Film Reviews by GI

Jeez this is hard work. Clunky and unsubtle romcom that needed a script with finesse and charm, more dialogue, more funny intrigue and a director that could have reined in George Clooney who seems to think that gurning is hilarious. Sorry George it isn't. From the opening scenes you'll work out what's going to happen here. Clooney is a businessman and Julia Roberts his ex (she's an art dealer), married young, had a daughter and now hate one another. So we get the bickering couple competing for their daughter Lily's (Kaitlyn Dever) affection. When she heads off to Bali for a holiday and falls for a young local seaweed farmer whom she wants to marry off go the parents to sabotage the whole thing. You can guess the rest. The beautiful island setting is the best thing about the film because the rest is mediocre cliché. For the most part this is painful and all the jokes have been in other films and so little is original. My advice is give this a miss.

Clint Eastwood's majestically directed war drama is a very moving and interesting film, more for it's detailed examination of the effects on three men caught up in political machinations that they cannot control while suffering, in varied degrees, with PTSD following combat. This is the story of the famous and iconic Second World War photograph of six US Marines raising the American flag at the height of the battle for the Japanese island of Iwo Jima. The film is about the circumstances leading to the photograph being taken and the after effects of the six men who were in the photograph and some who were not but believed to be (I understand that even quite recently the identities of those in the picture is disputed). Eastwood directs a visceral combat film set on the sparse, black volcanic island, juxtapositioned with three of the surviving men who were shipped back home to play a somewhat sordid marketing game and hailed as heroes in order to induce the public to buy war bonds. It's a quite emotional journey and the combat scenes are shocking and realistic and the influence of Steven Spielberg's (who is a producer here), Saving Private Ryan (1997) are evident. Both films feature extended scenes of beach landings under heavy fire. The enemy is a faceless one and we hardly see them as this drama is played out mostly in the USA where the three men chosen are forced to re-enact battle, host parties and make speeches. Ryan Phillipe is the naval medic who is damaged by the loss of his friend Iggy (Jamie Bell), for which he blames himself, Jesse Bradford is Rene, a soldier who sees a way out of the war and enjoys the attention he receives back home and hopes to prosper because of it and Adam Beach is Ira, an American Indian, who is routinely called 'Chief' and is daily faced with the subtle racist bigotry from his friends as well as politicians and his seniors. He is the emotional heart of the film, he feels the guilt of leaving his friends back in the fighting and turns to alcohol for a crutch to cope. His plight is the most moving. There are elements of 'flag waving' in the film's presentation (not meant as a pun by the way) but I think that's the very idea in order to highlight propaganda as the political weapon to justify war while young men die, horribly, fighting it. A war film that deserves to be ranked alongside the best of war films and viewed alongside Eastwood's companion piece, Letters From Iwo Jima (2006) it is a remarkable achievement.

Reboot or sequel to the 1992 film about the urban bogeyman who can be summonsed forth by saying his name five times in a mirror and from whence he will dish out some bloody mayhem. I can hardly remember the '92 film so whilst this one has it's moments it failed to bring me anywhere near the edge of my seat. Clive Barker's original creation was set in Liverpool and designed to expose the bitter divide between rich and poor. Here we have a continuation of the theme but set in Chicago in a once run down slum area and now turned into a prestigious and wealthy neighbourhood. The film investigates the symptoms of bad housing and inequality and taps into the Black Lives Matter debates that are raging throughout the USA in particular. The story is of a young, up and coming artist, Anthony (Yahya Abdul-Mateen II) who lives in a plush apartment in the very area where years before the Candyman murders occurred. When he hears about the legend it sparks a creative idea and he produces an artwork that challenges people to invoke the Candyman. Of course when they do gore and violence ensue. There's a strong element of satire at play here but somehow the film failed to convince me and as a horror story it felt a bit limp. I did wonder while watching it as to how long a pause you had to leave between saying his name four times before saying it the fifth before the Candyman decided it was a reset to number one!!

