Raising Arizona (1987)

Posted on January 18, 2017 by badblokebob

Once upon a time I did a Media Studies A level, and (for reasons I can’t remember) our teacher showed us the pre-titles sequence of Raising Arizona because it was noteworthy for being the longest pre-titles sequence ever. As it happened our teacher was wrong, because The World Is Not Enough had already exceeded it a couple of years earlier.* And now it’s completely meaningless because most blockbusters don’t bother to show any credits until the end of the film, technically rendering the entire movie as the pre-titles “sequence”.

My point here is twofold. One: I miss the structure of all films having title sequences somewhere near the start. Two: before now all I could have told you about Raising Arizona is that “it has the longest pre-titles ever (except it doesn’t)”. Well, that and it stars Nic Cage and was directed by the Coen brothers. But now I’ve watched it and, three months after the fact, …that’s still almost all I can tell you. I also remember there was a kinda-cool semi-fantastical thing going on with, like, a demon biker or something. Oh, and it’s quite funny. Not very funny, but quite.

I have an awkward relationship with the Coen brothers. I always feel like I should be enjoying their movies more than I actually do, and I think some of their stuff is downright overrated. Unfortunately, Raising Arizona has done little to change this situation.

* For what it’s worth, the length of TWINE’s pre-titles wasn’t intended. It was originally supposed to be just the stuff in Spain, with the MI6 explosion and subsequent Thames boat chase coming after the titles, but it was decided that didn’t make for a strong enough opening and it was recut. It runs about 17 minutes vs Raising Arizona’s 11. ^

Kubo and the Two Strings (2016)

Posted on January 16, 2017 by badblokebob

The latest film from animation studio Laika (Coraline, ParaNorman, The Boxtrolls), Kubo and the Two Strings is a samurai-action fantasy-adventure inspired by Japanese culture and folklore — but animated in stop-motion and rated PG! Not that either factor in any way undermines what may be the greatest animated movie of last year.

It is, unsurprisingly, the story of Kubo (voiced by Art “Rickon Stark” Parkinson), a young boy in olden-times Japan who regales the folk of his local town with fantastical adventure stories, which he brings to life with origami that he animates using magic from playing his shamisen (basically, Japan’s answer to the banjo). These stories actually come from Kubo’s mother and relate to his own life: Kubo’s grandfather is the evil Moon King (Ralph Fiennes), who they fled from when Kubo was a baby, while his father stayed behind to aid their escape, presumably to the death. Kubo mustn’t go out at night lest the Moon King see him and send his minions, Kubo’s creepy aunts (both Rooney Mara), to capture them. So Kubo never goes out at night and they all live happily ever after.

Not really! When the aunts come for them, Kubo’s mother uses the last of her magic to whisk Kubo away on a quest to find some mythical armour that he’ll need to defend himself against the Moon King. To help him, she brings his wooden monkey charm to life (voiced by Charlize Theron); and along the way they stumble across a man-sized beetle who used to be a samurai (voiced by Matthew McConaughey). Scrapes ensue as the trio hunt for the three pieces of the armour, with the vicious aunts in pursuit.

At its most basic, Kubo sounds like an archetypal “fantasy quest” narrative, with a gang of heroes in search of a MacGuffin to defeat a Big Bad. But the devil is in the details — something the folks at Laika know only too well. The Japanese myths they’ve tapped into here make for some fantastic detail; if anything, the familiarity of the broad story arc allows the unique aspects of the mythology to be all the more prominent, including some possibly surprising developments later on. I say “possibly” because I’ve read at least one complaint about the twists being guessable to adult viewers. Well, this is a fable and also, technically, a kids’ movie — just two reasons why plot guessability doesn’t really matter. I mean, if all you want from a movie is to be surprised, why not just watch 90 minutes of things popping out of boxes?

The other aspect massively in Kubo’s favour is the animation. It’s genuinely stunning — beautiful to look at, as well as being technically audacious and consequently impressive. Some of it is so grand that several times I forgot that most of what we’re seeing on screen was built for real and animated by hand over several years. I say “most” because it is augmented with CGI, just as any action-fantasy live-action movie would be these days. The fact there was green screen and compositing and some wholly CG elements doesn’t detract from the technical workmanship on display. That included the largest stop-motion puppet ever built. I won’t spoil what or where it is in the film, but there’s a behind-the-scenes glimpse during the end credits that is breathtaking.

