Film Reviews by GI

This is an unusual film but it's so magical, heart warming and one of the few films that literally brings a tear to my eye every time I watch it. A film about life, its regrets and lost opportunities wrapped up in a gentle fantasy story that ranks alongside such classics as It's A Wonderful Life (1946) and Harvey (1950) (there's a small scene from this in the film). Even for a non-American the narrative focus on baseball matters not as this isn't a sports film despite that game playing a key part, as this is a story about getting a second chance to right wrongs. Kevin Costner is Ray who runs a small corn farm in Iowa with his wife, Karen (Amy Madigan) and their young daughter. When he keeps hearing a ghostly voice urging him to "build it and he will come" he is perplexed but it persists and Ray feels driven to plough over a cornfield and build a baseball pitch. This causes no end of financial trouble for Ray but something very magical happens. An unusual story and yet it works on every level from the reinforcing the strength of family, the idea to follow dreams and instincts in life and that ultimately there's more to life than one can possibly imagine. This is a real treat, a film to enjoy time and time again and hosts a stunning cast including Ray Liotta, James Earl Jones and Burt Lancaster in his last film. In short it's perfect.

A slow sexual awakening story, all soft focus and lingering camera shots usually on the naked body of star Patti D'Arbanville. Director David Hamilton shows his photographer roots here by shedding story for visuals. The film is certainly a beautiful one to look at, summer scenes and young nubile girls literally everywhere, indeed at times it borders on being uncomfortable to watch. The main trouble here is that whilst attempting to create a sensual atmosphere the film fails to make the sex scenes impactive preferring to paint rather than film and explore the narrative in a direct and enthralling way. The story, what there is, is of young Bilitis, a pupil in an all girl school where she has sexual encounters with some of the other girls, who goes to the home of her Aunt Melissa (Mona Kristensen) for the summer holidays. She witnesses Melissa's nasty husband Pierre routinely raping her, has a reluctant relationship with a young lad and effectively seduces Melissa. Overall it's boring, it's part of the short 70s wave of erotic films led by Emmanuelle (1974) so maybe of interest only if you can stay awake!

A provocative and at times uncomfortable drama thematically centred on the issue of belief and the consequences of rejecting it. Loosely based on a real story Ryan Gosling plays Danny, a member of a thuggish Nazi gang who dream of killing Jews. When he is recruited by a racist couple (Theresa Russell & Billy Zane), he not only begins a relationship with their daughter (Summer Pheonix) but is soon revealed as a jew himself by a journalist who has infiltrated the group. There's some disturbing scenes focused around extreme anti-semitism and other racist views and whilst Gosling is riveting as the conscience torn Danny, he's also a very unpleasant character with a story arc that is difficult to navigate. The flashbacks to his childhood where he questions the dogma he is taught in school and his visions of being a murdering nazi soldier during the Second World War are often a jarring and possibly cheap attempt at explaining why such people exist. This film has been applauded but it's a nasty story aiming to reveal the awful side of modern society.

Oh how I wish Tom Cruise still made films like this rather than endless hi-octane action films. This is a courtroom thriller that is script perfect and boasts top class performances not only from Cruise but Demi Moore, Kevin Pollack, Kevin Bacon, Kiefer Sutherland and, of course, Jack Nicholson, who is so memorable here the film is worth watching for his performance alone. But this is Cruise' film, he's excellent here as the laid back US Navy lawyer assigned to defend two marines accused of murdering a fellow soldier. He's cocky, clever and quick to realise that there's a cover up. Assisted by headstrong fellow lawyer played by Moore and his cynical friend played by Pollack they are up against the tough and influential Colonel Jessop (Nicholson). Director Rob Reiner directs this as a mystery thriller and it's in the courtroom where the truth is sought. There's twists and turns in the plot that will keep you guessing. This is a first class film and highly recommended if for some reason you've not seen it. It's a film you can see many times and not get tired of it. As courtroom dramas go this is difficult to beat.

