Film Reviews by GI

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.

A 'fish out of water' comedy that makes little sense, is somewhat trading in clichéd jokes and is trying to say something about the woke culture and modern day America's issues with immigration. In 1919 Eastern European Jew Herschal emigrates with his wife to the USA. One day, working in a pickle factory, he falls into a pickle vat and somehow (it's never given any explanation) is preserved, alive, for 100 years emerging into modern day New York. Surprisingly, after a little media interest, he attracts no attention despite this miracle, and goes to live with his App designer great grandson, Ben (both played by Seth Rogen). Then there's a series of incident sand episodes of the Herschel failing to understand the modern world, which is poorly explained by Ben. So he becomes a sort of Borat without the laughs or a Crocodile Dundee, indeed the picking storyline becomes redundant and he could just as well have been an immigrant from the back of beyond who tries to fit in a new country. Herschel gets into some scrapes, causes Ben lots of problems, they fall out etc etc, eventually reconcile and it's all a happily ever after ending. It has some funny moments and there's no doubt Rogen has some fun in the two roles but ultimately it's a film with a plot you can drive a bus through. The best thing about it is Sarah Snook as Herschel's wife and she's only in the film for a little bit, a pity because otherwise it's a disappointing film.

Based on a twitter feed that went viral this is allegedly a true story although it's very style indicates there are different viewpoints of what actually happened. part road movie and part social comedy/drama this is chiefly Zola's story, a black waitress who moonlights as a pole dancing stripper played by Taylour Paige. When she meets Stefani (Riley Keough), a fast talking white girl with an outrageous 'blaccent' that is borderline offensive and clearly meant to be, she is lured on a trip to Florida to strip in the clubs and earn money. But when Stefani's dopey boyfriend (Nicholas Braun) and another nameless guy (Colman Domingo) also tag along things turn sinister as it turns out Zola will have to do more than just pole dance! This is a voyeuristic and at times cringeworthy film with a central character that is clearly stupid to go on the trip in the first place although she manages to find some grit as events take a nasty turn. There's elements of a thriller here but ultimately its a film you'll admire or hate. Good performances but not a pleasant watch.

With ambition to make a film adaptation of The Lord of the Rings director John Boorman had to resort to the next best thing and tell the tale of the great English myth of King Arthur. The influence of Tolkien can be seen throughout this tale of illicit sex, bloody battles and dark magic and consequently a modern audience that loves Game of Thrones and the like will love this. All the old familiar legendary tales of King Arthur and the Knights of the Round Table are here but presented with an eye for an adult audience. So you'll find the pulling of Excalibur from the stone, Merlin the Magician, Sir Lancelot and the quest for the Holy Grail all wrapped up in a paganistic fantasy film that has great visuals, a stunning soundtrack and an epic structure. Boorman chose to use mostly unknown actors many of whom are now big stars such as Liam Neeson, Patrick Stewart and Helen Mirren. At the time only Nicol Williamson as Merlin was really well known (a fantastic actor and often sadly forgotten today). The story begins with Uther Pendragon (Gabriel Byrne) given the magical sword Excalibur by Merlin so he can win the kingdom but lust for his enemy's wife ends in his death and Excalibur set in a rock awaiting the next king. This turns out to be a young squire Arthur (Nigel Terry) who unites the kingdom after many battles, marries and all is well until his devious and evil half sister Morgana (Mirren) plots to destroy everything Arthur has achieved. This is all stirring stuff with very bloody battles, incestuous sex and disturbing scenes of death and black magic. It's a great film, shot in Ireland and capturing the mysticism of stone circles and ancient history in the verdant landscape. A magical film that is ripe for rediscovery now that fantasy cinema is at last being taken very seriously.

