Film Reviews by GI

A typical British underdog story that bears similarities to The Dig (2021), a much better told story, where an amateur battles with the establishment. Based on real events although with some controversy as the actual persons involved have criticised the way events have been portrayed here. This is the story of amateur historian Philippa Langley's (Sally Hawkins) dogged determination to find the remains of Richard III, eventually uncovered in a Leicester car park. Into this story we are given the family drama of Langley and her collapsing marriage to husband, John (Steve Coogan, who also wrote the screenplay) and her battles with mental illness. These are used as devices to highlight her struggles to get a search organised by the University of Leicester and the established archaeological and historical academics. Where the film takes on a thread of ridiculousness is in it's putting front and centre that Langley is driven by feelings and hunches rather than research and these feelings are given to her by her hallucinating that Richard III (Harry Lloyd) is visiting her and giving her clues. I suspect this is where Coogan has attempted to give the story a vague comedic slant. Whatever the reasons it makes the film seem daft and despite the solid central performance by Hawkins I'm left with the view this story would have been better served by a more serious script. Additionally the clichéd characterisations of some of the establishment, for instance Lee Ingleby's University representative as a misogynstic, condescending individual, is unnecessary when showing the scepticism that Langley no doubt faced. A film that is a bit of a let down.

A charming comedy drama from writer/director John Carney that follows a theme he's pursued in other films namely that music can be a transformative power. With Eve Hewson giving a magnificent and quite nuanced performance as Flora, a Dublin based single mum, who had a baby as a teenager and has regretted it since. Her son, Max (Orén Kinlan) is repeatedly in trouble with the law for shoplifting and they have a confrontational relationship. Flora rescues a damaged guitar from a skip and has it repaired for Max's birthday but he rejects it so she decides to learn herself. This decision brings her into an online flirtation with Los Angeles based guitar tutor, Jeff (Joseph Gordon-Levitt), who teaches her about the power of music. Soon she and Max begin to bond over his passion to for electronic music and their lives begin to take on a new beginning. Jack Reynor costars as Flora's ex husband and Max's father. This is a simple, straightforward story with a soft centre and whilst it has it's flaws it's an entertaining film with an undeniably star lead actor in Hewson and it's well worth your time.

This humble, low budget gem of a film will warm the cockles of your heart. Set in Dublin it's a romantic, humorous drama about a young busker (Glen Hansard) who has a talent for songwriting but doesn't know how to get a music career going. Then one day he meets a young Czech immigrant (Markéta Irglová) and she encourages him to play, write and record his songs with her help. They slowly and gently fall in love during their journey together. Director John Carney shot using long lenses for the street scenes so ordinary people were caught up in the everyday drama. The music by Glen Hansard (of the band The Frames and who also had a small part in 1991s The Commitments) is fantastic and the songs essentially tell the story of the love that blossoms between the two main characters. This film has been much admired by the likes of Steven Spielberg for its simplicity and beautiful story and it really is a delight. There are some wonderful moments that are very subtle and watched carefully you can see where the these two young people begin to fall in love. What a little cracker of a film, there was even a stage show based upon it after it's reputation grew. If you've never seen this then I highly recommend it.

This remains one of the finest of American motion pictures notable for introducing Marlon Brando's genius to the screen. He plays Terry Malloy, a low level dock worker who once had a chance at a major boxing title but being under the control of corrupt union boss Johnny Friendly (Lee J. Cobb) cost him his chance. When Terry inadvertently lets Friendly's thugs find and murder Joey, an informer, Terry's conscience is awakened. When he begins to fall for Joey's sister Edie (Eva Marie Saint) and his brother Charlie (Rod Steiger) is also murdered and influenced by a local priest (Karl Malden) Terry agrees to testify against Friendly at risk to his own life. This is ahead of its time for a Hollywood film, a story of corruption and social injustice and a crime/social drama that it's difficult to top. A gritty realistic portrayal of organised crime, the ineffectiveness of the justice system and the story of the small man rapped behind a culture of violence and suppression. A key American film and a must see. All the performances are topnotch and the film won 8 Oscars including Best Film, Best Director, Best Actor and Best Supporting Actress.

