Film Reviews by GI

Director Ridley Scott's visually spectacular sword and sandal epic is still a marvellously entertaining watch even after loads of viewings. It has all of Scott's stunning attention to detail from the bleak forests of Central Europe to the sun drenched deserts of Africa and the magnificence of ancient Rome. The cityscapes with the Coliseum recreated in all its glory at its heart are spectacular cinema at its best. This is arguably Russell Crowe's best film and certainly his most famous and with a cast that includes such greats as Richard Harris and Oliver Reed the film was destined to be a big hit. I'm not surprised at all that it remains a firm favourite of many because it's a great story, a simple one of a hero overcoming oppression and tyranny against a nasty bad guy through bloodshed and against the odds. Joaquin Pheonix is suitably horrible as the corrupt megalomaniac Caesar Commodus who has his father's favourite General sentenced to death so he can control Rome how he wants. But unbeknownst to him the General, Maximus (Crowe) escapes, is sold into slavery and trained as a gladiator and returns for revenge. It's an age old narrative that still has that romanticised heroism to it that audiences love and in Scott's hands this is big, bold cinema that reminds you of similar greats such as Ben-Hur (1959) and Spartacus (1960). With a moving musical score, plenty of action it is simply great fun. The battle scenes are gritty and gruesome, the gladiatorial fights too are bloody and exciting and there's no real romance to divert the hero's attention. A film to make sure you see if you, by some weird chance, missed it and to watch again for the treat it brings.

Director Edgar Wright's twisted psychological thriller that recreates the sleaziness of Soho in the 1960s and whilst showing the razzle dazzle he steadfastly keeps clear of a romanticised view. This is also a fantasy horror story where a window to another time drives the narrative, in many ways it's a sort of violent Tom's Midnight Garden (1999). Ellie, a naïve country girl, earns a place at a London fashion college and heads off to the big city. She's obsessed with all things 1960s, the clothes, the music etc etc and finds a great bedsit owned by a landlady played by Diana Rigg (in her last role). But alone in her room at night Ellie begins to have visions of Sandie (Anya Taylor-Joy), a wannabe singer, and her descent into prostitution under pimp, Jack (Matt Smith) back in the mid 1960s. These hallucinations begin to affect her life and when she comes to believe that Sandie was murdered she tries to get justice for her. Wright keeps the story a mystery and it has twists and turns and some key clues if you keep a close eye on things. It's a clever film that is less scary and more mildy tense but with intrigue and some great support casting including Terence Stamp and Sam Claflin. The 60s soundtrack is great and the film looks fantastic. It's a good plot that keeps you watching throughout and features Wright's typical stylisation.

The 2009 Swedish adaptation of the bestselling novel was a fantastic film and introduced the world to Naomi Rapace who gave a momentous performance as the unique Lisbeth Salander. But it has to be remembered that that version was actually made for Swedish TV and the two subsequent sequels form part of a six part series which was later re-edited for cinema distribution in the rest of Europe. Their success paved their way for a purely cinematic vision of the story to be made and in the hands of David Fincher it proved a very good idea indeed. Essentially a murder mystery/detective story set in Sweden and Fincher was right to retain the setting resisting the temptation to move it to the USA. The titular girl (Lisbeth) is in fact not really the focus here with the story centred on disgraced journalist Mikael (Daniel Craig), who having lost a libel case is left jobless and penniless. He therefore has little choice but to take on an investigation for aging former industrialist, Henrik (Christopher Plummer) who hires him to look into the unsolved murder of a beloved niece who was killed in the mid 1960s. Henrik believes one of his nasty dysfunctional family was responsible so Michael sets out on his research but needs an assistant. This turns out to be an aggressive, possibly disturbed but the brilliant Lisbeth (Rooney Mara) who soon becomes indispensable. Fincher creates the dreary, wintry landscape of northern Sweden with washed out tones creating a dark atmosphere for the tale of murder which proves more ghastly than Michael originally perceives. Craig, in between 007 duties, plays a vulnerable yet dedicated investigator constantly surprised by events but quick to grasp opportunities too. Mara is superb here in a role she would have known would be compared to Rapace's performance in the Swedish version and she plays 'The Girl....' as more withdrawn, less angry unless harmed or threatened, and with hidden depths of warmth and love. It's a subtle performance within an unsubtle character and she should be applauded. It's a shame she was unable to continue the role in versions of the the sequels. In any event this is an engrossing mystery story, gripping, dark and at times very shocking and with some intense sexual violence that is uncomfortable to watch. The support cast are impeccable and include Robin Wright, Stellan Skarsgård, Steven Berkoff, Joel Richardson and Geraldine James. A first class crime story for adults and well worth a fresh look if you haven't seen it in awhile and if you unfavourably compared it to the earlier films, you maybe surprised at just how good it is.