Hilarious British RomCom based on the autobiographical novel by Nick Hornby who wrote the screenplay (the film story bears little resemblance to Hornby's diary like ode to a football fan). Set in the 1980s (with flashbacks to the 60s) it's all about a schoolteacher who is an obsessive fan of Arsenal football club, a passion that makes him popular with his pupils and their fathers. He coaches the school team, has a carefree everyday life except he despairs that Arsenal will ever win anything. Against the odds he begins a relationship with a frosty fellow teacher who is simply baffled by his football mania. When she falls pregnant he has to make some life changing decisions. This is thematically a film about gender conflicts and a conflict of priorities wrapped around a male/female divide. It's really very funny and ranks as one of the best of the British wave of romcoms from the 1990s. Colin Firth is great as the man/child with an 80s perm who loves nothing more than his student lifestyle with his best friend played hilariously by Mark Strong. They appear uninterested in sex or indeed women in general until Ruth Gemmell's sexually repressed woman appears and their blossoming love life is frustrated by the machismo obsession of Arsenal. Just when you think the film creates a complete separation over gender it opens up the divide to show the passion is for all. Everyone becomes caught up in the excitement of the team's big game. Anyway however you want to read the sexual politics on display here this is a very funny film, typically British in humour and style and brilliantly recreates school life in the 80s. A feel good film that needs rediscovering.

This is a period tragicomedy with lashings of political and personal intrigue, lusty sex and very sweaty. Jane Austen it ain't! Set in the 17th Century court of Queen Anne it follows the rivalry between two women for the Queen's affections and the ability to influence her, all told in a razor sharp script that is hilariously funny. Olivia Colman, in an award winning performance, is the depressed, ailing Queen who is prone to puerile outbursts and grieves for the seventeen children she has lost in childbirth. She is controlled by Lady Sarah (Rachel Weisz), who is also her secret lover, and who ensures the Queen makes laws and decisions that benefit her and her husband. Her influence causes much consternation to Harley (Nicholas Hoult), the Leader of the Opposition. But things begin to change when Sarah's cousin Abigail (Emma Stone) arrives at court. Fallen on hard times Lady Sarah soon warms to her until she quickly realises Abigail has ambitions to usurp her. They gradually become bitter enemies. Shot and told in director Yorgos Lanthimos' absurdity style utilising weird camera lens and angles you soon find yourself engaged in the intrigues and bizarreness of the times, full of ridiculous costumes and carnivalesque characters. This is a film that defies expectation and keeps you unsettled and yet highly entertained. It's a joy.

The Coen Brothers sheer skill at subverting cinema is never more evidenced than with this. Here the American crime thriller is taken in directions completely unexpected, from the locations, the characters and the plot twists this is a modern masterpiece and arguably one of the most perfect films you can get to see. Darkly funny, shockingly violent and cleverly scripted this film sends you in directions you least expect starting from the opening pre credits claim that it's based on a true story to the characters that appear clever but are inept and the ones who act almost clownish but are on the ball. The plot involves Jerry (William H. Macy), a hapless car salesman who has embezzled money from the company owned by his wealthy father in law (Harve Presnell). Before his crimes are discovered Jerry comes up with an audacious plan to have his wife kidnapped, get her dad to pay the ransom and use it to pay back the money he's stolen. He recruits two incompetent men (Steve Buscemi and Peter Stormare) to carry this out. But everything goes awry very quickly and heavily pregnant local cop Marge (Frances McDormand) is on the case. Set in the heavy winter of Minnesota and North Dakota and with the locals speaking in their Scandinavian influenced accents this is a thriller like no other, even the title bears little significance to the story (The Coen just liked the title apparently) but it's a tightly scripted plot that will have you laughing, gasping and riveted throughout. A must see film and possibly the Coen best.

Adapted from Thomas Hardy's celebrated 19th century novel this is a period romance that has a remarkably authentic recreation of rural England of the 1860s. Director John Schlesinger uses the environment and the seasons as a representation of the emotions of the characters, and this is a story about passion and love that leads to tragedy. Julie Christie, her beauty emphasised by a soft focus, is Bathsheba, a headstrong and independent young woman who unexpectedly inherits a large farm in Dorset. Her determination to run the farm in the patriarchal world is tempered with her occasional tendency to flimsy. These contradictory elements to her nature cause problems when she has to deal with three men who covet her as a wife; lowly but honest shepherd Gabriel (Alan Bates), the stern rich farmer Boldwood (Peter Finch) and the handsome and exciting soldier Troy (Terence Stamp). Bathsheba's naïveté in the ways of men and their passions drives the narrative here in this clever, intricate and compelling drama. A really beautiful film and with wonderful performances by the four main actors aided by the cast of British support actors as the locals. There's comedy, heartache and joy in this film. It's a real classic and worthy of rediscovery and definitely a film to savour time and time again.

