Film Reviews by GI

A revenge thriller set during the 'Troubles' and a gritty recreation of a grimy 70s London where most of the film is set. It begins, however, in Northern Ireland where IRA terrorist Michael (Colin Morgan) is ambushed by the British army while taking his heavily pregnant wife to hospital. She is killed in a moment of poor judgement by soldier Henry and Michael escapes. Facing a possible murder charge Henry agrees to join a shady unit run by Holland (Mark Strong) whose team are engaged in hunting IRA operatives in London. Both sides are fighting a dirty war where the issues of right/wrong and lawful/unlawful are totally blurred. Michael makes his way to London to join a bomb team but he has plans for revenge. This is a solidly made, well directed thriller that some may find a hard watch especially as there's no good guy to root for as everyone is equally as bad. In many ways this gives the film more strength as it tries to evoke the essence of the ruthlessness employed by both sides. Felicity Jones co-stars. It's a gripping film and well worth checking out.

This is a fairly typical British social drama, with doses of comedy mainly from the depiction of the local yokel, that is based on a true story and with the inevitable lean towards schmaltz. It tells the story of Jan (Toni Collette), a bartender in a small welsh village, who convinces friends and relatives to chip in to buy and breed a racehorse. With no experience and some financial guidance from racing fanatic Howard (Damien Lewis) and the expertise of trainer Hobbs (Nicholas Farrell) they take their horse, named Dream Alliance, and go onto win the Welsh Grand National. The narrative has the usual highs and lows, including one especially difficult event, but its all done with that heartwarming feel that films like this provide. There was a documentary about this released in 2015, entitled Dark Horse, a better title methinks than Dream Horse, but what you have is a warm, utterly watchable little film that entertains throughout even as it follows the predicted path you'd expect.

Most definitely a film of its time, a clumsily scripted, poorly edited and exploitation film that strives for as many breasts as it can squeeze into a scene. Set in the strip clubs of 80s New York I suppose there might be some underlining theme of the exploitation of women and the voyeurism and deep rooted sexual violence inherent in men, if so it's even more nonsense than it is on the surface. It's basically a serial killer narrative, albeit a weak one, where a martial arts crazed killer stalks and slashes strippers. The victims are in the 'stable' of Tom Berenger's ex boxer with a guilt complex who is under the control of the mob and must find the killer before business suffers too much! There's a racist and shouty cop on the case too played by Billy Dee Williams and Melanie Griffiths plays a stripper and Berenger's lover who, of course ends up targeted by the killer. Griffiths role seems limited to her prancing about half naked or sprawled on the floor in a heroin daze. The acting is at times really wooden and the narrative is clichéd and silly. It's a glitzy production but endless scenes of bright neon lit and wet streets don't make for an interesting or entertaining film.

This Oscar winning crime thriller is about as flawless a film as you will ever see. Like all the Coen brothers films it takes basic genre conventions and utterly subverts them so the narrative and plot go in unforeseen directions and the film is a constant surprise. There's a lot of classic Sam Peckinpah to be found here, this is the sort of film he would have made in his heyday, and consequently it's a work of genius. Set in Texas in 1980 humble working man Llewelyn Moss (Josh Brolin) is out poaching one morning in the desert when he comes across a drug cartel massacre. He makes off with the stash of money he finds but an act of mercy results in the bad guys on his tail trying to get it back. The baddie here is frighteningly original in the form of Javier Bardem, a psychopathic hitman with a bizarre haircut who relentlessly pursues Moss throughout the film. Overseeing these events is Tommy Lee Jones as a tired and cynical local sheriff trying to put everything right but always finding himself always a step behind. To that end this is actually a film about a passing time, it's a reflective lyric about 'the old days' and the events are presented as a sign that Jones' character is no longer effective or indeed relevant. In any event if you've never seen this then I urge you to watch it as this is a masterpiece of modern cinema, you'll struggle to find a modern film as good as this one.