A drama about conceit, grief and ultimately revenge with Richard E. Grant having the time of his life being let loose as a subtle yet monsterish diva. This is an amusing story with much to applaud and the film pulls you along in the knowledge there is something to be revealed. Ultimately it may feel a little bit of a let down but the journey is definitely worth your time. Grant plays Sinclair, a renowned novelist, who lives with his art collector wife, Hélène (Julie Delpy) and their teenage son Bertie (Stephen McMillan) in a large country house with extensive grounds and a lake. The family are consumed with grief over the death of their eldest son and Sinclair has retreated into a moody isolation supposedly to write his next bestseller. Bertie is a morose, introverted lad and his parents employ Liam (Daryl McCormack), an aspiring author in awe of Sinclair, to tutor Bertie through the entrance exams for Oxford University. But Liam begins to see another side to the family and not everyone is telling the truth. The story feels like an Agatha Christie mystery at times and certainly the scenario of the country house with the butler and a dysfunctional set of inhabitants lends itself to that vibe. The film isn't like that in plot although there is one. This is more a study of awful people, who believe they amount to more than they actually do. Intriguing and very watchable.

It could be argued that after the originality of the A Quiet Place (2018) and its 2020 sequel there would be little left to add to this story. But here's a prequel that adds a disaster movie vibe, a great lead performance and actually nicely sets the scene for the events of the original film. In that one the survivors of the alien invasion have learnt how to live in silence whereas here the sudden arrival of hordes of predatory alien creatures that hunt by the slightest sound but are blind, means survivors have to adapt very, very quickly indeed. This is set in New York and follows terminal cancer sufferer Samira (Lupita Nyong'o), who is caught in the city when the aliens arrive. Managing to escape the initial onslaught she meets Eric, a shy British man, and they both travel through the city trying to survive the constant presence of the creatures, which have a nasty habit of creeping right up to your face in their hunt for you. This is not the only similarity you can spot to Ridley Scott's iconic Alien, there's also Samira's service cat which senses the creatures. Indeed the cat is a plot device a little overused here but this is a small niggle because this is a well made, gripping science fiction/horror/survival film that entertains throughout and fits nicely with the other two. Dijon Hounsou has a support role linking this with the later films. If you liked the first two then this is worth your time.

The Omen remains a genuinely unsettling and riveting horror film. It rattles along at breathtaking speed with great characters, it's essentially a mystery thriller with dark religious based plot. Gregory Peck, who at the time had been retired for a few years and whose presence here lends the film extra gravitas, plays Robert Thorne. He's an American diplomat married to Kathy (Lee Remick) who is desperate to have a child and is a bit highly strung. When their son, born in Rome, is stillborn Robert decides to prevent undo heartache for Kathy by agreeing to unofficially adopt a baby whose mother has died the same night. He keeps this a secret from his wife who believes the child is hers. Five years later and Robert is now the US ambassador to Great Britain when he gets a visit from a bizarre priest who warns him that his son, Damien, is not what he seems. After a series of violent deaths linked to Damien Robert, with the help of a photographer (David Warner), sets off to find out where Damien really did originate from. Director Richard Donner cleverly decided to have nothing supernatural occur so the horror comes from atmosphere, dark shadows and the soundtrack is very spooky (although the deaths are very shocking). The supporting characters are fantastic especially Billie Whitelaw who plays the sinister Mrs Baylock and Patrick Troughton as Father Brennan. This is a film that is one of the best horror films about satanic worship and it's up there with The Exorcist (1973) and it's definitely one to see if you've never had the chance. It was pointlessly remade in 2006 so if that's in your mind forget it, this original is topnotch. The sequels are all average so forget those but see this if you haven't already.

