Film Reviews by HW

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.  

The only Baz Luhrmann film that didn’t annoy the hell out of me, as his flashy style and sense of excessive romanticism doesn’t get in the way of a great story. In fact, the excessive life of the world’s first pop star actually fits the director’s style. Luhrmann’s portrayal of Elvis as a music-loving rebel being exploited by his slimy manager (Tom Hanks shining in a villainous role for once) is maybe simplistic but certainly raised my sympathy for the icon and made me want to read up on his history even more. Austen Butler gives an electrifying, uncanny performance as the troubled rockstar. A legendary rise-and-fall epic story told in an energetic, entertaining manner. 

I liked seeing a different Spielberg to the director of ‘Indiana Jones’ and ‘Jurassic Park’ (which incredibly came out the same year as this). I preferred the unflinching realism of the movie’s first half, where Spielberg didn’t shy away from the dehumanising horror of the Holocaust. The film is anchored by great performances as well. Liam Neeson delivers a performance a cut above what he’s known for, as a German businessman going through powerful character growth: from an exploiter to a saviour of the Jewish people. Ralph Fiennes’s performance moved me even more, as he effortlessly portrayed the callousness of a camp commandant in possibly the performance of his career. I also approve Spielberg’s decision to shoot this in black-and-white, making this arguably the most visually pleasing movie of his in spite of the trauma on screen. 

I did read Terry Gilliam’s criticism of this film having too happy an ending before seeing the film and I am inclined to agree with him. The second half of the movie devolved into simplified sentimentality. Personally I still prefer Polanski’s ‘The Pianist’, which while never showing any concentration camp scenes still had a more brutal and merciless depiction of tragedy. Nevertheless there is still something moving about Spielberg telling a story about some light or hope to come out of one of humanity’s darkest chapters in history. 

I love how many good western films have been coming from Down Under these last few years. This one especially stands out, being set during a brutal period of Tasmania’s history and featuring an Irish heroine: Clare, a young convict woman tracking down the monstrous Brit soldiers who destroyed her life. In order to find her way through the maze-like Tasmanian forest, she enlists the services of Aboriginal tracker Billy. Their relationship grows from outright distrust to powerful understanding and care: the only beam of hope in this bleak, bloody film. 

This epic had a lot in common with the more recent Australian western ‘The Flood’. Both were directed by women, both feature avenging heroines and both draw attention to atrocities against the First Nations. They also both explore redemption as well as revenge. But while ‘The Flood’ was dream-like, ‘The Nightingale’ opted for a more ‘Proposition’ style in its merciless, realistic depiction of history and trauma. There are a few hard-to-watch rape scenes and you are almost numbed to the amount of Tasmanian native characters being callously killed. Both Clare and Billy realise, as an Irish woman and an Aboriginal man, that they are both victimised outcasts of the savage colonial system sweeping through Tasmania. Even in the wilds they aren’t safe from roving packs of armed white men ‘civilising’ the wilderness. 

The cast is phenomenal. Aisling Franciosi as Clare teeters between grief, madness and rage in an absolutely captivating, emotionally exhausting performance. Baykali Ganambaar is an absolutely convincing first-time actor, depicting the hurt and anger of an entire race. Brit actor Sam Claflin gives a terrifying performance as one of the most despicable villains I’ve ever seen: a one-man representation of the exploitative, violent colonial system.  

So this is not an easy watch but an essential one. Director-writer Jennifer Kent uses western conventions to expose unknown history that’s relevant for all oppressed people around the world in whatever age. It serves as a history lesson and a warning, as well as giving some small hope that within the most horrific circumstances, unlikely friendships and connections can grow and overcome barriers of race, gender and misunderstandings; in this case, the relationship between Clare and Billy. 

This is certainly a demonstration of how much silent films relied on the expressions of their performers to tell a story. The tearful, passionate and desperate expressions of the incredible actress playing the saintly martyr Joan contrast with the leering, outraged and callous faces of the male judges and priests. This silent film also proves that you don’t need audible dialogue or sound to tell a complex, moving (if biased) story of faith, hypocrisy and betrayal. Is Joan a heretical madwoman or a true believer? The film doesn’t fully answer this question for the audience and leaves us with a frantic, brutal, raging ending that declares even Medieval history will always be relevant; should the sheer quality of this cinematic marvel fail to stand up in the 21st century. 