This semi-autobiographical film from Viggo Mortensen, who writes, directs, produces and stars is a clear and emotional drama that focuses on the effects of dementia. He gives a restrained performance as John, a gay man living with his husband and their young daughter in California. He has to bring his frail father, Willis (Lance Henriksen) to live with them as he seems incapable of looking after himself at his remote farm. Willis is a deeply unpleasant bigot and the early stages of dementia bring out the worst of his racism and homophobia, tolerated by John and his family. The film flashbacks into Willis' past as the condition evokes confused and disjointed memories and Mortensen cleverly shows how Willis' increasingly awful behaviour is tolerated rather than challenged other than by the young family members who are unafraid to react. There's also a generational conflict at play here and whilst Willis is so awful that you almost despair at the tolerance his family show him there are instances of kindness in his past that balance the character. Henriksen is excellent as is Laura Linney as his daughter who is deeply frightened by him but tries to hide it. This is an interesting and quite compelling drama that showcases Mortensen's creative talents. Well worth checking out.

This quite small film was a significant game changer challenging the American western which by the mid 60s had become a somewhat tired genre. Then along came Sergio Leone, a huge fan of westerns, who abandoned the conventions of the genre and made this gritty 'professional' western and set the path for American directors like Sam Peckinpah to rise and take the genre to new heights. Whilst this was by no means the first 'spaghetti' western it was definitely the first to become a cult hit and especially in the USA. With it's uncompromising vision of a sun hardened landscape in which only violence and money are the languages understood this broke all the rules. It's a simple story, in fact based on the Japanese samurai film, Yojimbo (1961), where a bedraggled drifter arrives in a Mexican border town, proves his skill with his gun and sets about playing the town's two rival gangs off against one another. Clint Eastwood's career was kickstarted with this as the stranger, Joe, who doesn't get it all his own way and indeed gets brutally beaten at one stage but wins out at the end against the chief villain played by Gian Maria Volontè. The gunfights are great and the score by Ennio Morricone is iconic and majestic raising the film above and beyond. Leone went on to make two more westerns with Eastwood which have become known as the Dollars Trilogy. Whilst Eastwood appears in similar clothing, especially the famous poncho, in all three he in fact plays a different character in each of the films with different name in each. The American market chose to call him the 'Man with No Name' which led to the idea that he's the same character in all three of the films but my advice is to consider them three quite different films with three quite different main characters. In Fistful...he's clearly referred to as Joe and he leaves at the end the same as he arrives at the beginning, bedraggled, riding a mule and penniless. He does spend the film trying to enrich himself but ultimately he fails even though he kills just about everyone. So this is a film to be viewed without being influenced by either of the two that followed even though there are thematic links but I suggest no narrative ones. Whichever way you want to think of the trilogy this, the first, is a neat gunfighter story that broke with convention and managed to redefine the cinema's vision of the key American myth.

With it's influences firmly rooted in the British comedy greats from the Ealing Comedies to the Carry Ons this remains a joy. It's a pacy, romantic crime caper that rattles along from the start and is superbly scripted by star (and uncredited co-director), John Cleese. Cleese has that unique gift of identifying human absurdity especially in character form and here he uses the extremes of difference between English traits and American traits to create a wonderful and very funny film. There are a couple of missteps not least the small homophobic scenes which even in 1988 jarred a little and the final ending is a little too contrived and borders on silly including the pointless pre credits information on the characters. But reappraising this today it remains a delight and it's arguably Jamie Lee Curtis' best film certainly within comedy and Kevin Kline has never been better (he deserved his Oscar for this). The story wastes no time in getting going and introduces the four main characters. In short this is about a gang who carry out a big London diamond heist. Two of them Wanda (Curtis) and Otto (Kline) intend to double cross their English colleagues but the situation comedy kicks in when the loot is hidden where they can't find it. Wanda decides to seduce the barrister Archie (Cleese) who is likely to know where the diamonds are leading to uncontrolled jealousy by the psychopathic Otto. This causes some wonderful comedy scenes often expressed by highlighting social and cultural differences. The film has real panache and everyone is clearly having a ball. Michael Palin is especially good as the repressed gang member Ken who has a stutter that plays into the plot and I have to mention Maria Aitken as Archie's terrifying wife, she really nails the tired old married woman character brilliantly. A clever, glorious contemporary and quintessentially British comedy that brings in modern themes yet retains the majesty of bygone films and it was the last film directed by veteran Ealing Comedy great, Charles Crichton.

