Welcome to GI's film reviews page. GI has written 1437 reviews and rated 2032 films.
A beautiful romantic epic, one of those films that reveals and reminds what the magic of cinema can bring. It's a glorious film, tragic, sad and yet strangely uplifting as it studies the power of true love and how it can transcend all obstacles. Set in the late 1930s and into the 40s it tells the story of a badly burned and dying man (Ralph Fiennes), known only as the English patient, who has partial amnesia (or does he??), and is being nursed by Hana, a French/Canadian military nurse (Juliette Binoche). This part of the film begins in Italy in 1944 as the allies push the Germans steadily into retreat. Housed in an old church Hana begins to hear the patient's story as he slowly reveals it and which is told in flashback. His story begins in Africa before the war where as a map maker he falls desperately in love with Katharine (Kristin Scott Thomas), the wife of a colleague. A relationship of extreme passion that proves fateful. Into both these two storylines are weaved tales of love, jealousy, danger and suspicion. It is a remarkable film with multi award winning performances, wonderfully directed and edited into a narrative that links the passions of the two timelines. The theme around maps and cartography is clever but the majesty of the African desert is what makes this a memorable film, the romanticism it evokes not only in the characters but in the viewer reveals a film of emotional power. The cast are impeccable and include Willem Dafoe as an intelligence agent who is tortured by the Germans, Naveen Andrews as a British army bomb defusing expert and Colin Firth as the cuckolded husband. A modern masterpiece, a film to revel in so make sure you see this at all costs.
When the martial arts film gained a massive popularity in the early 70s Hollywood soon perked up and invested in this star vehicle for Bruce Lee. It was a huge worldwide hit enhancing the production values yet retaining the cheesy action and wooden acting. Lee died before this was fully released and so the film has held a certain place in the hearts of fans and in the cycle of Kung Fu films and especially those starring Lee this is arguably the best of the bunch. It's certainly great fun and has all the tropes of the genre including the added on sound effects unique to martial arts films. Lee gurnes his way through the fighting making his trademark squeals and groans as he despatches multiple enemies. The story matters little really as this is all about the fight scenes but there is a story of sorts here that is clearly based on the James Bond series with the main villain modelled on Dr No, right down to his metal hands and oriental style jacket, and to top all of that he's given a Blofeldesque white cat to stroke. Here Lee (retaining the name for his character) is a secret agent sent to the fortress island of heroin producer Han (Kien Shih) to participate in a brutal martial arts contest but really to get evidence of all the criminal activity. He gets assisted by a dodgy American gambler, Roper (John Saxon), who is also a top Kung Fu expert Actually everyone on the island is a Kung Fu expert and Lee and Roper get to fight most of them, Lee with a variety of weapons to showcase his skills including nunchucks which the British censor had real problems with as kids with Bruce Lee posters on their bedroom walls either bought or made their own and beat each other up until the UK Government banned them. The whole thing is totally daft and some aspects of it have not dated well including a scene with karate champion Jim Kelly and some racist cops. But as an example of a genre that was hugely popular within a certain time this is worth checking out if you've never seen it.
This is probably the most famous counter-culture film ever made and it certainly impacted on its initial release. It's a road movie and in many ways a picture postcard vision of America as seen through the journey of the two main characters played by Dennis Hopper and Peter Fonda. It's also a quite sharp condemnation of the American Dream and the idea of the US being the land of the free. In many ways it's a bizarre film with little, if any, real narrative story other than of two young men who score big with a drug deal and on their Harley Davidsons head off from Los Angeles to New Orleans for the Mardis Gras and then onwards to Florida. On the journey they meet corruption and bigotry for their long hair and apparent alternative lifestyle challenging the various rednecks conservative values along the way. Ironically the characters are rooted in the mythology of the American West, the film is littered with 'cowboy' iconography, and yet face harassment from the very people who worship the legends of the frontier. Jack Nicholson, playing an alcoholic lawyer who joins them for part of the trip, gives a prophetic speech about how they represent the free individual which is a threat to the very people who preach about freedom. A speech made just before his murder at the hands of rednecks. With it's drug use, prostitution and challenges to those conservative values this was a film way ahead of its time and yet came towards the end of the swinging sixties when sexual freedom and drug use had already been epitomised in music especially. Of course the film has a fantastic soundtrack and it's use of enigmatic flash editing and the infamous LSD trip sequence make this an interesting watch today and I can see why some modern viewers may find it a challenge but it's still an important and stimulating film and one every film fan must see.