Possibly the best-shot and edited ghost story I’ve seen on film, proving you don’t need CGI or gore to make a scary horror: just alarming sounds, jarring camera work, unbearable suspense and convincing terror from the performers. As well as being a good thrill and a masterpiece of horror-film technical wizardry, the film follows the plot and complexities of Shirley Jackson’s novel closely (while refining and streamlining some of the befuddling ambiguities). We don’t know exactly what’s haunting Hill House but we know it wants our heroine Eleanor and for how long can she resist its eerily appealing call?  

I’ve forgotten how spectacular this epic western is: ambitious sequences of cattle driving, Indian attacks and a sweeping plot of romance and revenge to match the majestic landscapes. The performances are all impressive, especially John Wayne in yet another example of the surprising range he had when he was younger. He plays the conflicted, tyrannical aged cattle baron Thomas Dunson; pushing his outfit on a seemingly impossible, desperate drive from Texas to Missouri. This leads to locking horns with his adopted son Matthew, played by a striking-looking Montgomery Clift. There’s also humour, mainly from Walter Brennan as yet another elderly, adorable sidekick. Coleen Gray gives an impressive range as the card-sharp female lead; from cool to passionate as she tries to calm the burning feud between Thomas and Matthew. In my book, ‘Red River’ certainly earns its place among the ranks of western classics. 

A plot so deceptively simple, you could show this as a classic example of the genre: Marshall Will Kane (Gary Cooper) has until noon to get help against the return of Frank Miller, a violent ruffian travelling from jail via train. What adds complexity to this masterpiece of real-time tension (all clocks in the film are counting down the minutes to noon) are all the varied, arguably cowardly reasons why the whole community refuse to help their marshal and a soap-opera level love triangle between the marshal, his new wife and an old flame. This classic western is also surprisingly cynical (almost on a ‘The Man who shot Liberty Valance’ level) and is arguably both a tribute to and criticism of heroic masculinity. Will Kane’s main motivation for staying in town to face the villains is that he’s never run from anyone before. This doesn’t stop Gary Cooper from delivering a painfully vulnerable performance of an ideal western hero crumbling under pressure and fear. Western figures like Howard Hawks criticised this vulnerability but I agree with Bill Clinton’s interpretation of this thriller: courage is not the absence of fear but the mastery of it. 

An epic blend of brutal realism and dreamy outlaw fantasy, this revisionist western proves that there’s still plenty of untold viewpoints and narratives for the genre to explore. In this case, our sharpshooting western hero Jarah is a half-Aboriginal woman defending her family from cruel colonial forces in post-WW2 Australia. This film is eye-opening in terms of depicting the atrocities committed against the First Nations of Australia, as well as delivering an exhilarating mix of action, pathos and redemption that doesn’t simply say that violent vengeance is the way forward. Cinematically, this is a unique experience, with plenty of dream-like sequences showing off the beauty of the Australian landscape. You’ll never see a film quite like this. 

Nice to see a western with Native Americans as the central characters. This is a tragic outlaw romance, in which desert runner Willie Boy goes on the run with his lover in the early 20th century Californian desert, after accidentally shooting his lover’s father. The pair of star-crossed lovebirds are pursued by a hapless posse led by a depressed, alcoholic sheriff. The film’s focus switches between the squabbling of the tough-talking posse and the existential, almost dialogue-free scenes between the two lovers. This is a western that’s more about melancholic atmosphere than action, with beautiful shots of the sparse, unforgiving desert. It also explored the tensions between the races of the American West and shows a rather cynical view of the conventional western manhunt. As a warning for fans of Jason Mamoa, he has a very small part amongst the largely unknown but brilliant cast. This epic is proof that there are still plenty of stories to be told about the West. 

I’m shocked that this is the first time I’ve seen this film. Adventure! Romance! Swordfights! Revenge! Shrieking eels! Giant rats! Comedy! A perfect cast! I do like how this is both a spoof of fairy tales while also being a genuinely good fantasy adventure and romance. There are even moments that could fit nicely into genuine myths, like the hero taking down three adversaries using their strengths and the young lover secretly returned from being lost at sea. Inigo Montoya’s quest for revenge is somehow both funny and incredibly moving. Just a fun, fun movie that’s not too cheesy. 

If, like me, you’re late to the GOT party and want to see what all the fuss was about: do it, it is worth it. Season one alone was epic entertainment even if (like me) you still prefer Tolkien. This is just a different and way more adult fantasy experience: a soap opera of power struggles, with a rich tapestry of plot lines and a gallery of strong characters played by a strong cast. So I would say it’s never too late to stick this on and have a good time.