Here we go — finally, and somewhat later than anticipated (it’s been a slow start to the year, viewing-wise) — the new review format for 2022!
…which you’ll have already seen in Archive 5, of course; and is fundamentally similar to what I was doing before in roundups and what-have-you; and which I’ve already ‘broken’, because my review of Flight of the Navigator came out so long that I posted it alone.
But still, the intention is this is now my regular review format, popping up every week or two (or three) to review everything in a more timely fashion than I have for many, many years. We’ll see how it goes — I feel like I need to relearn how to write short pieces, because longer reviews feel like they should get their own posts, and that’s happened to pieces intended for every one of these roundups so far this year.
Anyway — to kick things off for 2022, a film with a broadly appropriate title. Because, despite (deliberately misleading) hints to the contrary, I’m carrying on. Get it? Carrying on watching. And “spying” is a synonym of “watching”, right? (Look, there aren’t any Carry On films with more apposite titles, okay?)
These weeks’ films are…
Carry On Spying
Gerald Thomas | 84 mins | digital (SD) | 16:9 | UK / English | U
Believe it or not, I’ve never actually seen a Carry On film before. Maybe that’s not so surprising these days. They were once such a part of British culture that they produced 30 of the things, but I think they were seen as “a bit old fashioned” even before I was born, and by 2022’s standards… oof. But, lest you get the wrong end of the stick (oo-er, etc), this isn’t me intending to finally dive into all of them. Rather, as well as its timely title, I chose to watch Carry On Spying primarily because it’s a James Bond spoof — the first, I believe, seeing as it was released in July 1964, when the Bond series only encompassed Dr. No and From Russia with Love (Goldfinger would follow a couple of months later).
With Bond not yet even properly into its initial phenomenon phase (the first two films were hits, but it was the next two that skyrocketed its popularity), you might think Spying came too soon, and would be disadvantaged by being produced before the famous Bond formula was fully in place. Instead, it sets its spoofing sights a little wider, including an extended riff on The Third Man. I couldn’t tell you everything it’s drawing on, but its third-act villain’s lair — all sleek metal corridors and little road-train thingies and jump-suited identikit henchpeople — appears to be a take-off of You Only Live Twice, some three years before that film even came out. So I can only presume Spying’s point of reference there is something else, which I can’t quite remember; some other spy fiction that was already doing stuff the Bond franchise would still be pulling off years later. That doesn’t reflect too positively on YOLT, when you think of it, although Bond’s cultural dominance and longevity has come to ensure it’s the one that’s remembered for pioneering all this stuff.
I don’t know how many Carry On films were genre spoofs, but the series’ reputation is more for smut and innuendo. There’s pleasantly little of that here — some, for sure, mostly based around Barbara Windsor (of course) as a trainee agent; but while it’s all fundamentally juvenile, it’s not as ceaselessly ribald as I was expecting. Satisfyingly, it remains primarily focused on its chosen genre. In that respect, I’ve definitely seen worse spoofs.
Carry On Spying is the 1st film in my 100 Films in a Year Challenge 2022.
George Stevens | 120 mins | digital (HD) | 4:3 | USA / English | U
This is the third and final film to pair up stars Irene Dunne and Cary Grant as a married couple (I’ve watched all their collaborations within the past couple of years, but not posted reviews of the first two yet. I thought it was within the last year, but turns out I watched my first in May 2020. These strange days have really messed with my sense of the passage of time!) But where their first two films were screwball romcoms, this is undoubtedly a melodrama, following a couple as they meet, marry, and attempt to start a family.
Dunne and Grant both make a fair fist of the serious stuff — Grant, in particular, gives an uncommonly sensitive performance at times — although they can’t resist slipping back into a spot of almost-slapstick given half a chance, with various individual sequences playing more like one of their comedies. Those scenes stand at odds with the film’s overall narrative and tone, which goes for full-on weepy. Indeed, if anything, I thought it was overdone, in particular an ending that throws in sudden tragedy followed so quickly by a pat happy ending that it feels almost distasteful.