Handsomely shot this contemporary western is well meaning in trying to educate the viewer about the plight of Mexican immigrants but does so in a didactic manner that is weakened as the film develops into a chase thriller. Set on the Texas / Mexico border where a ranching family of Dad (Frank Grillo), Mum (Andie MacDowell) and two sons including rising baseball player Jackson (Jake Allyn who also co-wrote the script). Thet are a bit paranoid about 'protecting' their land from illegal immigrants that they act as a sort of vigilante militia rounding up any trespassing immigrants until Jackson stupidly shoots and kill a young boy. Despite regret and confession he flees the police and rides into Mexico where he gets a job on a family ranch but finds the dead boy's father and a nasty drug dealer are on the hunt for him. The film picks up from it's rather predictable start and as a thriller has an entertainment value and it is well intentioned but it's set up as a moral story of the education of a redneck is then deviated from to a standard narrative of guilt over a pointless killing. This isn't a bad film by any stretch and worth checking out.
Christopher Nolan's epically told story of the evacuation of the allied forces from mainland Europe is less a brutal war film than a disaster/survival film. There are no real combat scenes other than aerial attack and dogfighting as the film follows three main stories edited together in a unique timeframe structure that is somewhat experimental and requires the viewer to really concentrate. There's the story of the soldiers on the beaches desperate for escape mostly told through the eyes of one very young soldier (Fionn Whitehead) and the naval officers trying to manage a chaotic evacuation under the the command of Bolton (Kenneth Branagh). The action here take place over a period of one week. Intermixed with this is the second story of the legendary small boats that head across the channel to assist getting the troops off the beach. This is focused through one boat owned and crewed by Dawson (Mark Rylance) with his son (Tom Glynn-Carney) and a young assistant, George (Barry Keoghan). This story takes place over the course of one day. Finally there's a flight of three spitfires with pilots played by Tom Hardy and Jack Lowden (the third pilot is not seen but voiced on radio by Michael Caine). Their mission takes place over one hour. Nolan edits these three timelines together so that you see events in a slightly jumbled order but which are cohesive once you understand what's happening. Overall this is an interesting war film, one that aims to show the plight of those taking part outside of direct confrontation with the enemy, indeed other than attacking aircraft there are no scenes with Germans , other than a small one at the end and even then they are shown out of focus. The film's onscreen information at the film's start only refers to them as the enemy making this a film that seeks to remove national animosities and simply show a film about experience not politics. This is though a very moving and at times exciting film with an all pervading and ominous soundtrack throughout which adds to the atmosphere of fear and dread. A great cast that also includes Cillian Murphy and the singer Harry Styles. A film that's seeks to take the war genre into new territory and succeeds so if you're seeking bloody battle scenes you'll be disappointed here as this is a film that eschews that for one about personal experience in the face of imminent death. It's moving, tense and very clever.