This is a strange little film, an overly stylised biopic of the British artist Louis Wain (Benedict Cumberbatch), possibly a genius but remembered only for his cartoonish pictures of cats that he did for a London newspaper. There's a lot of Wes Anderson's cinematic visuals here as the director, Will Sharpe, tries to add some surreal and visual representations of Wain's declining mental state. The centre of the narrative is his marriage to Emily (Clair Foy - superb here) who dies of cancer and sends Louis into uncontrollable despair. Other than that the film meanders around a story that means little to the viewer with some very unfulfilling performances; Andrea Riseborough is a one note character as his shrill and unpleasant sister and Phoebe Nicholls as his mother barely says or does anything. There's also some cameos that feel a little too late and pointless including Taika Waititi and Nick Cave as H.G. Wells. Olivia Colman adds a rather droll narration and Toby Jones tries his best in a supporting role. Cumberbatch, who was also executive producer, channels his eccentric character performance much as he has done in other films and TV (Sherlock?) in a story that is really about a depressive artist who draws cats, in that sense the film leaves you feeling a bit empty despite the odd humorous moment.

This is mindless American action cinema at its absolute worst. A ridiculous, silly, thoroughly implausible film that has zero going for it. Director Michael Bay has taken a small Danish film injected it with a heavy dose of cliché and stupidity and churned out this nonsense. A pity that he didn't give the two lead actors, Jake Gyllenhaal and Yahya Abdul-Mateen II, the nod to make it up as they go along because the script here is awful, the action set pieces are flat and unexciting especially the chase sequences where Bay simply plays out an episode of the A-Team with every police car he can find. The preposterous story is basically that former soldier and war hero Will needs money for his wife's surgery so turns to his criminal half brother, Will, an armed bank robber who simply hires him to be on a major heist due to occur in the next few minutes! It all goes wrong, there's a shoot out and the two take an ambulance along with paramedic, Cam (Eliza González) and a seriously wounded cop. This cues an overly long and rather tedious chase through Los Angeles. The attempts at humour fail utterly and by the end you'll care nothing for any of the characters. A shoddy film, not worth your time.

A homage to the grind house horror movies of the 70s and 80s, which playfully references a few famous ones but doesn't add up to much more than a slasher gore film with plenty of nudity. A group of young persons rent a remote cabin on a Texas farm where they start shooting a porn movie. What they haven't banked on is the elderly farmer couple who own it are rather weird and freaky and out for blood. Mia Goth is as usual superb playing two parts here, one of the girls making the porno and the sinister Pearl, who likes to kill people. It's entertaining as far as it goes but it doesn't offer much new to the genre other than a bit of nostalgia.

If it wasn't for the four dire sequels then this may have been remembered for the neat action thriller that it is. A shame then that whilst it deviates in many good ways from the source novel it didn't retain the book's ending where Rambo dies, which would have made this a film that would be considered a solid, stand alone story and arguably one of Sylvester Stallone's best roles. As it is the politicised second sequel and the brainless others have spoilt this film's reputation. First Blood is a really entertaining, thoughtful action film that tries to highlight issues of former soldiers dumped on society who seem not to care for their plight. Here Stallone plays John Rambo, a former special forces soldier who served on numerous insurgency operations in Vietnam, and is now an aimless drifter with PTSD. After discovering his last ex army buddy has died Rambo ambles into a small north USA town and is harassed by the bull headed police chief (Brian Dennehy). The police actions awaken memories of his capture and torture in Vietnam and Rambo's extra special combat skills are turned on them. Fleeing into the nearby wilderness a massive manhunt ensues but the lawmen are unprepared for Rambo's abilities. There's plenty of great set pieces and stunts shot amidst the stunning wintry landscape and although the script is a little clunky at times, including Stallone's somewhat incoherent final speech, it rattles along at a great pace and has a good soundtrack courtesy of Jerry Goldsmith. Veteran western star Richard Crenna supports as Rambo's former commanding officer and you'll see the roots of the western genre utilised throughout. A little gem of a film really and well worth rediscovering but don't be tempted to watch the others.

This is a likeable comedy whodunnit that is disposable and needed a few more laughs but it's amusing and fun. All a bit silly and slightly camp it will probably appeal more to British audiences who will recognise the links to the comedies of yesteryear. Set in London in the early 1950s it's all about the murder of an American film director who is planning a screen version of Agatha Christie's The Mousetrap play but contractually can only proceed with it once the theatrical run is over (and we all know it's still running today!). His grisly murder takes place backstage during performance of the play and his body dumped on stage. Alcoholic and cynical Inspector Stoppard (Sam Rockwell) along with his over enthusiastic rookie Constable Stalker (Sairose Ronan) are sent to investigate. There's some great comedy lines although they come much to infrequently and Rockwell and Ronan have a neat and funny charisma. The support cast is impressive although some of them needed more to do and funnier things to say including Reece Shearsmith, Ruth Wilson, David Oyelowo, Adrien Brody and Tim Key (who is hilarious as the self focused Police Commissioner). There are hints of Wes Anderson's style in the direction and style and overall this is an entertainment yet slightly underdone.