The film’s hook is that it begins with Dunne planning to leave, before she discovers a book of records that, as she plays them, take her back through their relationship. Different songs provoking specific memories is a neat narrative device on paper, but doesn’t really come across on screen. Aside from the first track, and maybe a later burst of Happy Birthday (although that could be almost any birthday, surely), the songs don’t seem to have any special relevance to the memories they supposedly call forth. It doesn’t help that, to modern ears, they all sound kinda samey. Plus, that the songs lead everything to unfurl in chronological order, with every major beat of their life story accounted for, is certainly convenient.
If you can look past such artifice, and just want to revel in an old-fashioned bit of heart-tugging, Penny Serenade is fit to make you shed a tear. Personally, I’d rather the headline duo had given us another bout of screwball tomfoolery.
Penny Serenade is the 3rd film in my 100 Films in a Year Challenge 2022.
Donald Crisp & Buster Keaton | 66 mins | Blu-ray | 1.33:1 | USA / silent | U
This is my fourth Buster Keaton feature now (I’ve only previously reviewed The General, but Sherlock Jr made it into my 2019 top 3), and he’s established himself as my favourite of the major silent comedians (I rarely enjoy Chaplin’s films as much as I feel I should; and, in fairness to Harold Lloyd, I’ve only seen one of his so far, which I liked a lot). The Navigator was the biggest hit of his career, though is probably my least favourite of his I’ve seen so far — though I don’t want to damn it with false criticism, because it’s still a brisk and entertaining comedy.
Keaton stars as a spoiled rich kid whose marriage proposal is rejected. He’d already booked the honeymoon tickets, so sets off by himself; but, due to several points of confusion, he ends up adrift at sea on a decommissioned ship, empty but for one other passenger: his would-be fiancée (Kathryn McGuire). It’s up to this pair of brats to get along and survive while they hope for rescue. (Rescue does not come quickly. Considering McGuire’s father is a successful shipping magnate who’s aware of what’s happened, you’d think he’d send a vessel after them; but then, he might have his own problems, owing to a bunch of foreign spies who… look, it’s best not to overthink the logistics and plausibility of the plot.)
Although Keaton gets the lion’s share of the gags, as well he might, for a stretch in the middle he and McGuire form an effective double act. The two rich kids being hilariously useless at household basics, like making coffee or opening a tin of food, is well observed; a flash-forward to their automated solutions is also fun. While Keaton still gets to show off by himself — particularly in an elaborate underwater diving sequence, naturally saved for the final act — McGuire makes the most of the material she’s given.
The only outright demerit to the film is that the finale hasn’t aged particularly well: the ship finally drifts near land, but it’s an island with a village-full of black natives, at which McGuire immediately exclaims “cannibals!” That she’s sort of proven right when they start attacking the ship is… well, maybe not even worse, but at least just as bad. Still, by 1920s standards, maybe we can take comfort in the fact that it’s only casual racism…
More than that, the reason I say it’s my least favourite Keaton so far is simply that it doesn’t have as many comedic highs as his very best work. Nonetheless, his genius regularly shines through in moments and even whole sequences, and there are a couple of individual gags that are all-timers.
The Navigator is the 4th film in my 100 Films in a Year Challenge 2022.
In the Line of Fire
Wolfgang Petersen | 129 mins | digital (HD) | 2.39:1 | USA / English | 15 / R
Clint Eastwood is a Secret Service agent who failed to stop the JFK assassination, now taunted by John Malkovich’s mysterious wannabe-assassin and his threats to kill the current President. It’s a fundamentally strong idea for a thriller, and works especially well by having the villain constantly phoning the hero for little chats. Malkovich’s always makes for a first-rate antagonist, and his slightly loony personality clashes well with Eastwood’s stoic, dry-witted, old-fashioned tough guy. There are a couple of chase scenes and shoot-outs here and there, but, rather than any elaborate physical action, it’s the verbal sparring that represents the film’s highlights.
On the downside, the pace is a little on the slow side (perhaps matched to the “too old for this shit” age of Eastwood’s hero — in real life, he’d be a whole decade past the mandatory retirement age) and there are one too many clichés as important plot points (don’t get too attached to the partner who’s always talking about his wife and kids). Plus, there’s a wholly unnecessary romance between 62-year-old Clint and 39-year-old Rene Russo — the film doesn’t need it, even if there wasn’t that age gap. It leads to an (almost) sex scene that’s worthy of the Naked Gun films, which is amusing but tonally misplaced.