Another area the animation excels is in the action scenes. That’s a field which is rarely animation’s forte, especially stop-motion animation, but Laika took on the challenge and nailed it. Everything from the antics of Kubo’s animated origami to a centrepiece duel aboard a ship at sea are the equal to anything you’d find in a live-action samurai actioner. The character work is excellent too, especially the villains. The aunts are fabulously creepy, mainly thanks to their blank mask faces and the way they float everywhere, seemingly indestructible. There are a couple of other monstrous creatures too, but their wonders deserve to be discovered in situ.

It’s not just scale that Kubo does well: the attention to detail was immense, with Japanese cultural experts called in to inform the tiniest detail, like period-accurate stitching on the clothing. This is background detail on 10-inch puppets, remember, but they went to that much trouble. It’s indicative of the attention paid to every facet of the movie, and while using the correct stitching, or developing appropriate techniques for animating water, or applying genuine principles from Japanese beliefs, do not in themselves make for a great movie, they indicate the level of care taken over this project — which does help to produce a great movie.

Then there’s the music, composed by Dario Marianelli, which integrates the shamisen as well as other appropriate instruments into a consistently lyrical score. And the photography, by Frank Passingham — it’s not just the design work and high-quality builds that make the film so gorgeous to look at, but the quality of the light that’s captured. And I’ve been so busy singing the film’s production praises that I haven’t even mentioned how funny it is, or how emotional, with Mar Haimes and Chris Butler’s screenplay tucking some very positive lessons away in the final act. Indeed, the alternative perspective offered by embracing a different culture means that, for once, they might not just be lessons for kiddie viewers. By the time the credits roll — to a glorious cover version of a perfectly chosen song — the whole experience is completely enchanting.

I think Laika as a name went a bit unnoticed with their first feature, Coraline, because it had the already-headlining names of writer Neil Gaiman and director Henry “Nightmare Before Christmas” Selick. Their two subsequent features seem to have been well-liked but not set the world on fire (I’ve still not seen either). But here, they’re firmly stamping their name as a mark of quality. Come in Pixar, your time may be up. I’m sure Kubo won’t be picking up many gongs in the current awards season, what with three big-name Disney-backed pictures arrayed against it, but I find it hard to believe any of those outdid the artistry on display here, both in its spectacular animation technique and its majestic storytelling. To say it’s 2016’s best animated film is underselling it — it’s one of my favourite films released last year, fullstop.

Kubo and the Two Strings is released on DVD and Blu-ray in the UK today.

It placed 3rd on my list of The 17 Best Films I Saw For the First Time in 2017, which can be read in full here.

Hunt for the Wilderpeople (2016)

Posted on January 15, 2017 by badblokebob

The most recent feature from the director of the very-different-to-each-other What We Do in the Shadows and Thor: Ragnarok, this very-different-again* adventure-comedy-drama was a surprise hit in its native New Zealand, then around the rest of the world, before it wound up as Empire magazine’s pick for the best film of 2016.

Young Ricky Baker (Julian Dennison) is a delinquent who’s been rejected by every foster family in the city, so in a last-ditch attempt to avoid juvie he’s homed at the remote farm of kindly Bella (Rima Te Wiata) and her terse, irritable husband, Hec (Sam Neill). Despite initial misgivings, Ricky warms to his new home, so when child services threaten to take him away again he runs away into the bush. He’s soon found by Hec, but as child services launch a nationwide manhunt for the missing pair, they decide to go on the run as fugitives.

So yes, let’s get the obvious out of the way: Ricky and Hec end up bonding and working together and all that jazz. But this isn’t the kind of movie where it’s all about developing mutual respect and having heartfelt hugs and making declarations of everlasting father-son love. Well, maybe it is a little, in its own way — but it’s also the kind of movie where they (spoilers!) write awesome birthday songs, end up in a punch-up with some hunters, steal all-important loo roll, meet a girl worthy of the old Flake adverts, eat relaxing sausages, stumble into a vicious fight with a giant boar, and engage in the wildest third-act police car chase since… I dunno, Blues Brothers or something.