Like John Wayne and John Ford, James Stewart had a filmmaking relationship with director Anthony Mann and they made a series of westerns together in the 1950s. This one has the usual Stewart characterisation of a hero with a dark edge. The Far Country is marked by the location filming in the snowy north on the edge of a glacier and the cinematography is quite amazing. But overall this is a standard western in the classic mould, hugely popular in the day but a little dated even though still revered today. Stewart is the no nonsense cattleman who is heading into Canada to go gold prospecting, the cattle he intends to use to fund this are stolen by a corrupt lawman (John McIntire) which sets the path towards violence. There's a couple of love interests and Walter Brennan is the sidekick playing a role he perfected in many other westerns. An interesting example of the Mann/Stewart western.

What at first seems to be another routine stalker thriller actually switches gear into a rather watchable and engrossing survivalist story. A remake of a Swedish film this keeps the tension at the right level and while there are predictable angles to the narrative it still manages to feel original in many ways. Jules Willcox plays Jessica who is grieving over the death of her husband and heads off on a road trip where she finds herself stalked by a weirdo in an SUV. So far this is all clichéd stuff but when she is kidnapped Jessica soon manages to escape the clutches of the man (Marc Menchaca) and runs into the wilderness and forests pursued by him. Constantly taunted she finds the resolve to turn the tables. This brief synopsis could apply to a few similar films but this one has an edge to it that makes for a taut little thriller. It's definitely worth checking out because as small indie films go this isn't half bad.

With the unprecedented success of the first Star Wars films there was a rush to make science fiction films in the late 70s. Paramount Studios owned Star Trek, a TV series that had been discontinued ten years earlier but had since gained a cult following due to regular re-runs. The result was this film was not well received upon release it being considered slow and clumsily plotted. However it has since been re-evaluated and despite being unfairly compared to the later Star Trek films it is a very sophisticated and clever science fiction film that is more aligned with serious films in the genre than space action/adventure films like Star Wars: A New Hope (1977). The story begins in the 23rd century four years after the events of the final TV episode and James Kirk (William Shatner) has been promoted to Admiral but yearns for the exciting days of commanding a starship. When an enormous energy cloud is detected heading for Earth a new refitted USS Enterprise is despatched to investigate and finds something extraordinary at the heart of the cloud. Kirk manages to get command of the ship pushing aside the existing captain and brings aboard all his trusted crew mates. In the hands of veteran director Robert Wise we get an existential story that goes deep into what it means to be human, a theme that good sci-fi has often explored. Firstly Wise introduces the USS Enterprise almost as a character itself and this links superbly with the 'alien' that is later discovered within the cloud. The exploration of the implications of Artificial Intelligence being another common sci-fi theme explored here. Also the depiction of the iconic character Spock (Leonard Nimoy) is brought to the heart of the themes at play here using Spock's mixed race background and his inner conflict as part of the overall narrative. It really is a science fiction film to be applauded. The special effects are first rate (especially in the enhanced Director's Edition) and even if you are not a fan of Star Trek from television this is a film well worth you having a fresh look. The TV series lost its way and became somewhat camp at times but this film cannot be accused of falling into that trap. It is indeed a surprise that further Star Trek films soon followed and the franchise went onto become highly successful after the disastrous critical responses of this, the first but now this film can be viewed for the rather wonderful, exciting film it is. Give it a try, you'll not be disappointed.

The tragic romance story remade from the 1961 classic musical by Steven Spielberg who I suspect has hankered to do a big musical for many a year and at least since he directed the big musical prologue in Indiana Jones And The Temple of Doom (1984). This is, as is well known, based on Romeo And Juliet with the Capulets and Montagues replaced with 1950s New York street gangs The Jets and The Sharks, divided over broad brush stroke racial prejudice until one of the Jets falls in love with the sister of the Sharks leader. There's no doubt this is an extravaganza and visually impressive with some great camera sweeps capturing the big dance routines andmusical numbers but I'm unclear what audience this is aimed at. The retention of the 50s setting and the songs don't readily seem an attraction for a modern audience and despite its Steven Sondheim/Leonard Bernstein credentials the film feels a little flat. It's certainly overlong and, for me, became a bit of a chore. Ansel Elgort as Tony and Rachel Zegler as Maria are both excellent but it all feels dated and even the presence of Rita Moreno who was in the original film doesn't lift it. In my view the original is the better film and certainly fits it's story and time better than this despite the big production values that Spielberg has been able to include.

