Film Reviews by GI

A rather silly farce with Adam Sandler as a lovesick cosmetic surgeon who has to persuade his assistant, Katherine (Jennifer Aniston) to pose as his ex wife in order to woo the sexy Palmer (Brooklyn Decker). The reasons are all too silly to explain suffice to say it's because Sandler's Danny is a rather shallow man. Like many films like this somewhere buried in all the total stupidity and lame jokes is the seeds of a neat romcom but it's never allowed to bear fruit because of the drive for puerile set pieces. For example here Danny is forced to have his idiot friend, Eddie (Nick Swardson), along on a trip to Hawaii where Nick pretends to have a cartoon German accent and ends up giving a sheep the Heimlich Manoeuvre! Pointless and unfunny. On the plus side you get Brooklyn Decker and Jennifer Aniston in bikinis, which is a treat. Sorry to be shallow but it is the only highlight in this film which is a dull predictable story and the presence of Nicole Kidman in a cameo fails to lift it.

A tired and cliché ridden B movie with a very limited lead actor and a second billed Mel Gibson who doesn't do very much at all. Kevin Dillon, all scowls and facial emotions, is a former computer hacker now reformed, with a family and a job at a call centre. He has family problems though and heads off to work on his daughter's birthday with divorce hanging over him. This cues lots of scowls!! His day just gets worse though when he finds a mysterious baddie has stuck a bomb under his office chair and forces him to hack into some safe or something or other basically to steal lots of money. the police eventually turn up including a grizzled old bomb disposal guy (Gibson) who is cynically wiser than all his buddies. The film shamelessly steals from just about everywhere and it's a fairly predictable and totally preposterous plot with the odd twist or two. A throw away film that is best watched on a rainy afternoon when there's nothing else to do.

This is an excellent crime thriller structured like a classic Hollywood film noir. Set in the 1950s Casey Affleck is the small town Texas sheriff who hatches a plan to steal cash from a local businessman played by Ned Beatty. There is a dark, brutal plot involving conspiracy, double cross and twist and turns that make this a very compelling story. It's occasionally a very tough watch with Affleck revealed early on as a sociopath who is prepared to commit extreme violence especially on the women in his life. If you've not seen this then be warned some of the violence is very shocking but Affleck portrays the sinister Ford with a real sense of evil. The cast is superb with Jessica Alba as a prostitute who is the key to Ford's plans, Kate Hudson as the local woman he intends to marry, Simon Baker as a detective who begins to suspect Ford and Elias Koteas as a local journalist who also smells a rat. A topnotch film and arguably director Michael Winterbottom's best, and definitely a film to check out if you've not seen it before.

This powerful French drama is an impeccably directed and acted film that, although set in 1963, resonates with the issues of today. It's an abortion drama focused on Anne (Anamaria Vartolomei), a gifted student, who discovers she is pregnant at a time when sex outside of marriage was frowned upon and pregnancy a social stigma. The shock she feels at her situation where her future is suddenly at stake and she has nowhere to turn for help, indeed to ask for an abortion is a serious imprisonable offence even for anyone helping her. The narrative follows Anne's struggle to come to terms with her situation, her desperation to get help for a termination and the obstacles she has to cope with not least from fellow students and friends. At one point she implores a doctor to help her and he prescribes a drug that she is told will induce miscarriage but in fact strengthens the embryo. The film delves deeply into the control that society has over a woman's body to the point of insisting on her submission. Anne is determined to resist this. As an abortion drama this is more stronger by focusing on the affected woman rather than the abortionist as in say Vera Drake (2004) and Vartolomei's performance is so good as she reflects on how the pleasure of sex comes with a high price for women and that it is always a risk. There are two scenes involving her two closest friends revolving around their sexual experiences that form a juxtaposition with Anne's one off sexual experience and its consequences. This is an admirable film that has a strong message and it's well worth a watch.

The rip roaring rampage of revenge continues but this time a little more sedately and in homage to spaghetti westerns with a heavy dose of Ennio Morricone's music and shots reminiscent of Sergio Leone. I actually prefer Vol 2 over Vol 1 mainly because it's a more thoughtful and intelligent film. And of course here we have David Carradine as Bill, Michael Madsen on fine form as his brother Bud and the wonderful Daryl Hannah as the deliciously evil Elle Driver along with a Blade Runner death scene! Uma Thurman continues as the avenging assassin gradually working her way through her list of former colleagues who killed her fiancé and left her for dead. Things don't go all her way but her journey leads inexorably to Bill himself. Brilliantly edited with Tarantino's unique structure and he steals from his favourite directors and film genres without conscience. There's nothing wrong with this because as a whole this is a film that exudes originality. It's a cinematic treat.