Big spectacular effects laden science fiction actioner that is as daft as a brush and rushes headlong into a story that is rather pointless as it's all about getting to the big stunts and Mark Wahlberg getting his shirt off. It's all very Bondian with Wahlberg as a normal guy (!) plagued by strange memories he can't explain until it transpires that we're all constantly reincarnated through the ages but some very gifted people can remember all their past lives and any skills they had in them. Wahlberg's character can make samurai swords and wield them too. He also holds a secret to the location of a special thingy that the good guys need to prevent the bad guy (Chiwetel Ejiofor) getting his hands on as he wants to kill everybody using it. Clearly influenced by Highlander (1986) this is silly cinema for young teenagers.

Director Sam Peckinpah had a passion for Mexico with many of his films either set there or featuring in some way. The Getaway continues this passion as his protagonists head for freedom and bliss over the border. This is a first class 1970s American crime film and should be ranked alongside the best of the genre from this period. It has many of the themes that Peckinpah included in his major works, for example of the outlaw born in the wrong time. Here Steve McQueen is the classic American anti-hero, an outlaw whose escape from justice is the story and the drive of the narrative. He's 'Doc' McCoy, an expert bank robber who is freed from jail by a corrupt politician (Ben Johnson) and in return has to commit a heist at a small Texas bank. The robbery goes awry and faced with double cross McCoy and his wife, Carol (Ali McGraw) head off to El Paso for their final escape into Mexico. They're chased along the way by the law, the politicians henchmen and by a vengeful ex partner (Al Lettieri). The journey is not an easy one not least by the fracturing relationship between the McCoys. The climax is reached when all converge on a grubby hotel where the guns come out. Typically Peckinpah uses slow motion in the action shots especially the final shoot out although the violence is mainly restrained. The film has a great visual style and Peckinpah is a genius at character motivation drawing contradictions and violence through a poetic narrative. The film has three main flaws, firstly McQueen had final cut and allegedly utilised takes that showed him in the best light so, to my mind, there's no doubt Peckinpah would have cut the film far more interestingly; secondly McGraw is a weak actor and it really shows here, her performance lets the character down and a stronger actor would have strengthened the story, after all Carol McCoy is a violent criminal. Lastly the film has an awfully jarring music score by Quincy Jones which replaced one by Jerry Fielding, again McQueen's choice. So whilst The Getaway remains a key 70s crime film in a western frame I would love to see a Sam Peckinpah cut even despite McGraw.

Dark and sinister with little dabs of humour and an overriding stab at American society this horror/thriller is a remarkable piece of work from writer and director Jordan Peele. Long before the media hype around this film I had seen it and sensed that this was something clever and special. Peele nails his horror flag to the mast from the opening scene, a clear homage to past classics of the genre like Halloween (1978) or even the films of David Lynch with their subversive look at American suburbia. Overall the film sits into the group of horror films that can best be described as an innocent person stumbles or is lured into the midst of a cult with evil on their minds. Here Daniel Kaluuya, in a stunning performance, is Chris who accompanies his girlfriend, Rose (Allison Williams) to a weekend party at the home of her wealthy parents. Dad (Bradley Whitford) is a renowned surgeon and Mum (Catherine Keener) a psychiatrist. Being a young black man Chris is immediately uncomfortable in these white privileged surroundings despite being made welcome but he starts to sense something is very strange especially as the family has some black servants who act very peculiarly. It quickly transpires that he has been lured there for a very dark purpose. Peele effectively critics American racist attitudes even amongst the strata of society who would deny being racist. The film is frightening and builds a tension that is palpable even though it's restrained with the subtle performances being the aspect that makes the viewer uncomfortable. Keener, Williams, Whitford and Caleb Landry Jones, as Rose's brother, being exceptionally good here. This is one of the best horror films of the decade, shunning gore and violence for a more creative presentation of terror that thematically condemns hypocrisy in modern day America.