In many ways this is a companion piece to director Brian De Palma's earlier film Scarface (1983). The story of the life of a gangster and whilst the earlier film is a rise and fall story this is one about a criminal attempting to find redemption and live a normal life. Both feature a character from a minority group in American society in this case Puerto Rican. Carlito's Way is a more restrained affair than Scarface and Al Pacino plays the title character in a more relaxed almost lazy way. In many ways this makes the story quite unconvincing and De Palma, being at heart a genre filmmaker with his heart in the classics of the 40s and 50s, makes this too much a film noir or gangster film from those decades even down to the soundtrack and the romance built into the narrative. His camera positioning and the lighting are all highly reminiscent of classic period Hollywood. Carlito is a former drug dealer who gets early parole from a thirty years sentence and is determined to go straight. He has to get some money together first and so soon gets drawn back into the violent world of the New York drugs world. He's not helped by his coke addled and corrupt lawyer (Sean Penn) who drags him into a conflict with the mafia. There's not enough action and the story fails to really make you care for the characters one way of another. Well made but vaguely disappointing this is not on a par to many of De Palma's other films especially Scarface.

A disappointing follow up to the hugely successful A Fish Called Wanda (1988) bringing together the four key stars from that film and a host of other actors who appeared in it. Unfortunately the ingredients failed to recreate the magic and what we have here is a sort of Carry On formula with the ensemble comedy cast, slapstick set pieces and a plot where hopeless and daft characters win over a nasty guy. In short a small zoo in England staffed by a bunch of animal lovers is taken over by a huge corporation run by an unpleasant billionaire clearly based on Rupert Murdoch right down to the Australian accent. He's played by Kevin Kline who gets two roles this time around and also plays the boss' son. The zoo is losing money so closure is on the cards so the manager played by John Cleese and staff come up with various silly and zany schemes to save it assisted by Jamie Lee Curtis who runs around with a big cleavage and short skirt!. The real problem is it's just not that funny and it would have been better served as an extended Monty Python sketch, indeed Michael Palin simply plays an annoying , boring geek like he has dome many a time before in Python sketches. It's a shame but better writing and plot ideas may have produced comedy gold but it's not here I'm afraid.

Highly entertaining thriller adapted from a John Grisham novel. Brilliant cast and another example of Tom Cruise showing he's more than the big action hero. Here he plays a young freshly graduated lawyer, Mitch, who is head hunted by a small Memphis law firm who make him an offer he can't refuse. With his young wife, Abby (Jeanne Tripplehorn), they relocate to Memphis but when Mitch is contacted by the FBI alleging his firm is a money laundering front for the mob and they murder anyone who tries to leave Mitch finds his life is in turmoil. With a well scripted plot that rattles along at a superb pace this is nothing but a sharp and well made film ably directed by Sydney Pollack. The support cast of Gene Hackman, Hal Holbrook, Holly Hunter, David Straithairn, Ed Harris and the great Gary Busey just amplifies this as a marvellous thriller that never ceases to be great how ever many times you see it.

This recent adaptation of the beautiful English romantic novel by Thomas Hardy is simply a lovely film, wonderfully acted with the four main leads providing impassioned and yet restrained performances that reflects the emotional restrictions that society demanded in 1870s England. Carey Mulligan, perfect casting, plays independent Bathsheba who inherits a large farm in Dorset and is determined to make a success of it in what is a world dominated by men. She challenges the conventions of society where men have made all the rules and is admired and perhaps a little feared because of it. However she attracts the attention of three quite different men; Gabriel (Matthias Schoenaerts), a humble shepherd, William Boldwood (Martin Sheen) a rich farmer and the handsome soldier Troy (Tom Sturridge) who she marries almost on a whim. This is a film about the power of love, it's destructive nature as well as its nurturing and fulfilling place in human life. The film lovingly recreates rural life in the late 19th century south coast and it stops short of overplaying the characters flaws so for example it ensures that Troy isn't the total cad that has been his presentation in, for example, the 1967 film adaptation. In many ways though this is a story about Gabriel, the stalwart image of masculinity who holds the story together and provides the rock on which Bathsheba can choose, without necessity, to anchor her life. As a romantic period drama this is a solid, well told, beautifully shot film and will leave you with a feel good vibe.