I suppose if you love musical theatre the adaption of stage musicals to the big screen is a welcome one. I'm never sure the two mediums are natural for adaptation and consequently I'm usually unimpressed. Indeed musicals as a film genre are not high on my list although as a cinephile I check them out. In many ways this one is very similar in style, colour and vibrancy to Steven Spielberg's recent remake of West Side Story (2021). There's plenty of exuberant, youthful dancing in the streets of New York but In The Heights has no conflict at its narrative heart, it's simply about a neighbourhood and minor family squabbles and characters loving each other whilst trying to better themselves by moving out! Ultimately it has a 'no place like home' message and everyone ends up with the right person in the end. It's not my thing but I can see why it was successful on the stage but this isn't going to rank as one of the great film musicals.

This is Quentin Tarantino's extraordinarily entertaining homage to 70s kung fu films, samurai films, Japanese Anime and Hong Kong action cinema all wrapped up in an American 70s style thriller. Repeated viewings reveal more and more large and small film references littered throughout. Considering Tarantino's output to date Kill Bill Vol 1 is arguably his most original film. He brings in just about every cinematic trick he can including the switching to black & white to avoid turning the bloodshed from cartoonish violence to stomach retching gore and the overall sheer fun of the entire film make it a continuing pleasure and despite it's stylisation it never comes across as self-indulgent, even though it so clearly is. Told in a series of 'Chapters' that play around with the timescales of the narrative this is a revenge story. A former member of an elite assassination team, known as The Bride (Uma Thurman), wakes from a four year coma, and goes on the rampage to kill the four former members of her team and her boss, Bill (David Carradine), after they murdered her entire wedding party for reasons yet to be revealed. The decision by Tarantino to separate his story into two films has been oft discussed and it's not because of the trepidation of releasing a long film (Tarantino has proved since he's happy to put out very long films), but it's that he so obviously changes his influences for the sequel making them very different in style. This is a fantastical and bold piece of American film making. And a wonderful soundtrack too. Tarantino hasn't always got it right but here he really does.

A compelling yet strangely uneven and frustrating dark comedy thriller about being humbled within a conflict of culture narrative. Set in Morocco the story centres on alcoholic David (Ralph Fiennes), a boorish racist and his younger and very bored wife, Jo (Jessica Chastain) who are driving to a lavish party being held by an eccentric gay couple (Matt Smith & Caleb Landry Jones) at their huge desert located villa. On the way, David, drunk and arguing with Jo, hits and kills a local boy. The ramifications of this sets off the chain of events as David is semi forced to accompany the boy's father back to his village. In many ways the film is a bit of a hit and miss as it always seems we're denied more detail. The debauchery at the party conflicts with the austere locals as the cultural differences are highlighted almost begging for a climactic explosion. At the same time we follow David's plight as he is humbled before a grieving father and he doesn't know whether violence is coming his way. Fiennes is wonderfully odious as David and Chastain really zings as his wife who, finding herself without her husband decides to enjoy the party!! The film is neatly well balanced between the two centres of the narrative and yet at times it feels a little hurried and unfulfilling and yet, ultimately, it's a film worth checking out.

This is a really warm and intense relationship drama with comic undertones and five first class performances. A story of a family unit that is threatened by the arrival of an "interloper" in the form of Mark Ruffalo's character, Paul. Annette Bening and Julianne Moore are Jules and Nic a loving gay couple who have two children, Joni and Laser (Mia Wasikowska and Josh Hutcherson). The family is a happy one until Joni on her eighteenth birthday gets the opportunity to know the identity of the sperm donor who is her and her brother's biological father. Hence the arrival of Paul into their lives. He's a free spirited restaurant owner and he brings a conflicting range of emotions into the family. This is one of the best films I've seen in many a year about the twists and turns of a family and how they cope with change. The two children are coming-of-age and the parents are close to crisis all of which makes the introduction of the outsider all the more powerful and with plenty of emotional drama with sadness, joy and redemption all to the fore. A wonderful film and one I highly recommend.

Everyone has films that they have a soft spot for even though it may not be a film that has much going for it. This is a film I was absolutely riveted by as a young lad and consequently I have a nostalgic fondness for it. And it's not as bad as you'd think. This is a matinée adventure film set in the mid-eighteenth century at the time of the Jacobite rebellion and based on the cracking novel by Robert Louis Stevenson. Young David Balfour (Lawrence Douglas) comes into some property currently occupied by his miserly uncle (Donald Pleasance) who promptly arranges for him to be kidnapped and sold into slavery. But fate is on David's side as he finds help in the guise of notorious Scottish rebel Alan Breck (Michael Caine, with an interesting Scots accent) who is on the run from the vengeful English. Beautifully shot and with a great story there's nothing very clever about how this has been put together; indeed in the hands of a more interesting director it could have been really great, but it's still a great little film and one of those that rarely gets seen these days. And what a great cast including Jack Hawkins, Trevor Howard, Gordon Jackson, Freddie Jones and Jack Watson. As an example of a British historical drama this is worth seeking out.