Hailed as a masterpiece of British crime cinema this is a key 1970s film, a cult classic. Viewed today it might be a surprise at how impactive this film was when initially released. It's minimalistic, sudden and cold violence, it's delve into the criminal world of pornography and it's bleak and dreary visuals of northern England along with it's depictions of the life involving grubby pubs and betting shops were all very shocking at the time although much copied since. Additionally this is a surprising role for Michael Caine, a major star by the early 70s and here he was playing a thoroughly nasty gangster, and very brutal he is too. Jack Carter is an enforcer for a pair of London gangsters. Against their wishes he travels to Newcastle ostensibly for his brother's funeral but also to discover how he died as he suspects the death wasn't the car accident claimed by the authorities. Soon finding he has the unwarranted attention of local top criminals and pressured to return to London Jack goes on the rampage uncovering the truth behind his brother's death. With a great support cast including Ian Hendry (who coveted the lead role and lost out to Caine who he then resented) and playwright John Osborne along with a cameo from Britt Eckland, there's also a host of British character actors to spot too. There's no heroes in this film, it's a story about corruption and violence told through the eye of social drama, it remains a powerful film and one of Caine's most iconic roles. British cinema at its very best.

I described Justice league, released in 2017 and taken from director Zack Snyder and botched by Joss Whedon, as a sloppy mess and utter tosh. So I approached this fan-demanded new edition by Snyder with trepidation. It is certainly an improvement by a long shot and it's not hard to see how Snyder has been able to produce a film that probably is far more than what he originally intended back in 2017. For a start this is nigh on 4 hours long! That makes it a bit of a trudge. There's new characters, new scenes and the usual surreal, dark world that represents the DC Comic world. It's obvious this is an attempt to compete with the MCU Avengers series but it lacks the punch and fun of those films and, dare I say, the DC superheroes don't fit together, they inhabit a cinematic (and comic book) world where they exist in isolation. Bringing them together seems ridiculous whereas the MCU heroes are a natural fit in one world. In any event here we have the basic same story as the 2017 version with an evil alien race intending an invasion but need three special boxes that are hidden and protected by various 'metahuman' races. With Superman (Henry Cavill) dead Batman (Ben Affleck) unites a group of superheroes - Aquaman (Jason Samoa), Flash (Ezra Miller), Wonder Woman (Gil Gadot) and some Cyborg guy called Victor (Ray Fisher) - to fight the baddies. Eventually they find they need Superman so they dig him up and basically do a Frankenstein job on him. This is a big epic superhero film, with added violence and some bad language, it's a fan film with a mythic grandeur to it but ultimately it's another overly long, huge effects ridden comic book film that is all a bit tiresome and never seems to end at the right time. There's loads of big names in cameos many with too little screen time (Amy Adams, Amber Heard, Willem Dafoe, Jesse Eisenberg and others) and a vain attempt at religious iconography especially around Superman. If you're a geek for these things then it'll appeal and there's an interest in the comparison with the botched earlier version but ultimately it's nothing new.

This is a new adaptation of the celebrated novel by Erich Maria Remarque (in other words not a remake of the brilliant 1930 film or the largely forgotten 1979 one, both of the same title). This is a powerful, conscientious and at times harrowing film about the horrors of war, the loss of innocence of Paul (Felix Kammerer) a young student, who caught up with idealistic and patriotic fervour, joins the German army in 1917 along with some friends. They look forward to an heroic march into Paris but are quickly thrust into the maelstrom of bloody combat in the trenches. The film effectively portrays the wrenching futility of war epitomised by the scenes of politicians and generals attempting to negotiate the armistice while young men die violently. This is a substantial and serious war film that adds the poignancy of lost friendships and centres on Paul's relationship with the older and more experienced soldier, Kat (Albrecht Schuch) and there's a tender scene as Paul reads the illiterate Kat's letter from his wife to him and learns of a family tragedy. These small moments that humanise the characters contrasts with the industrialised chaos of the slaughter. The First World War has not resulted in as many films as the Second, probably because the latter lent itself to adventure in many different scenarios whereas the the Great War has no romance and no sense of an adventure, it was just pure hell and this film captures that very well indeed.

