Film Reviews by HW

A very similar plot to another political spaghetti-western ‘A Bullet for the General’ (1966), in which a cool, money-motivated white mercenary (Franco Nero, the original Django) teams up with a lively Mexican bandit/revolutionary (Tony Musante). This unlikely duo both fight with and against each other in order to make money from the violent situation around them during the Mexican Revolution of the early 20th century. You’ve also got Jack Palance hunting these crooks down in a bizarre villainous role. Tarantino was clearly a fan of this, as he surely borrowed elements from the plot for his own films such as ‘Django Unchained’. I also recognised bits of the ‘Mercenary’ score (by the maestro Ennio Morricone) from ‘Kill Bill 2’ and ‘Inglorious Basterds’. This film may be worth watching not just for the frequent, thrilling action but for the Leone-style duel in a bullfighting arena, enlivened by Morricone’s epic music. 

A rather topical film regarding the recent assassination of the health insurance CEO. Such a character is forced to cut down his entire workforce in this film… using a variety of gruesome games curtesy of Jigsaw. Meanwhile, is creepy detective Hoffman safe from suspicion? A few interesting moral questions smothered in tortuous, unsubtle brutality, per usual. 

The more I watch this film, the less I care about the gross profanity (as blackly funny as those outrageous lines can be) and the impressive FX. This is not really a story of a girl getting possessed by the devil. It’s the story of Father Damien Carras having a crisis of faith, which is only restored upon seeing a child possessed by an actual demon. When medicine and psychiatry fail to provide solutions, Carras needs to restore his belief in order to save the girl, helped by the unwavering warrior-priest Father Merrin. This classic still has the power to shock today, while boasting what most other horror shockers don’t have: a genuinely dread atmosphere, unflinching realism and haunting performances. Like other smart 70s horrors such as the ‘Wicker Man’, ‘the Exorcist’ also makes you ponder questions on morality, the supernatural and religion: while delivering a powerfully thrilling good vs evil battle. Still vomits all over every subsequent exorcism picture. 

Bar Leone’s films, I find most spaghetti westerns ridiculous. This one had a simple, straightforward manhunt plot that kept it grounded (mostly) in a realistic western setting. The focus on two main characters also allowed for some intriguing character development. This might be the best performance in Lee Van Cleef’s career, as his lawman character John Corbett grows more and more obsessed with catching the bandit Cuchillo, at the expense of his morals and near sanity. Tomas Milian is totally charismatic as the young folk-hero trickster, cunningly slipping out of Corbett’s clutches in a variety of wily ways. Yet he also displays deep bitterness at his station in life, as a lowly Mexican peon hunted by men of higher standing. In this way, the film takes on a leftist political aspect that doesn’t swallow the film, unlike with other less subtle Italian westerns. This is still an entertaining classic spaghetti western with thrilling gunplay and a rousing Morricone score; with added surprising depths.  

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.