Writer-director Waititi (adapting the book Wild Pork and Watercress by Barry Crump) keeps a fairly tight hand on the film’s tone, a slightly leftfield view of the world that isn’t as extremely stylised as, say, Wes Anderson, but nonetheless is heightened beyond the normal boundaries of real-life. I only say a “fairly tight” grip because a couple of comic cameos arguably stretch things a little too far, but that’s a minor complaint. Mostly he’s skilful in balancing the comedy with genuine emotion, so that the former never neuters the latter, but equally the latter never dares become too sickly. The events of the plot may not be plausible, but the emotional underpinnings are.

Nonetheless, it’s regularly hilarious, especially when centred on Dennison and Neill’s interactions. It’s the kind of role and deadpan performance that will no doubt have some hailing Dennison as a real find, and maybe he will be, or maybe he’ll go the way of most child stars with “breakthrough” roles like this and never be heard from again. Pardon my cynicism, but it seems to be such a perfect marrying of actor and role that I’m not sure it marks the start of a glittering career so much as one superb turn. Maybe I’m wrong; time will tell. Neill, on the other hand, juggles grumpiness, likeability, and pathos in a manner that suggests his near-relegation to “the guy from Jurassic Park” for the last quarter-century is a real shame. I’m not intending to dismiss everything he’s done between then and now (some of which I’m a definite fan of), but this is likely the best showcase of his abilities for a long time.

The rest of the cast don’t shirk, with particular note to the kind of double act performed by Rachel House and Oscar Kightley as (respectively) the ‘dedicated’ child services agent and her escorting policeman who lead the manhunt. Whoever was in charge of the soundtrack did an excellent job with several amusing song picks, while the highlight of the score (credited to three composers) is an unusual use of the increasingly ubiquitous Christmas tune Carol of the Bells (the scene in question has nothing to do with Christmas, for starters). Cinematographically, DP Lachlan Milne makes marvellous use of New Zealand’s truly majestical scenery — well, why wouldn’t you?

Whether or not Hunt for the Wilderpeople is the best film of last year is immaterial — I mean, it’s a little film from a small country on the other side of the world: it’s not like it’s going to be in competition this awards season, is it? But maybe it should be. Few films get to be this funny without being overworked, this sweet without being cloying, and this quirky without being keraaazy, all at the same time.

In the UK, Hunt for the Wilderpeople is available on Netflix now, and is released on DVD and Blu-ray tomorrow.

It placed 4th on my list of The 17 Best Films I Saw For the First Time in 2017, which can be read in full here.

* Well, from what I know they all seem very different to each other — I’ve not seen the other two. ^

Ninja Scroll (1993)

Posted on January 14, 2017 by badblokebob

aka Jūbē Ninpūchō

One of the films credited with helping to popularise anime in the West in the wake of Akira (reportedly it has had a greater and more enduring impact in the US than in Japan), Ninja Scroll is a fast-paced fantastical action flick full of gratuitous swordplay, gratuitous gore, and gratuitous nudity.

The story begins with Jubei Kibagami, a roaming ninja-for-hire, who becomes embroiled in stopping the machinations of the Shogun of the Dark after he rescues Kagero (a female ninja whose team were slaughtered by the Shogun of the Dark’s minions, the Eight Devils of Kimon), an event witnessed by Dakuan, a government spy who has been sent to investigate and stop the evil Shogun.

Try not to worry about that too much, though: Ninja Scroll moves like the clappers through a plot that is at once incredibly simple and ludicrously over-complicated. On the one hand it’s an action-driven adventure, as our trio of heroes battle their way through the Eight Devils one by one. On the other, it’s got all sorts of backstory stuff about who the Devils’ leader is and how he’s connected to something Jubei did years earlier and what any of this has to do with Kagero’s clan and… so on.