This frantic, existential action comedy has had loads of plaudits just about everywhere especially in the US so I was intrigued to see what this was like and hence disappointed that it's a frantic yet laborious and overlong film that seems far too impressed with itself. Most of the problem is that it's so full on with effects and ideas that by about half way through you give up caring about anyone. Michelle Yeoh is Evelyn, a Chinese American woman who co-owns a laundromat with her wimpy husband, Waymond (Ke Huy Juan). Her relationship with her lesbian daughter, Joy (Stephanie Hsu) and her father (James Hong) all help her despair of her dull life. Things aren't helped by the attitude of the tax auditor Deirdre (Jamie Lee Curtis) who is threatening to seize their business. Something triggers the opening of a multi-verse where Evelyn gets to see various alternative lives she could have had and goes on a series of journeys culminating in a confrontation with her angry family. By the end you'' be yawning as the film never seems to end and when it finally does it's a bit disappointing. There's some gags along the way and Curtis is having a ball as the grumpy tax lady. But overall I just didn't get it.

Director Martin McDonagh's contemplative black comedy about male loneliness, depression and inability to deal with emotional issues. It's a remarkably well written film and has all round faultless performances. Set on a small island off the Irish coast in 1923 as the Civil War rages on the mainland (an allegory you'll get as the film progresses including the islanders reactions to the sound of gunfire they occasionally can hear) Colin Farrell is Pádraic, a good natured but simple chap who lives with his unmarried sister, Siobhan (Kerry Condon). His best friend is Colm (Brendan Gleeson), a more thoughtful yet depressive man, until one day Colm tells Pádraic he no longer wants to be friends and bans him from speaking to him. This revelation causes Pádraic no end of angst and he makes repeated efforts to find out why until Colm threatens shocking consequences if he persists in talking to him. Pádraic confides his feelings to Dominic (Barry Keoghan), the young son of the local police constable, who appears to be a dimwit but he proves wiser than initially thought. The breakdown in this 'bromance' has ripple effects on all the characters and often in some extreme ways. It's a clever film that deserves a couple of viewings to appreciate its subtleties. As a study of male toxicity, emotional immaturity and friendships it's a masterpiece and Farrell, Gleeson, Condon and Keoghan are all fantastic and deserve all the awards they can get.

A very clever comedy pastiche of Star Trek. Indeed to get the most out of this film you need to be reasonably familiar with that TV series because this film effectively takes the mickey out of the actors, style and storylines in great detail. The story here is that Galaxy Quest is a long running sci-fi TV series and the actors are tired of having to attend conventions and deal with the obsessive fans some of whom seem to believe its all real. Jason (Tim Allen) plays the Commander and he loves the fan adulation and hogs the limelight much to the annoyance of his colleagues especially Alexander (Alan Rickman), a classically trained actor who hates his role and what he has been reduced to by his character in the series. But an alien race threatened by a violent enemy have watched the TV series from their distant plant, believe they have watched a real spaceship in action and come to get the 'crew' to help save them. Allen brilliantly captures a William Shatner persona and the script even channels the well documented resentment the Star Trek actors had for Shatner. It's all done tongue-in-cheek and often laugh out loud hilarity especially if you get the joke and this is where familiarity with Star Trek is vital. Yes it's all a bit silly but that's the point as the film highlights the silliness of fandom that often goes too far. Sigourney Weaver co-stars as the token 'sex symbol' decrying how her boobs are all that got her the part in the first place. It's Alan Rickman that really nails the famous position that Leonard Nimoy took to the role of Spock. He's really funny here and has the best story arc. Sam Rockwell is also hilarious as the bit player who gets caught up in the action and assumes he'll be killed mirroring the famous legend of 'Trek' bit players usually security men being routinely killed in every episode.