Alex Garland is a writer and director that draws your attention. His films are intelligent, enigmatic, enthralling and something quite special. Ex Machina is one of the most interesting of science fiction films of the last decade. A take on the Frankenstein story and one that taps into a theme oft used in science fiction cinema, 'I think therefore I am', the philosophical question that determines the narratives of some of the great films from the genre. From murderous machines in The Terminator series to a classic like as Blade Runner (1982) to AI: Artificial Intelligence (2001) the list is long and distinguished. Ex Machina is a tension building story that positions itself in the world of today and suggests that what you see here could actually be a very real proposition very soon. Young computer programmer Caleb (Domnhall Gleeson) works for an innovative software company owned by the reclusive genius Nathan (Oscar Isaacs). He wins a company lottery to spend a week with Nathan at his retreat and to see first hand Nathan's latest innovation. This turns out to be Ava (Alicia Vikander), a robot with true AI that Caleb is required to test. But Nathan has an agenda that Caleb will soon discover as he becomes more involved with the free thinking Ava. The three main performances are excellent especially Vikander as the robot learning to interact with humans. It's a film that builds an ominous suspenseful story, all the while making you think and question as the story unfolds. It's a remarkable film and one destined to be deemed a classic of the genre. A film you must see and see again.

Director Neil Marshall's debut feature shows just how much of a horror film fan he is as it has homages and influences galore. They're fun to spot although many are just plain obvious, from Predator (1987) to Alien (1979) and American Werewolf in London (1981) and just about every haunted house and slasher film you can think of. To be honest this all makes the film that more entertaining and what a rollercoaster ride it is, fast paced, bloody, really funny and full of action this is a joy. In the Scottish highlands a small platoon of British soldiers are sent on an exercise where they have to try and evade capture by the SAS. Led by old hand Sgt Wells (Sean Pertwee), who is the father figure, they have to navigate their way through forests and gullies and for the most part they gripe and groan but try their best. But they have been set up as bait and when they're attacked by a bunch of ravenous beasts they have to run for it holing upon an apparently deserted farmhouse. But their troubles are only just beginning. It's a wonderfully fun horror film and one that undermines traditional heroic masculinity and utilises horror tropes in a refreshing way. Best of all it doesn't hang about but rattles along at a fantastic and exciting pace with some bold and gore and a few plot twists. Yes it's a werewolf film with soldiers and as has been quoted in an essay on the film, "they go together like tea and scones." This is pure fun and has Kevin McKidd (from Trainspotting and the TV series Rome) as a soldier who finds his leadership skills and Liam Cunningham (from Game Of Thrones) as a devious SAS Captain. If you haven't seen this then check it out you will not be disappointed.

A compelling, beautifully scripted tragedy set in the 1930s and 40s, a time of class divided Britain and a story of forbidden love, a loss of childhood innocence and misunderstandings. Cecilia (Keira Knightley), the oldest daughter of a landed aristocratic family and Robbie (James McAvoy), the gifted son of the family housekeeper, are in love, a relationship unlikely to be socially accepted. But when Cecilia's young and innocent sister Briony (Sairose Ronan) witnesses them in the throes of passion she is unable to comprehend what they are doing. Later when her cousin (Juno Temple) claims to have been raped Briony assumes Robbie is the culprit and gives false evidence, this has a devastating effect on all their lives for many years ahead. As their lives are changed further by the outbreak of war Briony (played by Romola Garai as the older character) seeks redemption as she realises the terrible thing she did as a child. With it's central scenes set on the Dunkirk beaches and the impressive one take shot as we follow characters around the scenes of the British army stranded and waiting for evacuation this is a superb film. It is edited to give alternate views of events to highlight the misrepresentation that the young Briony gives to them and which form the basis of the tragic story. It's a sad story too but also a tender and at times very romantic one of love and loss. The coda performed by Vanessa Redgrave as the elderly Briony is a masterclass in acting, it'll bring a tear to your eye. Impressive film making and a wonderful cast that includes Benedict Cumberbatch, Harriet Walter, Daniel Mays and Brenda Blethyn. A film to make sure you see if you've missed it.