Allegedly Bruce Willis filmed all his scenes in one day on this awful film. That fact sort of epitomises what a derivative load of tosh this is and gives grounds to the allegation that he's the laziest actor in Hollywood. He can't take all the blame here though because the script is so bad it's cringeworthy and the entire plot makes little, if any, senes. It's clearly a 'Die Hard' type narrative, the irony of that not being lost, with Willis playing some psycho or other who with a band of mercenaries takes over a power plant and dam and begins to flood the local area threatening the lives of the population.....and all because his son was killed by the police. It's anyone guess what his gang are in it for as there seems to be no mention of ransom or riches or even a cause for which they are fighting. Of course in amongst the intrepid employees is an ex special forces soldier (Patrick Muldoon) who despatches just about everyone with his pistol that seems to have unlimited ammo while the bad guys can't hit him with there massive array of automatic weapons. Just to add insult to injury after spending a good hour trying to shoot him when they do get the drop they opt for a punch up instead!! This is really an example of shoddy filmmaking and a waste of money.

This hi-octane action adventure film is fun filled, full on adrenaline with the two main stars exhibiting a great screen chemistry making this a blast and, for me, the best in the fFst and Furious franchise. There is, of course, an irony to that as this is not really a Fast & Furious type narrative and merely a spin-off giving two popular characters from the series their own film (much to Vin Diesel's chagrin apparently). This is basically a Mission Impossible/James Bond type narrative although even more daft and with more laughs. The action set pieces are certainly fast and furious though, with elaborate chases, plenty of shooting and oodles of fighting. Pure entertainment really and definitely good enough to warrant a sequel. If you love the Fast and Furious films then be advised this is not about street racing or the usual team getting hired to steal some thing or other. There's none of that and no mention of the series main characters. Here you have top cop Hobbs (Dwayne Johnson) and disgraced British special forces soldier Shaw (Jason Statham) hired to find Shaw's sister (Vanessa Kirby), a hunted MI6 officer who is accused of killing her colleagues and stealing a deadly virus. The big baddie behind everything is Idris Elba as some sort of cyborg warrior who is controlled by an unseen über villain (all very 007). The story is rather incidental as this is just about big, loud, bold action and everyone is obviously having loads of fun. Helen Mirren and Ryan Reynolds have cameos. Nothing to think about, just sit back and enjoy.

A well grounded survival drama set in Britain as unprecedented rainfall floods London and forces a young mother on a quest for survival. This film is marked by two main things, firstly it doesn't focus on the bigger picture and so there's not huge expansive visuals of the land ruined under the disaster this narrative focuses on the human spirit for survival and it's chiefly about the characters; and secondly the central performance of Jodie Comer as the mother is nothing short of magnificent. The film's characters are mostly unnamed and we meet Comer's woman as she gives birth during the storm that begins an environmental crisis. With her loving and amiable partner played by Joel Fry they take their newborn son and head northwards to his parents (Mark Strong & Nina Sosanya) who live in the country. But as food supplies run short the inevitable threat starts from others intent on their own survival at any cost and there's the ever present tension as the family is torn apart and the woman is forced onto the road with her baby. Comer plays the main role as a smart, intelligent woman with the inevitable doubts caused by the frightening events she navigates through. She dominates the film and it's hard to fault her in any way here. There's a cracking support cast including Katherine Waterston who is another survivor and Benedict Cumberbatch (who is also a producer here). I admit I found the various flashback sequences to be distracting and I'm not sure of there benefit to the narrative but overall this is a fresh take on the post apocalyptic road/survival film and it's absorbing and realistic.

Director Luc Besson's highly stylised thriller is a real treat and it's been much imitated and spawned a TV series. It's a gritty adult thriller with rock video distorted imagery and some interesting themes about redemption and feminism. Former dancer Anne Parillaud plays the title role, she's a violent, sociopathic junkie convicted of murdering a policeman. The Government fakes her suicide and takes her to be trained as a covert Government assassin. But as she begins anew including rediscovering herself as a woman she yearns for a normal life. But trapped by her past and forced to carry out state sponsored murder she risks returning to her old ways and it's only her love for Marco (Jean Hugues Anglade) that keeps her sane. Her handler Bob (Tchéky Karyo) needs one final mission from her before he'll release her. This is a genre piece but with all the trademarks of European arthouse and the end result is a fantastically entertaining film. It's violent but never slips into gratuitousness and the appearance of Jean Reno as Victor The Cleaner is highly memorable. This is a great film and if you love a good adult thriller then check this out as soon as you can.