Kick-Ass was such a refreshing film in 2010 and it remains even more so now we have the plethora of comic-book adaptations and superhero films. I'm becoming a bit tired by the clichéd narratives and the more and more obscure characters that are getting dug up. After the Dark Knight trilogy I thought there can never be anything to compare within the genre but Kick-Ass is the wonderful exception. Dave (Aaron Johnson) is a comic book nerd who one day wonders why no-one has ever thought about becoming a type of superhero, ridiculed by his equally nerdy buddies he buys a daft looking wetsuit and begins to patrol his local streets calling himself Kick Ass. One night he tries to rescue a man being beaten and inadvertently becomes an internet sensation. But he soon finds that there are a couple of other masked vigilantes around who don't like what he's doing and the local crime boss (Mark Strong) is none too happy either. This is a comic book/superhero film that subverts the genre to perfection, it has everything - it's a teen coming-of-age story, an action film, an absolutely hilarious comedy, a violent thriller and much much more. And there's some great characters here too not least the forever wonderful Mark Strong as the evil crime boss, Chloë Grace-Moretz as Hit Girl and what a brave move to have her using the C word, and of course Nicolas Cage doing his Adam West impersonation to such brilliant effect. This is a superb film and it's one that you can sit back and enjoy time and time again not least to spot the little homages and throwbacks to other movies that litter the film throughout. And what a soundtrack too. If you have never seen this then it's a must.

I certainly hope this is the actual end because this is a real dud. The (hopefully) closing chapter of a money making franchise that's done little other than overshadow the originality of John Carpenter's 1978 classic. An attempt at a series of mediocre slasher/horror films that have struggled with storylines and this one is no exception. Of course Michael Myers has returned and is now lurking on the edges of town in a sewer where he manages to recruit a a fellow psycho in the form of Corey (Rohan Campbell), a young man who accidentally killed a child years ago while babysitting and has been vilified for it ever since. So of course he's ripe to take on a bit of vengeful slashing around town all the while courting Jamie Lee Curtis' Laurie's granddaughter. Laurie, of course, remains obsessed with Myers, much to everyone's annoyance. There's some odd good bits and some gore as you'd expect and at least Laurie doesn't look like some demented bag lady anymore having tidied herself up. But the film is a limp horror film that offers nothing new so lets hope it's properly the end.

Yes it's overlong and when you boil it all down it's more of the same with the action set pieces stretching out just that bit too long. But knowing what these films are like and enjoying them for their sheer entertainment value makes this latest in the series great fun. John Wick (Keanu Reeves) discovers a way to fight back against the 'High Table', the all powerful organisation that seems to control the world, and win his freedom to live in peace. But the path is long and violent as you'd expect, so you just have to buckle up and go along for the ride. It's not the best of the series by any stretch mainly because it relies on recreating what we've all seen before and it's far too much structured like a high class game with the character of John being moved by you the viewer. The Bondian globe trotting gives some great visuals and the soundtrack is great so have the sound turned up. Good solid support cast who are for the most part underused especially Laurence Fishburne. Ian McShane is on the money as always. Overall it's what we've come to expect from a John Wick film, and something a little more original and diverse might have lifted the film but if it's pure adrenaline fuelled action you like then this is where you'll find it.

Oh Dear! A lacklustre attempt to revitalise an old franchise into a new one. It's a flop doing away with the comedy and witticisms of the 1984 original for a kids adventure style film, a sort of Goonies with ghostly monsters and demons. I'm sure youngsters may be entertained here but as a special effects film it unashamedly tries for fan worship with similarities to the beloved original and then tries to do something new. What results is an unfunny film. The story is that Callie (Carrie Coon), estranged daughter of one of the original Ghostbuster team, takes her two children to the grubby farm of her father who has died. Falling on hard times they decide to live there and the children discover it's a hotbed of supernatural activity and their grandad had all the old ghost busting kit in his basement including the iconic car. This cues some tired old chases and confrontations with demons and such. Paul Rudd tries his best here but isn't in the film enough to make an impact and the return of Dan Ackroyd, Bill Murray, Ernie Hudson and Sigourney Weaver do nothing but remind you this is poor compared to the original and that wasn't that good.....was it? I enjoyed the 2016 reboot much more.

An unnecessary sequel to the 2019 film that was a delightful comedy about the discovery of the Cornish singing troupe. That film said it all so this latest one dithers around looking for an actual story to tell. In short the singers, a year on from their success, are struggling with the fame and their involvement in the modern world. This is all epitomised in their leader Jim (James Purefoy), who is drinking a bit too much and is constantly grumpy. This rattles along going nowhere for awhile as their record company ditches them and they strive to play at Glastonbury. Thematically the film does that common thing in British comedy that deals in it's regional differences by having the characters struggle with modern concepts such as failing to grasp why women might not like to be called darling or pet. There's an actually uncomfortable scene where one of the group attempts to insultingly chat up a journalist, a scene that is played for comedy but just isn't at all funny. The main problem is that the comedy is very forced and unoriginal and ultimately fails. There's a bit of the usual romance, a brief bit of pointless tension involving an old tin mine and some glorious sea shanties and it all ends entirely predictably. If you liked the first one then check this out but don't expect ct too much.