Film Reviews by HW

This doesn’t have the same magic as the first ‘Mummy’ film but it was still fun to revisit this action-packed sequel, even if they turned up the melodrama and the now dated CGI. Rachel Weisz kicked ass in this one, more so than the bizarrely cast Rock as the smirking Scorpion king.  

People have said this is one of the best TV shows ever made. I thought it was good but not greater than any other interesting crime show I’ve seen. The strength of the show does come from the relationship between the two male leads: two very different men joined together over the years by a dark murder/abduction case with occult overtones. I quite liked McConaughey’s character as a nihilist, philosophical detective (although his misanthropic, pretentious moaning did get tiresome). Woody Harrelson’s character was interesting in that he was a complete hypocrite: a so-called ‘family man’. 

Anyway, a decent thriller-drama with some good scenes of suspense and atmosphere. But by the end of this, I felt a little underwhelmed from all the hype: no way like the shock and awe I felt at the end of ‘silence of the lambs’, still in my mind the best crime drama. 

A film that gets a great story out of some unique history: the trial of Australian soldiers for war crimes during the Boer war of the early 20th century. Not only does the film offer some insight into such a little known conflict (when a world empire nearly met its match against a small guerilla army) but it boasts a gripping plot with gripping performances. Edward Woodward is captivating as the almost romantic but controversial figure of Lt Morant, a man driven to savage vengeance by the horrific death of his friend. Jack Thompson as his defence lawyer is even more electrifying, rivalling Keith Douglas for moral outrage at his fellow Australians being sentenced to deaths for crimes no worse than any other actions of the British empire against the Boers. The film is certainly not trying to say that the accused were innocent (although some justification is made for their actions) but rather that the extreme situations and stresses of war brings out the worst in men. The courtroom scenes are so passionate and tense, the thunderous shootouts interspersed throughout are not really needed (but welcome if you appreciate some good action). The ending may be one of the most emotional and best-shot conclusions not just in the war film genre but in film history. A jewel in the gritty greatness of Australian cinema. 

A unique and bold film about the horrors of colonialism in 19th century Chile. There is clearly history being exposed here that is not talked about enough, but mirrors the atrocities committed against natives in North America, Australia or wherever European empires have used brute force to take land. Through the eyes of a half-Indian named Segundo, we witness him, a Scotsman and an North-American riding through the starkly beautiful landscapes of mountainous Chile on a dark, bloody mission for a sheep baron. An eerie, disturbing but necessary and rewarding watch. An incredible directorial debut too, especially with a multi-lingual script. 

A sweet and surprisingly moving coming-of-age story about an orphaned girl growing up and finding her place in rural Canada. Strong, amusing performances and gorgeous scenery. Also great to see the loveable sheriff from ‘Misery’!

This may not have the full emotional scope or complexities of the beautiful Thomas Eidson novel. However among the ranks of film westerns, this one still stands out for its originality and poignancy. Both Tommy Lee Jones and Cate Blanchett excelled as estranged father and daughter: both tough western characters hiding their vulnerabilities. I loved that they kept the young girl Dot in the film as well and the actress playing her was faultless. For western fans, this is worth seeing for its dark, supernatural atmosphere; its emphasis on strong female characters (a western rarity); its exploration of the clashes between races and beliefs in the West; and, of course, its moving message on family and blood ties overcoming these barriers. There’s also some decent action, especially at the end. Do read the novel as well: it may be the best western novel ever written. 

I worry this is the point where the ‘Saw’ franchise started relying heavily on gore and shock factor rather than psychological tension and plot twists, which arguably made the first two films fairly decent horror-thrillers. Admittedly the plot twists at the end of this bruiser were shocking and it makes some attempt to create sympathy for the characters trapped in Jigsaw’s horrendous games. It even asks some interesting questions about the nature of revenge, justice, and forgiveness, and whether violent revenge is ever justified. However I have seen more subtle depictions of these themes. In my book, sheer brutality over atmosphere and suspense does not a good horror film make. 

An entertaining 70s horror, with sumptuous sets, a thrilling synth-rock score and stark use of sound, colour and violence in certain scenes. I was actually surprised by how simple the plot was, when you’ve got such an original and cultured setting for a horror film as a dance academy. Witchcraft is simply presented as a destructive, controlling force of evil. At least the medley of beautiful young actresses aren’t overly sexualised, as you’d expect for a horror. I’d be interested to see what the remake did with this film’s material. 