A great social comedy/drama that cleverly manages to be very funny whilst also dealing with some very serious issues including racism, forced child circumcision, domestic violence, arranged marriage and homophobia. That sounds quite a list but as this is a story of a mixed race family in early 1970s Salford the issues are treated as everyday occurrences and in some cases just an accepted part of their lives. For instance the racism elements here are the continual use of racist name calling that pervades society and was the norm in 70s Britain. This is essentially a clash of cultures narrative with family patriarch George Khan (Om Puri), a Pakistani immigrant, who has married an English woman, Ella (Linda Bassett) and they've had seven children. The couple have built a small fish and chips shop business but live in a small terraced house with no bathroom or inside toilet, a common thing in England at this time. George expects his children and his wife to be obedient to him but the issue is the children are fully English and reject his control. This leads to some serious problems in the family as Ella has to try and keep her family together whilst restraining George from losing control as he struggles with the loss of status in the local Pakistani community. His attempts to marry his sons to the daughters of other families is met with failure, a major catastrophe for him personally. The children who range is age from mid 20s to the youngest of 10 are constantly on their guard against their father finding out the little ways they revolt against his wishes. There are laugh out loud moments but also some very serious scenes as George more and more loses his control. This is a very thoughtful and clever film and viewed today it really hits home with the frightening impact of the cultural clash and the rejection of religious dominance over the lives of young anglicised children of immigrants. This is often a film billed as comedy, and in many ways it is yet it's also a serious family drama. It's definitely a film to revisit if its been awhile since you've seen it.
Shot entirely on smartphones this indie horror road movie is a bit of a chore. Admittedly it has a very good soundtrack, which occasionally drowns the actors, but it lacks a coherent script and as much of the film is of the two lead actors interacting together in their car it soon becomes tiresome. With the odd moment that makes you sit up and take notice the ending is inconclusive and a let down. Leo (Joey Millin), a man with his own family problems, is implored by his mother to find his estranged drug addict sister, Virginia (Madison West). he soon does and suspects she has binged on drugs but she claims she's clean but a strange group that helped her have fused her feelings and thoughts with a man who she must find. The siblings go on a chatty road trip in search of him. There's a couple of incidents on the way but for the most part this is the two catching up, arguing, laughing etc etc. It failed to interest me even when the climax threatened to.
A great British war film that blends history, drama and character into two intertwining stories that emulate the story of the British defeat at Dunkirk in 1940 and which has gained a legendary status for its story of British pluck in the face of dire events. John Mills plays a cynical British army corporal, Tubby, who is in France as the German advance begins. He and his small band of troops get separated from the main body and have to navigate their way across enemy territory to the evacuation area on the beaches of Dunkirk. It's a dangerous journey and Tubby finds leadership skills he didn't know he had. The second story arc, wonderfully edited together with the first, is about the legendary 'small boats' of ordinary people who took the risk to head over to France to help lift the troops from the beach under heavy shellfire and aerial bombardment. This story is told through two men who have slightly different views on the tragic affair, Richard Attenborough, a local businessman who is profiting from army contracts, and who doesn't really want to get involved and Bernard Lee, a journalist, who feels it's his duty to help even though he recognises the situation is a mess. These two eventually go across in their pleasure boats and get caught up in the battle and meet up with Tubby and his soldiers. The film is gripping and very realistic with tough, sometimes despairingly sad scenes of war including the strafing of refugee columns and the random bombing of the beaches where thousands of soldiers lie waiting escape. Director Leslie Norman seamlessly weaves actual documentary footage into the shot scenes ensuring the war is depicted in all its horrors. For its time this is gritty and compelling stuff made great by the first class acting, direction and editing. The recreated scenes of the troops queuing on the beaches are identical to photographs of the real event. Ok it has elements of flag waving and the Germans are portrayed as the evil hun whose actions drive everyone to want to murder them but this is fairly typical of the British war films of the 50s. This particular film is an example of British cinema at its height and viewed today it manages to convey a sense of nostalgia for the times. It's a great film and one well worth seeking out, you maybe surprised just how good it is.
The interesting thing about the two Venom films is the basic use of body horror in a family oriented comic book film. This sequel is more of the same as the 2018 first film, with the bonus of Tom Hardy really working hard to get something going in what is really another tired MCU film. They are certainly pushing the boundaries of patience at times with more and more obscure characters that don't really push the genre anywhere new. Here Hardy's lovelorn journalist Eddie is still trying to come to terms with the creature, Venom, that he now has integrated with. Their banter is the comedy of the film as they act as a sort of Odd Couple, best of pals but consistently frustrated with one another. Eddie is distraught that his ex girlfriend (Michelle Williams) is engaged to another but when he gets the chance to interview the a notorious serial killer his career may be on the up. Unfortunately the killer (Woody Harrelson) gets infected with a Venom of his own, and carnage results. There's a committed support cast including Stephen Graham as a cop, and it looks like he'll be important in the next in the series. Overall this is nothing new, another comic book film that is ok but nothing special.