Director Michael Winner's films are often quite brutal and blunt with an obsession about death and this quite unusual thriller is no exception although it has some subtlety and a very compelling story. On the surface this is a period drama romance set in England at the beginning of the twentieth century in a large country house. Recently orphaned brother & sister, Miles and Flora, are under the guardianship of their uncaring uncle who sees them as a burden. He leaves them in the care of a governess, the beautiful Miss Jessel (Stephanie Beacham) and the stern housekeeper Mrs Groce (Thora Hird). The children become obsessed with understanding death following the sudden loss of their parents and they form a bond with Quint, the estate gardener (Marlon Brando). Soon the children slyly begin spying on Quint and Miss Jessel as they are having an obsessive and passionate affair which is tinged with sad-masochism. As this illicit relationship spirals out of control the children hatch a plan to keep the pair together. There are elements of a horror narrative here and as this story is a prequel to Henry James' ghost novella The Turn of The Screw you will understand why (That was filmed in 1961 as The Innocents - an excellent film in its own right). This is one of Winner's best films, it's eerie and tense and thoroughly well acted especially by Brando as you'd expect and Beacham is excellent in what must have been a tough role, indeed its hard to understand why she didn't become a significant star based on this. This is a really great film, highly recommended and one to seek out if you've never seen it.

A drama that charts the lives of members of a 60s motorcycle 'club' called The Vandals who operate out of Chicago. The film is narrated by Kathy (Jodie Comer), who is a young girl from a normal background who inadvertently falls into the world of the biker gang when she falls for the moody member, Benny (Austin Butler). In that sense she's very like Lorraine Branco's character in Goodfellas (1990). They marry and the film is then basically a tussle narrative as she and the gang's boss, Johnny (Tom Hardy) vie for Benny's affections. So intertwined in this three way love triangle is a father/son relationship as Johnny sees Benny as his heir apparent. Is this a poignant ode to the freedom of the biker gang who strive for a life free of many of the restrictions of American society? Or is it a look at the immaturity of men who have little future and so portray a sort of puerile masculinity to get their kicks? Either way the narrative shows that this gang basically spend their time picnicking or sitting around in a bar occasionally fighting other biker gangs. The film shows a transition as a new wave of younger members step in with a more violent and criminal agenda which begins the downfall of Johnny and forces Kathy and Benny to make some serious life changes. There is violence on show here and yet it's all somewhat restrained and the overall impact of the gang is muted in the narrative other than through the occasional monologue (Michael Shannon bringing the best of those). This is a film that left me underwhelmed. Comer is the best thing here and she delivers her mid western accent with confidence. Butler's Benny is just sulky and occasionally unpredictable but his dilemma of choosing Kathy over the gang isn't effectively played out. Hardy is his usual taciturn heavy a little like his bootlegger in Lawless (2012). The smaller characters have much more impact especially Michael Shannon and Norman Reedus as the more deranged members. An interesting film but I still think TVs Sons Of Anarchy is the more interesting and involved biker gang narrative.

This complex relationship drama is mysterious, sensual and somewhat erotic too. It's a film that does draw you in as it opens the deep rooted issues of intimacy, love and marriage looking under the surface of these emotions and human frailties. Yûsuke (Hidetoshi Nishijima) is a successful theatre actor and director married to the beautiful Oto (Reika Kirishima), an equally successful TV dramatist who has the habit of whispering new story ideas while they make love. The discovery by Yûsuke of her infidelity with a young actor shocks him deeply but he never reveals to her that he knows of her affair. Tragedy further pushes him into an emotional isolation. Years later he is directing a new play and is assigned a driver, the young and taciturn, Misaki (Tôko Miura). He also casts in the lead role of his play the same young actor who was sleeping with his wife. He gradually becomes close with Misaki and each confide in each other their emotional pain. The various relationships at play here are unwound in a clever, engrossing film and interlink like a cinematic Venn diagram. The film is quite moving and it deserved it's international acclaim and awards.

