatural thrillers with a twist ending — and decreasing critical acclaim with each new movie. It seemed to end with The Happening and he transitioned to be a director-for-hire, but he’s coming back somewhat with The Visit and next year’s Split.

    Awards
    6 Oscar nominations (Picture, Supporting Actor (Haley Joel Osment), Supporting Actress (Toni Collette), Director, Original Screenplay, Editing)
    4 BAFTA nominations (Film, Director, Original Screenplay, Editing)
    2 Saturn Awards (Horror Film, Performance by a Younger Actor/Actress (Haley Joel Osment))
    2 Saturn nominations (Actor (Bruce Willis), Writer)
    2 Teen Choice Awards (Choice Drama, Choice Breakout Performance (Haley Joel Osment))
    1 Teen Choice nomination (Choice Sleazebag (Trevor Morgan))
    Nominated for the Hugo for Best Dramatic Presentation

    What the Critics Said
    “the film eventually abandons the heroic-therapist model and ventures toward other ground, ever so gently tightening its squeeze. It seems really to achieve something that Stanley Kubrick was possibly groping after in Eyes Wide Shut, or that Nicolas Roeg achieved in Don’t Look Now, which might be called an extreme sense of the bizarre, not as invented by special-effects wizards with unlimited space on the hard drive but in the subtler ways of film craftsmanship. […] The movie is a maximum creep-out. It’s invasive. It’s like an enema to the soul as it probes the ways of death – some especially grotesque in a family setting. You leave slightly asquirm. You know it will linger. It becomes a clammy, chilly movie building toward a revelation that you cannot predict. As I say: I cannot tell you. You’d hate me if I did. I can only say, don’t look now, but look sometime.” — Stephen Hunter, Washington Post

    Score: 85%

    What the Public Say
    “The film is rich in symbolism, and colour plays a large part in signifying spirits invading the real world. This is what makes The Sixth Sense so captivating. Watching the film for the first time, you don’t expect the ending, and so the shock of it tends to overshadow the subtlety of the beginning. It is only once you have re-watched the film, that you begin to notice little suggestions of what is to come. A success from start to end, this is at once an exercise in potent suspense, and a carefully crafted tale of child psychology.” — Cat Barnard, Screen Muse

    Verdict

    M. Night Shyamalan gets such a bad rep these days, it’s easy to forget how great his breakthrough movie was. It flew completely under the radar back in 1999: the guy at Disney who bought the screenplay was fired for doing so without permission; Bruce Willis starred in it because he owed Disney two films, and was paid half his normal salary; Entertainment Weekly’s extensive summer preview detailed over 140 films, but The Sixth Sense wasn’t even mentioned. By coming out of the blue, and in an era before the internet was dominant (these days there’d be plot dissections and spoiler-filled director interviews online by the Monday after release, wouldn’t there?), the film obviously had surprise on its side, which is particularly effective when it has such a memorable twist. But even before that ending, it manages to mix plausible emotional drama with scenes of chilling everyday horror, crafting something that is undoubtedly a genre movie but also not out of place in a list of Best Picture nominees.

    The Sixth Sense is on Film4 tomorrow night at 1am.

    #86 will do… whatever a spider can.

    The Rocky Horror Picture Show: Let’s Do the Time Warp Again (2016)

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    2016 #165
    Kenny Ortega | 88 mins | download (HD) | 16:9 | USA / English

    The Rocky Horror Picture Show: Let's Do the Time Warp AgainWhen this TV movie kicks off with Ivy Levan sashaying her way around a cinema while she mimes to a pre-recorded and over-produced backing track of Science Fiction/Double Feature, full of licks and runs and finding four notes to hit where there used to be one, like a desperate X Factor wannabe who has no concept of the meaning of the lyrics she’s warbling but is ever so desperate to show she can saaang (that’s like singing but with added Cool), you get a pretty fair idea of the terrible experience about to be unleashed upon you by the not-so-catchily titled The Rocky Horror Picture Show: Let’s Do the Time Warp Again. That’s to say it’s been modernised, Americanised, and sanitised.

    If you know the original then you know the plot, and if you don’t know the original then you have no business watching this so-called tribute version, which premiered on Fox in the US last week and makes its way to the UK on Sky Cinema from today. “Tribute” is the latest word someone has co-opted to avoid saying “remake”, a marketing strategy that was presumably settled upon after they realised they’d produced a witless, regressive clone of material that, though over 40 years old, is still more subversive and boundary-pushing than this plastic Disneyfied tosh.