Another marvellous Dickens adaptation from director David Lean after Great Expectations (1946). The use of dark shadows creating a dingy vision of the 'dark satanic mills' of Victorian London, the film deviates from the novel only in so much as to avoid story complications and too much exposition but for the most part it's an accurate adaptation. The film is probably remembered most for the fantastic performance by Alec Guinness as Fagin, a role from which he was later accused of anti-Semitism forgetting of course that the almost comic book character is a direct lift from Dickens. It is a great portrayal and aided by Robert Newton as Sikes who always could play baddies so well despite his acute alcoholism. It's story of young Oliver who is raised in the draconian world of the workhouse, who runs away to London where he gets mixed up with a gang of thieves led by Fagin and Sikes. But his past holds a secret which leads him to danger and ultimately salvation. It's actually a dark tale of repression, murder and death and like the novel is a study of class and poverty. This version by a master director is a must see film, a classic British picture from a time when British cinema was at it's height. A film that is simply excellent.

This was the first film Sean Connery made after his last 007 outing in Diamonds Are Forever (1971) and quite a departure it is too. A compelling, tense British psychological crime drama that really shows what a fantastic actor Connery is. It's also a very realistic depiction of the British police in the 1970s and an intricate and involved study of post traumatic stress. After a series of rapes of young children the police are struggling to find the culprit. When another girl goes missing Detective Sergeant Johnson (Connery) is part of the search party and finds her abandoned in woodland after being raped. When Kenneth Baxter (Ian Bannen) is bought in after being found drunk in the town and suspected of being the rapist, the years of dealing with death and the aftermath of violent crime push Johnson over the edge with dire consequences. Director Sidney Lumet uses an interesting timeline to show the change in the characters with the centre piece being Johnson's interrogation of Baxter and the subsequent interview of Johnson by Superintendent Cartwright (Trevor Howard). You may find these a little long but this is a film based on character so don't expect an action film although it does have some disturbing images and Lumet edits to create key links between the players and their motives. It really is a first class film and an example of top British 70s filmmaking.

This is one of those little pleasant, gentle and unassuming family films that throws in some humour, romance, a clash of cultures and in this case some fantasy making for a simply nice film that you can watch with just about anyone on a cosy night. It's all fairly predictable and is loaded with clichés but that all seems to matter not because it's a heartwarming story. Ted Danson plays down-on-his-luck American professor Dempsey sent by his boss to Scotland to research the legend of the Loch Ness monster and basically prove it's a load of baloney once and for all. Of course once he gets there he's a fish out of water facing ridicule and some hostility from the locals, begins to fall for the local pub landlady, Laura (Joely Richardson) and bonds with her cute daughter Isobel (Kirsty Graham). There's a little mystery in the plot that involves the curmudgeonly Ian Holm and Isobel holds the key to the mystery of the monster. Call me soppy but it's just a lovely little story and film.

Co-written and co-produced by Jason Mamoa it's somewhat dishonest to have him featured so prominently on this film's promotional artwork as he has a minimal cameo and to be honest blink and you'll miss him! That aside this is a western tragedy based on true events and essentially a remake of Tell Them Willie Boy Is Here (1969). It's a mood piece and has a very slow pace that may test some. Set in 1909 and Willie Boy (Martin Sensmeier) is a Californian Indian from a tribe famed for their long distance running abilities who attempts to elope with a girl from his tribe. Her father objects to their relationship and when a fateful incident occurs Willie Boy and the girl (Mainei Kinimaka) go on the run into the desert hunted by a posse. The lawmen are a mix of drunkards, cynical racists and tired veterans who fall out with one another and each has their own agenda of sorts. The film moves towards a confrontational climax that does come but it's very underwhelming. Lily Gladstone has a support role though. I've no doubt this is a passion piece for Mamoa and whilst it's watchable it's arguably disappointing.