Similarly, the pace has its pros and its cons. It certainly keeps things lively, with new monstrous Devils turning up regularly, bringing bursts of exciting action with them; but it makes things bewildering at times, with a flurry of characters and exposition introduced throughout the first half-hour or so. Once it settles down, there’s actually some quite nice character stuff involving Jubei and Kagero, and to an extent Dakuan, who remains a tricksy and unreliable ‘hero’.

That’s not what the film is best known for, though, probably because it’s hidden after a big chunk of the other stuff: ultra-violence and a sex obsession. As to the former, men are literally ripped limb from limb, or cut in half, or quarters, with blood regularly spraying everywhere. Depending on your viewing preferences, it’s either incredibly extreme or we’ve seen the same kinda stuff more regularly since. I wasn’t as shocked as some reviews warned I would be, but it’s not for the faint-hearted.

The same goes for the sex and nudity, which embraces everything from the villains bickering about who’s sleeping with who (if they’re devils then half of them are horny ones) to Kagero being sexually assaulted by a rock monster. In the audio commentary recorded for the 20th anniversary, the writer, director, and animation director debate whether some of that content was unnecessary. One of them (it’s hard to tell which from the subtitles) asserts that there were always gratuitous sex scenes in the B-actioners that partly inspired the film, so it goes toward creating the right atmosphere. I guess individual tastes will vary — I mean, it’s not as if Kagero’s assault is presented as a good thing, but it is still presented. Or it is nowadays: on the film’s first release the BBFC cut that part out. Times certainly have changed.

For all that Ninja Scroll feels kinda antiquated in this carefree presentation of repellant acts, it has stood the test of time in other ways. For the faults in what happens to her early on, Kagero emerges as a competent and assured female hero (for the most part). The animation is frequently great, with some painterly compositions inspired by traditional Japanese art, as well as dramatic action sequences. I watched the English dub, which is what it is (I’ve heard better; I’ve heard much worse), but on the aforementioned commentary track they regularly sing the praises of the Japanese voice cast, so maybe the subtitled version was the way to go.

Watching Ninja Scroll is a bit of a conflicting experience nowadays. Its story is both numbingly simple (“introduce villain, fight villain, defeat villain, repeat x8”) and insanely complicated; its sometimes balanced gender politics are offset by some gratuitous and distasteful content; its characters are initially archetypal and generally unlikable, but warm up in both regards as the film progresses. A bit like my opinion of it: I wasn’t entirely sure after my first viewing, but as I watched it back with the commentary I re-appreciated an awful lot of it. Maybe it’s a grower, then.

Ninja Scroll is on Syfy UK tonight at 11:10pm.

Ivan Vasilievich: Back to the Future (1973)

Posted on January 11, 2017 by badblokebob

aka Иван Васильевич меняет профессию / Ivan Vasilievich Changes Profession

2016 #112
Leonid Gaidai | 92 mins | streaming (HD) | 4:3 | Soviet Union / Russian

I know: having seen the title of this film, you’re probably thinking some variation of, “so what’s that then?” Well, it’s only a better sci-fi film than Aliens, 2001, Metropolis, Blade Runner, or Solaris! It’s only a better comedy than Monty Python and the Holy Grail, Sherlock Jr., Some Like It Hot, It Happened One Night, or The Kid! Only a better adventure movie than North by Northwest, Lawrence of Arabia, The Treasure of the Sierra Madre, Indiana Jones and the Last Crusade, or The Bridge on the River Kwai! Only the best musical ever made that isn’t The Lion King, and the 8th greatest film of one of cinema’s defining decades, the ’70s — that’s what!

Well, “that’s what” according to IMDb voters, anyway, who’ve placed it in the upper echelons of all those best-of lists. In fact, it’s a Russian sci-fi comedy, adapted from a play by Mikhail Bulgakov (most famous to Western audiences now for the TV series A Young Doctor’s Notebook starring Daniel “Harry Potter” Radcliffe and Jon “Mad Men” Hamm). Apparently it’s a huge popular classic in Russia, hence why it’s scored so well on an international movie website and shot up those lists; and, because of that, it’s a moderately (in)famous film on movie-list-checking website iCheckMovies (at least, it is in the parts of it I frequent), because it’s a film you have to see if you want to complete any of the aforementioned lists.