They used to make this kind of political thriller on the regular back in the ’90s, one of those bread-and-butter genres for grownups that have fallen by the wayside in favour of hyper-budgeted kids’-movie spectacle that men of allegedly adult age flock to nowadays. In the Line of Fire may not truly stand out among its brethren of the era, but I do wish they still made ’em like this.
In the Line of Fire is the 6th film in my 100 Films in a Year Challenge 2022.
The Princess and the Pauper
William Lau | 85 mins | digital (SD) | 16:9 | USA & Canada / English | U
One of the many film lists I have my eye on completing is Letterboxd 100: Animation, which lists the highest-rated animated feature films on the site (with a few caveats). There are over 40 titles left that I’ve not seen, and I could’ve chosen to watch almost any of them… but I chose the Barbie one. Well, not the Barbie one, because there are actually two Barbie titles on the list. And that’s not some temporary fluke: they’ve been on there for quite a while now. This merited investigation.
As you’ve no doubt gathered from the title, this particular Barbie film is a reimagining of Mark Twain’s The Prince and the Pauper. A fairytale-esque story, about a princess, done as a musical? Yep, this is very much a wannabe Disney, but without the production values of that major studio: the computer animation here looks more like a PS2 cutscene. But hiding beneath the cheap animation is a halfway decent musical fairytale. Take the second musical number, How Can I Refuse, for example: it’s every inch in the mould of a “Disney villain’s song”, but is better than some genuine examples, and comes complete with a dance routine by the antagonist and his two henchman. This film has ambition, I’ll give it that.
Other songs vary in quality. When the eponymous duo first meet, there’s an unintentionally hilarious number in which they sing about how similar they are, the indentured servant and the pampered royal. If you say so, girls. A later track is a typical “you be you” song, but sung to a pet cat who behaves like a dog. That’s a level of barminess I can get on board with.
I would never have dreamed of watching this if it weren’t on the Letterboxd animation list. Now, I wouldn’t exactly say I’m glad I watched it, but I enjoyed it more than I thought I would — even if sometimes that was due to laughing at it rather than with it.
Barbie as The Princess and the Pauper is the 7th film in my 100 Films Challenge 2022.
Shawn Levy | 115 mins | digital (HD) | 2.39:1 | USA / English | 12 / PG-13
Ryan Reynolds plays his role again as Guy, a bank worker in city riddled with crime and superheroics. But, it turns out, Guy isn’t real — he’s an NPC in a computer game, programmed to do the same thing over and over and basically be ignored by the real-world players. Until, that is, he spots the woman of his dreams (Jodie Comer) and his programming breaks as Guy becomes self-aware.
The basic concept sounds like a fun, fresh, and timely idea, right? Video games have never been more popular, AI is ever-improving, and there’s room for both gags and action in the core idea — that’s the winning Marvel formula, right there. Unfortunately, the execution is as if someone found a way to make a new movie by collaging others. Free Guy is just The LEGO Movie + The Truman Show + Wreck-It Ralph + Ready Player One + the PG-13 version of Deadpool 2 — not put in a blender, but cut up and stuck back together side-by-side, with snippets of Groundhog Day, Fortnite, and multiple Disney-owned properties scattered in for good measure.
That last aspect, the Disney references, has been singled out for particular derision on social media. The film was initially produced by 20th Century Fox, but ended up a Disney title after the buyout, which allows a bunch of stuff they own to pop up in the movie. I know we’re supposed to find this infinitely depressing — a sad reminder that Disney are on course to own all culture, and that’s a bad thing — and it is bad, of course… but the bit with Captain America’s shield still made me laugh. Sorry, not sorry. Yeah, you can be miserable about this stuff, because obviously the total homogenisation of all American media under The Walt Disney Company is not worth that a couple of meta gags; but the homogenisation of all American media under The Walt Disney Company is happening anyway, so we may as well enjoy the gags we get along the way.
Whether you have that kind of attitude or not will probably dictate how much you enjoy Free Guy. Its originality is surface deep, at best, and at every second it will call to mind some other film that already did the same thing. But, allowing for that, it’s still a fairly entertaining couple of hours of action-comedy.
Free Guy is the 8th film in my 100 Films in a Year Challenge 2022.