More a relationship drama than a romcom but aspects of both sub genres are very evident here in this all star look at dating and marriage. It's an entertaining film based on a relationship book although you'd never guess other than the voiceover and the 'chapter' headed sections. It follows a group of various couples and others trying to find a relationship as they navigate the difficult (or so the film alleges) task of finding 'the one'. It's not a film to be taken in anyway seriously otherwise you'll spend your time groaning at the films views or actually agreeing wholeheartedly with them and it focuses unashamedly on a reasonably well to do strata of white American society and assumes that everyone in their 20s and 30s is sort of desperate to be in a relationship. It delves into the rights and wrongs of marriage but never goes far enough to be in anyway controversial. So ultimately this is a lightweight, well acted set of stories that is perfectly watchable and at times quite funny. Ginnifer Goodwin plays Gigi who is the focus of the film and its narrator as she tries to understand the signals given by men who converse with her or even date her and inevitably reads them all wrong. She is aided by her workmates who have their own relationship issues. The cast are all on top form and include Jennifer Aniston, Ben Affleck, Jennifer Connelly, Scarlett Johansson and Bradley Cooper. A curl up on the sofa with your loved one kinda film, it's fun, bittersweet and gentle.

Aside from the glaring grammatical error of the title (or is there some meaning or joke I've missed?) this is a bit of a misfire. A rather silly crime caper that is simply a vehicle for Brad Pitt and George Clooney, great friends in real life, to share a screen together. To be honest it's difficult to tell them apart in this and that maybe part of the humour but after awhile their banter is the only thing that produces humour and it begins to lose it's impact quite quickly. This is a film that I couldn't help think would have been better as a serious crime thriller, certainly all the gritty ingredients are there, dead bodies, a bag full of drugs, a horde of nasty Albanian gangsters etc etc but alas the script opts for comedy that is mostly mediocre including a totally ridiculous set piece in a night club. Clooney and Pitt play two underworld 'fixers' who find they get hired for the same job and have to work together. I'm struggling to remember if their character names are at all mentioned but if not it doesn't matter because this is all about Clooney and Pitt, on screen...together. They resent having to do so both believing they are the class act in their field. But what seems a simple job of disposing of a corpse soon goes awry and the two are beset by the aforementioned gangsters after a young man with the drugs that the two have to....blah blah blah. It matters not this is a self satisfied crime caper with the two stars having great fun which is, in parts, infectious but overall this is a bit of a disappointment.

I often wonder who funds or at least is persuaded to fund such awful derivative films like this one. A shameless rip off of Aliens (1986) and with various steals from Predator (1987) chucked in for good measure. The script by couple, director Neil Marshall and star Charlotte Kirk, is all very serious but ultimately laughable and I'm afraid Kirk is really wooden with many of the other actors hamming up their American accents that sound like you're watching a cartoon, the worst offender being Jamie Bamber who has been given an eyepatch to make him more heroic? I think not. So basically a ragbag group of American and British soldiers plus a shot down RAF pilot (Kirk) have to deal with a bunch of nasty alien hybrid creatures in an old Russian laboratory deep in the Afghan desert. There's plenty of gore and some routine firefight set pieces but overall the film is a damp squib with the creatures played by actors in obvious rubber suits. It's a real mess of a film and a shame really because Marshall has made a couple of real gems in The Descent (2005) and Dog Soldiers (2002). Sadly this is nowhere near those in style, originality or direction.

This horror/thriller has gained some cult status over the years probably due to Rutger Hauer as the malevolent and enigmatic killer and certainly his performance, slightly reminiscent of his Roy Batty in Blade Runner (1982), is what makes the film so enjoyable. A nod here, a sideways glance there and that charismatic smile that portrays so much. Often derided for it's violence but this is deceptive because while the murders are all horrific, whole families are massacred and a young woman is torn in two, they are all off screen and we never get to see much of the aftermath of them either. But it is a disturbing film in any case and this is because of its subtleties, for instance the revving of the truck engine in Jennifer Jason Leigh's death scene. Hauer plays John Ryder, a hitch hiker picked up by young Jim (C. Thomas Howell), he's a strange man who quickly tells Jim he intends to kill him. But by a quirk of luck Jim escapes and then finds that Ryder stalks him along the desert highways killing as he goes and eventually managing to have Jim suspected of all the crimes. Much has been made of Ryder, is he a ghost or the devil for example, mainly because he pops up out of apparent nowhere and can escape just as mysteriously. This is partly what makes the film enjoyable because of the way the character is portrayed in the narrative. For a debut feature from director Robert Harmon it's really an achievement and a notable film of the 80s.