And so I have seen it — courtesy of Mosfilm’s YouTube channel, where it’s available for free, in HD, with English subtitles — just in case this review makes you want to watch it too. Which, you never know, it might, because it’s actually kinda fun. In the end.

The plot concerns scientist Shurik (Alexsandr Demyanenko), who is trying to perfect a time machine in his apartment (as you do) but is getting grief from his busybody building supervisor Ivan Vasilievich (Yuri Yakovlev). Meanwhile, George (Leonid Kuavlev) is trying to rob a neighbouring apartment. To cut a lot of faffing short, the three of them end up transported to the past, where it turns out Ivan Vasilievich is the spitting image of Ivan the Terrible (also Yuri Yakovlev) and — to cut some more farce equally short — Ivan Vasilievich and George end up stuck in the past, pretending to be Mr Terrible and his chum, while Shurik and the real Mr Terrible are returned to the present day. More hijinks ensue!

So, you can see why its original title is the wittily understated statement Ivan Vasilievich Changes Profession, and how its English title can just about get away with being such a blatant attempt to cash-in on a popular movie.

As for the film itself, it starts off not so hot, somewhat overacted and a little hard to get a grip on what’s happening — it’s also a sequel or sorts, so perhaps launches with the idea you’ve seen the previous adventures of Shurik and so know what kind of thing to expect. But as it continues… well, maybe it’s a kind of Stockholm syndrome, but I ended up rather enjoying it. It’s not genius, but it’s a fairly amusing farce once it gets going. Very of its time as an early-’70s mainstream-style silly comedy, but what’s wrong with being of your time? It also sounds like it’s fairly faithful to Bulgakov’s original play, which is a little surprising, but there you go.

Unsurprisingly, Ivan Vasilievich is not a better film than all those ones I listed at the start. If it got wider exposure and more IMDb votes, I’m sure it would drop down lickety-split. At the same time, I’m actually quite glad I watched it: after I eventually warmed to it, it was kinda fun.

The Last Dragonslayer (2016)

Posted on December 31, 2016 by badblokebob

2016 #195
Jamie Stone | 101 mins | download (HD) | 2.00:1 | UK / English

I’m not sure whether to commend or condemn Sky1 for having the balls to schedule a light family-friendly fantasy drama against Doctor Who on Christmas Day — that seems like damning yourself to low ratings. But then Sky never exactly stands at the pinnacle of the charts, and, in the catch-up-driven landscape of modern TV, does it even matter? I mean, as if to show their disregard for schedules, the premiere broadcast was actually at 3am the night before.

Anyway: adapted from the novel by Jasper Fforde (the first in a series, as will eventually become clear), The Last Dragonslayer is the story of Jennifer Strange (Ellise Chappell), a teenage orphan living in the Ununited Kingdom (a name never uttered on screen, perhaps for fear of looking like political commentary in the current climate). This is an alternate-world Britain where magic exists but is on the wane — it’s powered by dragons, but they’re dying out; besides which, the public have become more enamoured with things like technology and supermarkets. Adopted by the kindly wizard Zambini (Andrew Buchan), Jennifer learns about the importance of magic, and the importance of dragons to magic, which is a bit of a problem when the country’s seers have a mass vision that the last dragon will be slain on Sunday, and shortly thereafter Jennifer discovers her long-prophesied role as the last official dragonslayer.

About now you’re probably thinking The Last Dragonslayer is completely derivative of every other major young-adult fantasy franchise of the last… well, forever. It’s hard to deny that the plot is, at least in its broadest thematic strokes, a pretty familiar affair. What makes the enterprise worthwhile is its humorous execution. This isn’t a spoof of the genre, more a satirical mash-up of familiar fantasy building blocks and modern life. So, for example, the king’s chief knight is also a pop star, followed around by a gaggle of adoring female fans; when Jennifer finds herself in need of money, her dragonslaying assistant signs a sponsorship deal with soft drink brand Fizzipop that requires her to film an advert, make at least two promotional appearances, and wear a branded T-shirt until the dragon is slain. It’s this whimsical slant on our world that is arguably Dragonslayer’s most successful aspect.