    Sweet transgender womanThe interpretation of the songs is appalling. The recordings are all overworked, full of needless warbles and added “oohs”. They’ve been modernised in such a way that, when current popular fads for over-singing things (“licks” or “runs” or whatever else they call them) have passed — as they surely will — these new versions will sound even more dated than the already-40-year-old originals, which have a certain timelessness. The lyrics are sung with the same amount of attention to what they mean as you get from a computer’s text-to-speech function, including or echoing parts of the original without understanding why they’re there or what function they perform; or if it does know the function, it doesn’t know how to replicate it.

    To say its performances are like a bad am-dram production would be an insult to am-drammers everywhere. Almost everyone is miscast. It was, perhaps, a nice touch to include Tim Curry, but his limited scenes are uncomfortable to watch because it’s painfully obvious that the poor man is still labouring under the aftereffects of his stroke. As Brad, Ryan McCartan overacts as if he thinks that’s the whole point. Reeve Carney makes Riff Raff a leering creep, and his needless affected British accent is awful. As Magenta, Christina Miian’s is worse. As Frank, Laverne Cox’s imitative mid-Atlantic twang is even worse again. Why did they do it?! Presumably because, as I said, it’s all a thoughtless copy of the original.

    The casting of a transgender woman as a transvestite is its own kettle of worms — either she’s a woman doing radical things like fancying men and being jealous of another woman stealing her guy, or you’re saying she’s not actually a woman but still a man and… well, like I say, it’s a mess. A commenter on the A.V. Club’s review summed up the cumulative effect quite succinctly: “Fox was actually able to pull off a pretty conservative casting choice while appearing uber progressive… By casting Cox, who identifies as female, in the role of Frank-N-Furter the seduction scenes actually became far less risqué”.

    Well, it's certainly been warpedEverything is blunted further by Kenny Ortega’s ineffective direction. The camerawork is flat and uninteresting, the shot choices unimaginative. Some of the choreography looks interesting — it’s certainly more elaborate than in the original film — but the camerawork seems to be actively trying to obscure it. The editor must have struggled, unable to generate any additional excitement due to a shortage of options. At times it looks as if it was filmed live, under which circumstances its weaknesses might be understandable, if not excusable… but it wasn’t.

    Occasionally there are cutaways to a cinema audience — not a real one, but a gaggle of extras, sat in a theatre watching what we’re watching. These moments are pathetic and pointless. I get that it’s meant to be a nod to the interactive midnight showings that have made Rocky Horror the phenomenon it is, but they demonstrate none of the wit or verve that make those screenings so popular. Plus the original film is good entertainment even without such intrusions; this isn’t. You might think that makes the asides necessary to liven it up, but there are so few of them, and they’re so lacking in imagination, or any discernible content whatsoever, that they just feel like they’re dragging the experience out even further.

    Believe it or not, it’s not all bad. There’s one new gag in the dinner scene that’s actually pretty funny. It’s delivered by Faye Marsay lookalike Annaleigh Ashford, who makes a good fist of Columbia. Rounding out the leads, Victoria Justice has all the necessary charms to make a pretty fair Janet. Victoria Justice's omnipresent cleavage. May also be omnipotent.I refer partly to her omnipresent cleavage, but also her acting. It’s not great by any means, but she’s suitably sweet and twee at the start, then manages to sell Janet’s near-instantaneous transformation from uptight goody-two-shoes to sex-mad strumpet using just a handful of expressions and line deliveries in the slight gap her character has between Over at the Frankenstein Place and Touch-a Touch-a Touch Me. The latter is one of the film’s rare highlights, for various reasons. One of those is actually Staz Nair as Rocky — undoubtedly the least challenging role in the piece, but at least he gets it right, and his musclebound chest counterbalances Justice’s for those of the other persuasion. The only downside are his tattoos: he was supposedly just grown in a tank, how does he have tattoos?!

    More than the ’75 film, Let’s Do the Time Warp Again brings to mind the 2010 episode of Glee that essayed the same musical. If you suffered through The Rocky Horror Glee Show, as I did, you’ll know it was a travesty. Is this even worse? Well, that’s a bit like someone forcing you to eat a dog shit and a cat shit before asking you which tasted nicer. That’s a little unfair: the Glee version was meritless; this one has a couple of minor plus points — so maybe it’s like someone making you eat a very small shit while occasionally showing you a picture of a sexy half-naked person. But unless someone forces you to choose between only this and Glee, there’s no earthly reason to do this particular Time Warp again.

    1 out of 5

    The Rocky Horror Picture Show: Let’s Do the Time Warp Again is available on Sky Cinema from today, screening on Premiere at 12:25pm and 8pm.

    It featured on my list of The Five Worst Films I Saw in 2016, which can be read in full here.