Nice to be reminded years later of how fairly decent the first ‘Saw’ film was as an intense thriller. This first film was definitely more about the twists and the psychological tension rather than the gore (although some scenes are still fairly gnarly. Don’t watch this if you don’t like saws and feet mixing). The killer’s motivations also remain very original and disturbingly understandable. Also I had no idea Cary Elwes was in this. His career really took a dark turn! 

A horror sequel that could be better than the original? Surely not! The plot somehow has been turned up more for intensity: a detective has to bargain in person with Jigsaw himself when it turns out the copper’s son has been locked in a house with a whole bunch of alarming adults; all trying to work their way out through Jigsaw’s fiendish, deadly puzzles. Also I never saw the twist coming, where the film messes with your sense of time and plot structure. Even more surprisingly, despite there being more screen deaths the franchise was still relying on plot and tension over gore. 

I saw this film years ago and didn’t fully appreciate it. Having rewatched it following its 50th anniversary, I agree with anyone who says it’s one of the most original and imaginative British horrors of all time. Not only does this film mix several genres seamlessly (mystery and folk musical along with horror) but it offers relevant and insightful comments on the nature of faith and belief, while adding tension to an already suspenseful, believable plot. Both hardcore Christian Sergeant Howie (Woodward) and the pagan Summerisle community he clashes with are blindly, arrogantly confident in their beliefs (the Summerisle lot dangerously so). Was this film predicting the one-sided, mostly internet-fuelled arguments of the 21st century? Regardless of its message on religion, this film remains a unique, disturbing and bewitching experience. The ending has to be one of the best-shot and visually stunning scenes in horror cinema, along with scenes from ‘The Shining’. Arguably the ending is more harrowing than anything from ‘the Shining’. The traditional folk soundtrack is triumphantly enchanting, despite the bizarre, horrific events the jaunty songs accompany.

I found this film more interesting and funny than I thought it would be. The line above made me cackle; it was so beautifully timed. This film isn’t simply a fluffy promotion of a legendary toy, as I initially suspected. It works as a satirical sci-fi comedy that uses the Barbie doll as a springboard for comments on gender expectations, imbalances of power in society and just generally succeeding and existing. Although the film is a fist-pump for feminism, it does at least suggest that Barbie’s world isn’t any better than ours, as it’s the Ken’s who end up as the neglected, patronised citizens in their feminine world. Perhaps the film suffers from trying to do too many things, so that not each topic is fully explored. But you can’t deny this is dazzling and unique. I may even have preferred this viewing experience to ‘Oppenheimer’. At least ‘Barbie’ was more original and imaginative. And funnier. 

You’ll never see a film quite like this. A Nordic horror set in snowy Lapland, where the wife of a reindeer herder misses her husband so much that she makes a deal with a crazy old shaman. Not only does she become irresistible but she can transform into a white reindeer and lure hunters away. When alone with them in Evil Valley, the woman turns human again but with vampire teeth and, though we’re not shown it, we assume she feasts on the men! So arguably this is a feminist horror, with a witch using her desirous beauty both as a woman and a deer to prey on unsuspecting men, while at home she keeps up appearances as a good wife. At 68 minutes, however, this is not a deep psychodrama. Enjoy this as a visual, creepy fairy tale, with astounding frozen scenery, an unearthly score and a dread atmosphere. Utterly unique and compelling. 

Of course I had to watch this again after the recent death of this punk rock, London-Irish, songwriting legend. Parts of it were painful. To see how much MacGowan’s health had declined a few years before his death was surely a warning against excess. However Julien Temple (who also directed a similarly energetic doc on the Sex Pistols) tells MacGowan’s crazy story in such a fascinating, exhilarating manner, allowing the man to speak for himself on all his musical and life influences; from Irish history to punk rock. Archive footage and animation are combined to dazzling effect and we are left in no doubt that Macgowan was a unique, imaginative artist; an articulate intellectual who defied his legacy as a mere drunkard. Just be glad this film comes with subtitles! Do yourself a favour and listen to some Pogues albums. 

A blackly comic and subtly horrific adaptation of Bret Easton Ellis’s satire of 1980s excess. Surely the greatest performance of Christian Bale’s career, as a literal wolf of Wall Street whose misogyny runs to more savage extremes than his colleagues and whose violent rage could be awakened by mere jealousy of a colleague’s business card or his continuous inability to get a reservation at the most fashionable restaurant.