Another would be its characters. Chappell makes Jennifer a capable hero without having to resort to the kind of self-serious moping that dogs so many current young adult leads (Katniss, I’m looking at you). Buchan also gets to move away from the moping that’s so often called for in series like Broadchurch, making the affectionate, skilful Zambini an easily likeable character within just a few deceptively simple scenes. Without meaning to spoil the plot, he’s not in it enough. The slack is taken up by the likes of Pauline Collins and Ricky Tomlinson as a pair of batty magicians, Matt “Toast” Berry as the immature monarch, and Anna Chancellor as the smarmy corporate head of supermarket giant Stuff Co. The only weak like for me was Richard E. Grant as the voice of Maltcaisson, the last dragon — it just didn’t feel like he had the vocal presence to be playing a huge majestic beast. But not everyone can be John Hurt or Benedict Cumberbatch, I suppose.

I guess The Last Dragonslayer’s irreverent, sometimes silly tone won’t be to all tastes, but I enjoyed it very much. Unsurprisingly (all things considered) the book is the first in a series, and so not everything is fully resolved by the film’s end. Let’s hope that, in spite of their scheduling, it’s done well enough for Sky that sequels are forthcoming.

100 Films’ 100 Favourites: The Conclusion

Posted on December 28, 2016 by badblokebob

About four years ago, I had a crazy notion: that for my 10th blogging anniversary (still several years away at that point) I could do a year-long series of posts discussing my 100 favourite movies — an idea in keeping with my blog’s theme and also a grand way to celebrate it lasting a whole decade. After several years spent mulling over options, about 18 months of writing, and literally hundreds of hours dedicated to the project, it’s finally at an end.

The full list can be found on its dedicated page here. In this post, I’m going to list the second half of my also-rans (the first half can be found here) and do what I always enjoy doing at the end of everything: share some statistics!

During my selection process for this project, my almost-final long-list stalled at a little over 150 films. Due to posting my final selection in alphabetical order, I was able to list 21 of those almost-made-its at the halfway point. Here are the remaining 34:

Little Shop of Horrors
The Living Daylights
The Mark of Zorro (1940)
Match Point
Memento
Men in Black
Mission: Impossible
Mission: Impossible III
Monsoon Wedding
Monty Python’s Life of Brian
The Mummy (1999)
Munich
Natural Born Killers
The Nightmare Before Christmas
Philadelphia
Pitch Black
The Princess Bride

The Proposition
Psycho (1960, obv.)
Ronin
School of Rock
The Silence of the Lambs
Singin’ in the Rain
Sleepy Hollow
Spellbound (2002)
Spider-Man
Stagecoach (1939)
The Terminator
Terminator 2: Judgment Day
The Truman Show
Underworld (2003)
Unforgiven (1992)
Where the Truth Lies
You Only Live Twice

With the list now complete, what can I observe about my favourite movies?

Well, for starters, the total running time of all 100 films (counted from either their best version or the version that counts for this list) was a smidgen over 209½ hours. That means my average favourite movie runs 126 minutes.

99 of them include English as a major language. In fact, the only foreign language film on the list (unless you want to argue that For a Few Dollars More or Once Upon a Time in the West are originally in Italian) is Ghost in the Shell… which I’ve only ever watched in its English dub. Oh well.

26 other languages are represented one way or another, with the most prolific being German (12 times) and French (nine times), I guess in war movies and the like. Other regulars include Arabic, Italian, Japanese, Russian, and Spanish, while the wide variety of one-offs include Latin, Nepali, Urdu, and Klingon (and that not from a Star Trek film).

A high proportion of English films naturally suggests many of them come from the US, and indeed 91 are wholly or partly US productions. Second place, unsurprisingly, goes to the UK, with a hand in 21 of my picks. Another popular co-production partner of US blockbusters is Germany, leading them to third with 12 films. A further 15 countries put in an appearance, from the likes of France (five), Canada (four), New Zealand (the Lord of the Rings trilogy), to one-timers from the likes of Australia, Hong Kong, Denmark, and Mexico.