A derivative plot and routine action set pieces makes this the disappointment of the year. Despite its top cast it never lifts beyond something seen a thousand times before, there's no tension, no suspense and just lots of muted gunfire. In fact it feels like a silly Charlie's Angels rip off with a very bad script. In short five female agents from different intelligence agencies go rogue and join forces to track down a gizmo that can take control of any computer based system, that acts as the McGuffin for the story, as various double crossing baddies go for it too. Jessica Chastain, Diane Kruger, Penélope Cruz, Bingbing Fan and Lupita Nyong'o try their best but its a dead loss with lots of fights in lifts and corridors or similar confined spaces and betrayals and allegiance changes. It's a silly film and let's hope there's no sequel which the ending suggests is on the way. Groan.

A fairly standard violent action thriller starring Charles Bronson and directed by veteran J. Lee Thompson. It's a cut above many of the films Bronson was churning out in the late 70s and early 80s mostly for Cannon films although he made this for a different production company. Perhaps that's why it's more than just violence for violence sake and has a decent story although there are plot holes you can drive a bus through!. Bronson is Holland, a former professional assassin now living a peaceful life, who is coaxed out of retirement after his friend is tortured and killed by the notorious 'El Doctor' (Joseph Maher), a man who is employed by repressive South American regimes to torture dissidents. With his target heavily guarded Holland goes for his employees and his sister in order to lure his man into the open. Bronson gets to be his usual cold, ruthless character despatching the bad guys in various ways. The setting in South America gives the film partly a western vibe and whilst the ending is apt it's also a little disappointing. But this is one of the best films Bronson made at the tail end of his career and its worth seeking out if you've not seen it. José Ferrer and Theresa Saldana support.

There's a power behind this drama of siblings reuniting in the turmoil of the Irish border issues that stretch back to the days of the Troubles to the Brexit fiasco today. Yet despite the prologue of the film that highlights all the political catastrophes this is a small family drama about two sisters and their trauma over the slightly mysterious death of their mother. When Kelly (Nika McGuigan) returns home to Ireland after having been missing for a year her sister, Lauren (Nora-Jane Noone), has mixed feelings as she believed her to be dead. But they soon begin to reunite causing complex problems for those around them. This is a film about family suffering, here against the backdrop of the Irish border. The director cleverly uses the colour red as the indicator of emotions out of control in what's an interesting film, if a little baffling at times.

This sci-fi horror film has grown in stature over the years after a poor release strategy and clumsy re-editing saw it fail at the box office. Rumours and hopes of the infamous über gory director's original cut still do the rounds but we're yet to hear if the footage has survived to enable one to be put together. In the meantime we have this Alien (1979) influenced film where the Event Horizon, a prototype deep space exploration craft, reappears on the edge of the solar system seven years after it disappeared without trace. A search and rescue ship is sent to see if anyone aboard has survived including Dr Weir (Sam Neill), the inventor of the the revolutionary 'gravity drive' system which allows the Event Horizon to travel faster than light. The crew led by Miller (Laurence Fishburne) soon discover that the ship seems to have a life of its own and they are unprepared for the horrors unleashed on them. The director Paul Anderson always claimed that under pressure he removed too much of the film and it does seem to rush along somewhat too quickly hardly giving the viewer time to grip the plot and take in the very clever visuals. The dark, moody atmosphere and grubby spaceships are very reminiscent of Ridley Scott's Nostromo spaceship with the long , poorly lit corridors and the faintly lit technology of the future. The cast are all on top form and include Kathleen Quinlan, Jason Isaacs, Joely Richardson and Sean Pertwee and again their characters and attitudes pay homage to the crew of Nostromo from Alien. But there's no extra-terrestrials here as this is a haunted house themed film with demonic possession thrown in for good measure. There's lots to admire here even though the film feels underdone, it has tension, disaster and violence so its a pity we haven't been given the full version which, shocking or not, is no doubt the better film. What we have is worth checking out if you've not seen it.