In 1984 Beverly Hills Cop was smash hit, an action comedy that combined gritty thriller style action with Eddie Murphy's unique fast talking brand of street comedy. It was fresh and enhanced with a soundtrack that was exactly right for the time. After two average sequels the franchise is now back with this latest film from Netflix. Essentially it's a rehash of the set pieces, scenes and jokes from the first film even the soundtrack is back. Murphy is no longer a mainstream comedic figure and to be frank it's all very tired, formulaic and predictable. Much of the original cast return to recreate scenes including Judge Reinhold and John Ashton in a story that has Detroit cop Axel Foley returning to Beverly Hills to help out his old buddies and his estranged daughter, Jane (Taylour Paige), a lawyer who is representing a man accused of killing a cop. Of course Axel quickly identifies the bad guys here led by Kevin Bacon. Fans of the first film will recognise nearly every scene repeated although there are plenty of wacky chases and Murphy tries to wisecrack his way through the film. It's all a bit stale and relies on fan loyalty rather than be a sharp film for a new age.

This is a neat, entertaining and tightly edited apocalyptic thriller with a surprise plot twist that I didn't see coming although with hindsight the clues are littered throughout. Alexander Skarsgård and Andrea Riseborough play married couple Ray and Claire who, along with their seven year old daughter (Emily Alyn Lind), have been holed up in an underground bunker for almost a year. The film focuses on their difficult life under ground in the dreary, damp and somewhat squalid conditions with the daughter especially beginning to suffer the consequences of their isolation. In a series of flashback bursts the reasons are revealed that some undefined devastating event has befallen the world and they have been lucky to have survived having discovered the bunker. There's an ominous edge as they fear someone or something that lurks on the surface and can occasionally be heard at night. There's a tense scene when the parents have to venture outside and eventually events take a dramatic turn. There's been films where people have hidden themselves in bunkers to survive an apocalypse such as 10 Cloverfield Lane (2016) but this adds a nice touch in it's climax and it's definitely a film worth checking out.

This is such a beloved film it's very easy to look for faults and tempting to debunk it but whenever I watch this it never fails to impress and indeed move me. It manages very slickly to skirt the boundary between being enchanting and too saccharine and American audiences have often obsessed over issues within their own society missing that this is really a film about innocence, love and purity and it's not, for me anyway, a film about overcoming adversity or celebrating the American Dream. In many ways the film celebrates life and opens a door to view life differently, through nature, humanity and even simplicity. It's not really a story of difference even though the central character of Forrest (Tom Hanks) has a low IQ and initially as a child (played by Michael Connor Humphreys) has to wear leg braces. Those are narrative devices to highlight that Forrest is able to view the world on its most base and precious levels even when he's faced with extreme situations such as combat in the Vietnam war. At its heart it's a romance story, with an undying and loving relationship forming the motivation for all Forrest's actions. The scene where he first meets his young son (Haley Joel Osment in his screen debut) still has the power to bring tears. Hanks performance here is a defining role, one he seems born to play. The support cast especially Robin Wright as Forrest's true love Jenny and Gary Sinise as his former commanding officer and later friend are excellent. A film to sink into every so often because it's one that is truly heart warming and actually rather lovely.

Director Richard Linklater's window into the hedonistic lives of a group of High School students on their last day of term in 1976. A time when American youth were no longer distracted by the fear of the draft for the Vietnam war and were solely focused on rock 'n' roll, beer, getting high and sex. The film has no real narrative as it follows various groups of friends as they navigate around their Californian town indulging in various escapades with each other at parties and gatherings with the older students either bullying or trying to nurture some younger ones who are due to transition to the next level after the summer. As a look at a time in American youth culture the film remains entertaining and quite fascinating not least because you have some early appearances by actors who went on the bigger things not least in Matthew McConaughey and Ben Affleck. Viewed today its easy to begin to anticipate a tragedy forming for one or more of the characters but that doesn't materialise and Linklater just allows the film, which takes place over one afternoon and night, to play out almost as if we're watching a fly on the wall documentary. The rock soundtrack grounds the film into it's time, and if you remember the mid to late 70s then you'll see it's a great soundtrack, the rights to which are rumoured to have been a big part of the film's cost. Modern viewers will enjoy this as a typical Linklater film, and he's drawn from his own life here, and an interesting coming of age drama of a specific time in America's modern development.