In terms of temporal location, my favouritism towards recent films is abundantly clear: the top decade is the 2000s, despite only seven of its years being eligible for inclusion, providing 41 of my choices. And second is the ’90s, with 34, leading to a full three-quarters of my favourites being from the last quarter-century (and from just 17 years of that time, in fact). The ’80s accounted for 12, before there were five apiece from the ’70s and ’60s, two from the ’40s, and one from the ’30s. Nothing from the ’50s, nor the ’20s or earlier. In terms of specific years, 2003 was most represented with nine, and was also the year when I first saw the greatest number of my favourites, with 14. Every year since 1988 was represented; and since the birth of the blockbuster in 1975 the only missing years are ’76, ’78, and ’87.

Despite something of a focus on movies I first saw in childhood (thanks to the nominal cut-off being when I was 20), the most prolific BBFC and MPAA ratings are 15 (38%) and R (41%). Every certificate was represented, even one NC-17.

Across the 100 films, there were 74 directors (or directing partnerships). The most prolific, I think unsurprisingly, was Steven Spielberg, with six films. In second was, of all people, Robert Zemeckis, thanks to Back to the Future being a trilogy (plus Roger Rabbit). Other multi-timers include Martin Campbell, David Fincher, Peter Jackson, and Ridley Scott, all with three; and Francis Ford Coppola, Paul Greengrass, John Lasseter, Sergio Leone, Baz Luhrmann, Tony Scott, M. Night Shyamalan, Bryan Singer, Quentin Tarantino, and John Woo, each with two.

In front of the camera, the most prolific leading actor was Harrison Ford, mainly thanks to a pile of Star Wars and Indiana Jones movies. Second place is shared between Tom Hanks, Ian McKellen, John Rhys-Davies, and Hugo Weaving — three of them boosted by Lord of the Rings being a trilogy, so perhaps the crown more properly belongs to Mr Hanks. I don’t feel I can accurately do a full run-down of actors because I didn’t go through the full cast for every film. I mean, for one example, Gabriele Ferzetti is in both On Her Majesty’s Secret Service and Once Upon a Time in the West but I didn’t mention him in my abridged cast list for either. Who knows how many stars and supporting actors have slipped through the cracks in this manner?

Easier to quantify is the top genre. That’d be Action, with 44 films, closely followed by Adventure, with 37. There were also 32 Thrillers, 28 Dramas, and 27 Sci-fi films. Next after that were Comedies on 26, which surprised me a little because, as a rule, I don’t think I like comedy movies all that much. The only other genre with over 20 was Fantasy, while the likes of Anime, Biopic, Film Noir, and Horror had just one representative each.

I classed 45 of the films as adaptations, which possibly says something about how much movies rely on other media. And speaking of originality, 20 of them are sequels. Similarly, there were nine superhero movies (not counting the likes of Blade or Flash Gordon) and four true stories. There were five James Bond movies (I limited myself!) and three animations each from both Disney and Pixar. There were also three remakes, all of them re-adaptations.

Obviously I love all of these movies, but what do other people think? Well, 34 of them have Oscars, sharing 103 gongs between them, and a further 19 were at least nominated for one. The average Rotten Tomatoes score is a lofty 91% — the highest being shared by Mary Poppins, Toy Story, and Toy Story 2, all of which can boast 100% tallies; the lowest, somewhat unexpectedly, is Man on Fire, with just 39%. Over at IMDb, the average rating is a much lowlier 7.9, spreading from The Shawshank Redemption’s high of 9.3 to the 5.3 shared by Daredevil and Josie and the Pussycats. At the time of posting, 38 of my choices appeared on the IMDb Top 250.

And that’s just about it! I feel like I need a rest…

…though, it’s a bit unfair that I didn’t bother to pick any favourites from my last 10 years of viewing… and it is almost my blog’s anniversary, too…

Hmm…

Kung Fu Panda 3 (2016)

Posted on December 27, 2016 by badblokebob

Po and co are back in a movie that bucks the sequel trend by being perhaps the best Kung Fu Panda yet.