Director Walter Hill's admiration for Sam Peckinpah spills out of control in this contemporary western that even has a final act that tries to recreate the classic battle in The Wild Bunch (1969). You'll also spot copycat scenes from The Getaway (1972) too. Considering Hill made some great action movies in the late 70s and early 80s here he's misfired with a clumsy, almost silly, blood spurting shoot em up with a daft script. Even the final climactic battle, in modern day Mexico, is eye poppingly weird and has continuity errors galore. Nick Nolte, clearly doing a Gary Cooper walk and an emotionless stoic lawman thing, is a cop working on the Texas/Mexico border trying to stem the flow of drugs being supplied by his former childhood friend Cash (Powers Boothe). His best effort is by meeting Cash and sort of asking him, as an old mate, to stop selling drugs. Surprisingly that doesn't work. There's also a girl in play who flits between the two of them on a whim. Into this ridiculous mix a military black ops unit arrives to sort out Cash who is apparently a threat to national security. And just when you think that's enough there's a final, thoroughly stupid plot twist, that will make you groan out loud. On the plus side there's lots of shooting, blood squibs go off literally everywhere and Nolte does a lot of stony faced staring at just about everybody. Because it's a Walter Hill film it has it's fans but really it is not, by any count, one of his films worth remembering.

This British crime thriller is a lost gem. It deserves to be up there with some of the great crime films such as The Long Good Friday (1980) and Get Carter (1971). This is a bold claim but it really is a fantastic film that delves into the route from fighting social injustice to becoming a criminal as the former puts you on a collision course with the law. It's also a film about guilt that emerges from violence and that love dominates the course of life. In this story the hardened criminal needs and relies on the women in his life be it mother, lover or daughter. This is an interesting idea as it humanises the violent man. Director Antonia Bird has constructed a tough crime drama here that is focused on character and in many ways this has the structure and feel of a British Michael Mann film. Ray (Robert Carlyle) and Dave (Ray Winstone) are career London criminals. They commit a well planned armed robbery with three others but fail to net the amount of money they hoped for. When the money goes missing everyone suspects the other and the gang begins to fall apart but their code drives them to find who is responsible despite their deep longing to get out of the life they feel trapped in. With gutsy action and some great set pieces this not only rattles along at a great pace but it's also has a compelling story. The support cast includes Lena Headey, Sue Johnston, Steve Waddington and the great Phil Davis. The singer Damon Albarn has a cameo too. As I said it's a real gem and a film that deserves to be rediscovered.

Of all the fantastic horror films that were released in the 1970s, for example The Omen and Carrie, The Exorcist still retains the power of controversy mostly due to false myths about the filmmaking process and the subsequent effects on young actor Linda Blair. As a demonic possession narrative it's still probably the most famous and the best, indeed it's a cinematic masterpiece. As a psychological horror it retains its ability to shock and disturb even when you've seen it many times. The film came out at a time of growing social despair in the US, a time of Vietnam, the collapse of the peace & love movement as murder and violence increased alongside Government corruption. The Exorcist tapped into the feeling that all was lost and targeted the innocent child in its story to amplify that despair and sense of dread. This is a horror film that doesn't rely on image to create its growing sense of fear but combines it with subtlety of script and thematic challenges to the safety of hearth and home, family and religion. It really is a great film and one of those that everyone should see (the Extended Cut is the one to go for, replacing scenes taken out but subsequently reintroduced by the director William Friedkin). Famous film actress Chris MacNeil (Ellen Burstyn) is making a movie in Washington. She has her 12 year old daughter Regan (Blair) accompany her there and they live in a large rental house. When Regan begins to show behavioural changes Chris becomes frustrated that the medical experts can find nothing wrong even though Regan's behaviour and strange things begin to worsen in the house. Desperate she confides in a young priest (Jason Miller), who is facing his own issues, and he agrees to perform an exorcism becoming convinced that Regan maybe possessed. The Church insists that experienced priest Father Merrin (Max Von Sydow) is summoned to perform the ceremony. Merrin and the demon have a history! With its infamous scenes of medical procedures (which are even more shocking when seen today) and some stomach churning stuff that occurs The Exorcist is a truly uncomfortable viewing experience but it's also enthralling and it thoroughly deserved its awards and nominations. The performances are all superb and include the great Lee J. Cobb as a detective who investigates some of the events that occur.