Fury follows the trend for grittily realistic combat films that started with the release of Saving Private Ryan (1998). Indeed it's a very realistic one, at times quite harrowing and with characters that are for the most part unredeeming. At the centre of the narrative is the time honoured loss of innocence theme that litters many war films and whilst that maybe a little hackneyed it seems to fit the story here. Set in the dying days of the Second World War against Germany this follows an American tank crew led by a battle hardened sergeant played by Brad Pitt. He's like a father figure to his crew of misfits (and an unpleasant bunch they are too played by Shia LaBoeuf, Michael Peña and Jon Bernthal) and especially so when young, new recruit Norman (Logan Lerman) joins them. Norman has to be taught the brutalities of war and the loss of his morality is part of the narrative. He does seem to lose it a tad too quickly, going from reluctant killer to enthusiastic one quite rapidly. His journey, accompanied by his new 'family', includes bloody combat, casual execution, rape and a newly discovered courage as the film's climactic battle is a siege as their disabled tank fights a mass of enemy soldiers. Bloody, violent and at times very tense this is entertaining and possibly the only film that focuses on a tank crew. It's certainly a very authentic looking film and the look utilising a washed out colour palette adds to the overall grimy, unpleasant and horrific nature of the war. I'm not convinced it works thematically but it is definitely exciting.

This anti-war drama has all the more power for being set in the Vietnam War, a conflict that history has not drenched in honour or claimed as a fight against tyranny. It's a war where a major nation sacrificed its young men often needlessly in the quest for political dominance on the world stage. Having said that this ranks alongside such similar narratives as All Quiet On The Western Front (1930) and Stanley Kubrick's own Paths Of Glory (1957). Here Kubrick is concerned with the dehumanisation of young men so the State can turn them into all functioning killers by emphasising how cruelty inherent in humankind is bought forth as a terrible weapon of war. In that sense this is a harrowing war drama built around two distinctive segments. The first where young recruits are broken down and depersonalised at a Marine Corps barracks under the bullying and violence of a Drill Sergeant (R. Lee Ermey in a fantastic and highly memorable performance), the narrative focusing on two particular recruits Private 'Joker' (Matthew Modine), who just about maintains his inner moral code and Private 'Pyle' (Vincent D'Onofrio), a weak, retarded man who is turned into a psychopath by the treatment he experiences. The second segment is the combat section set in Vietnam where 'Joker' joins a squad of men and witnesses their casual and humorous attitude to death, killing and their complete loss of morality. Their emotions are enlivened only by revenge and the kudos obtained when they make a kill. There is no glory on display here even though the soldiers spout heroic rhetoric to a TV camera and each other. This is a shocking indictment of modern warfare waged by States for dubious reasons and consequently it's a film that stays in the memory. It is most definitely one of the most impactive war films ever made.

A chase thriller with a murder mystery plot that heralded a few awards which, when viewed today, seems a real surprise because the film is a fairly routine affair and even feels somewhat dated today. Based on the long running 1960s TV series this is a star vehicle for Harrison Ford who was at the height of his box office draw. The film concentrates on action set pieces including a train crash and various long chase sequences somewhat to the detriment of character and depth of story. Tommy Lee Jones is the standout as the US Marshall on the hunt and sadly Julianne Moore, despite high billing, had her role reduced to a mere cameo. Ford is Kimble, a highly respected surgeon, who is accused, convicted and sentenced to death for his wife's murder, all in a flash unfortunately, because we never get into the detail of how his conviction is secured quite so easily. It's almost as if the film wants to just get past this and into the action. In any event he professes innocence and whilst the film tries to start a did he or didn't he do it storyline it soon gives this up. Kimble escapes custody in one of the films main set pieces and he's then chased through woods, sewers etc etc and gets away of course. Eventually making it back to Chicago where he begins to investigate who did murder his wife. There's a few more close shaves with his pursuers and soon a conspiracy emerges that seems just a tidy way of concluding everything. So this is a typical 1990s action thriller, not as good as Ford's Jack Ryan films or a number of his other films in which his screen persona is better used. This is ok and one to sit through if you come across it while channel hopping the TV but otherwise a throwaway.