The two-pronged plot sees Po (Jack Black) finally meet his birth father (Bryan Cranston), while evil warrior Kai (J.K. Simmons) breaks out of the afterlife to hunt down the Dragon Warrior, putting Po’s new-found community in harm’s way.

After the occasionally muddled second film (which I felt improved a little with repeated viewings, at least), KFP3 sets the legendary adventures of awesomeness back on track with an appealing mix of humour, action, and moral lessons for kiddies and adult viewers alike. It keeps things focused and pacey, running just 83 minutes before credits, as well as maintaining the series’ typically stunning animation, which is just as polished whether creating epic scenery or up-close physical combat.

It’s also particularly satisfying when watched alongside its forerunners: it feels like Po’s story has come full circle, with the film linking in and wrapping up plot points from the first movie (as well as resolving things from the second). Reportedly DreamWorks have three more Kung Fu Panda films planned, but at this point it feels like a completed trilogy.

A downside for UK viewers, though: our localised soundtrack replaces the voices of two palace geese with members of the Vamps, who are a popular music combo, apparently. Wow. Aside from the underwhelmingness of the ‘famous’ guest voices, they’re appalling actors. They only have about three lines between them and they’re still terrible. To rub salt in the wound, some ‘clever’ disc coding means that if you have a Region B Blu-ray player this soundtrack is completely unavoidable, even if you import. Poor region-locked people. I hope for humanity’s sake the version on Sky Cinema retains the original voices.

There are very few threequels that can lay claim to being a series’ best entry. Whether KFP3 actually tops the original or not is debatable, but it at least feels like a course correction after the somewhat disappointing first sequel.

Kung Fu Panda 3 is available on Sky Cinema from today, screening on Premiere at 1:40pm and 7:15pm.

Witness for the Prosecution (1957)

Posted on December 26, 2016 by badblokebob

2016 #157
Billy Wilder | 112 mins | DVD | 1.85:1 | USA / English | U

Charles Laughton and Marlene Dietrich shine in this adaptation of Agatha Christie’s play (in turn based on her short story), about a man accused of murder but who proclaims his innocence (Tyrone Power), the barrister who decides to take the case (Laughton), and the man’s wife who agrees to alibi him but seems somehow suspicious (Dietrich).

Despite expanding the action from the play, it’s still dialogue-heavy and a little stagey in places — but between the engrossingly labyrinthine plot, those captivating performances, and some humour added by screenwriters Billy Wilder and Harry Kurnitz, such potential criticisms are irrelevant.

Helluva twist, too.

A new adaptation of The Witness for the Prosecution begins on BBC One tonight at 9pm.

The Present (2014)

Posted on December 25, 2016 by badblokebob

2016 #114
Jacob Frey | 4 mins | streaming (HD) | 16:9 | Germany / English

A short film about a boy and his dog, The Present was a graduation short for the Institute of Animation, Visual Effects and Digital Postproduction at the Filmakademie Baden-Wuerttemberg in Ludwigsburg, Germany (yeah, I copy & pasted that), which has since won more than 50 awards after playing at film festivals around the world. Reportedly it also single-handedly landed its animator/director a job at Disney — he went on to work on Zoo~~topia~~tropolis.

The simple story sees a videogame-obsessed boy given a mysterious box by his mother. Distracted long enough to open it, inside he finds a puppy, and… well, the film’s only four minutes long — you’re better off watching it than having me describe the story.

Regular readers will know I’m a bit of a sucker for cute dogs nowadays, be they real or animated — I gave Disney short Feast a full five stars last year. If you enjoyed that, then I’m certain you’ll like The Present too. There are other similarities: it’s about a guy bonding with his dog; it’s told in near-silence, with the big emotional reveals left for you to pick up through the pictures rather than explanatory dialogue; and it certainly tugs on the heartstrings to a similar degree.

In fact, I don’t think it’s going too far to say The Present may even be the better of the two — though it’s a close call.

You can watch The Present free on Vimeo.

P.S. A dog is for life, not just for Christmas.

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