Playing a fictionalised version of himself Paul Hogan is fed up with always being called Mr Dundee and badgered by movie executives to make another Crocodile Dundee film. Living in Los Angeles this comedy has Hogan content to live quietly but unable to escape the film legacy for which he's most known and offered a knighthood by the Queen is told by his agent to stay out of trouble. This obviously cues him getting into lots of trouble and some of the incidences are funny and others fall resoundingly flat. Essentially the joke is that Hogan is an old man unable to understand the modern world, but its when the film veers into political issues that it fails miserably including where he rejects the suggestion of Will Smith playing his son in a new Dundee film stating "because he's black"! He's then berated for saying that. The attempt to highlight a world of woke around the racism issue is a glaring error. There's a few celebs cameo including John Cleese, Chevy Chase and Olivia Newton John who are either big mates with Hogan or needed the money, probably both. There are others that pop up too but mostly the film is one of those old person struggling with life comedies that isn't that funny. This is a silly film that has the odd moment but overall it's one to avoid.
An interesting British drama about passion and jealousy marked by the two outstanding lead actors. John Mills plays lonely and miserly Parker, a widowed farmer who likes his drink a little too much and lives in borderline squalor on his large but rundown farm in the West Country of England. Carol White plays local girl, Dulcima, who takes pity on Parker one day and helps him to clean his house. She's the eldest of a large family and put upon by her parents and she dreams of a better life. When she discovers Parker has hordes of cash she begins to manipulate him including with sex to get her hands on it. But she's unprepared for the deep passions she awakens in the elderly farmer. White is a first class actor, often forgotten nowadays, as her career was short due to her own personal problems that resulted in an early death, partnered here along with the great John Mills lifts this drama into a story of passions that threaten to engulf all around them. The film captures the age where England still struggled with the shadow of the Second World War right into the 60s and 70s especially in remote rural communities where a patriarchal lifestyle was the norm. Dulcima represents the awakening of women to a better life than one of drudgery as wife and housekeeper. In the film Dulcima resists the marriage proposal of Parker but not totally, she's torn between the safety of his wealth and the dream of escape to a better life. She comes to life when she buys new clothes for herself almost reaching the mystical world of which she dreams. In that sense this is a most interesting social study and a film that has been mostly forgotten. It's well worth seeking out.
Director Ridley Scott's film debut and a remarkable, astonishingly beautiful one too. Famed, even possibly notorious, for his dedication to the visual presentation of his films this is a film highly detailed in every scene and the soft focus hues create a landscape of autumnal beauty that is rarely matched. The mise en scene throughout is fantastic with every scene carefully and meticulously constructed like a classical painting. Set in the early 19th century this tells the tale of two officers in Napoleon's army, D'Hubert (Keith Carradine) and Feraud (Harvey Keitel). When the fiery Feraud takes offence at D'Hubert for delivering a message from their superior he insists they fight a duel. This starts a lifelong animosity between them which is realised through a series of duels. Each becomes more intense and violent as the years go by until Napoleon is eventually deposed and D'Hubert retires to a quiet life in the country but Feraud soon returns. As a period drama this is a film that exudes a romantic time tinged with constant war, a story of honour, obsession and love. It marked Scott as a filmmaker of great skill and unique style and in many ways it's a film that paved the way for his later classic films, especially in the amazing detail applied. The support cast are excellent and include Albert Finney, Edward Fix, Diana Quick and Cristina Raines. Highly original, great story and wonderfully directed this is a masterpiece.
Director Walter Hill made a series of very cool films in the 70s and 80s, many have reached cult status and viewed today they exude a European arthouse vibe even though they're deeply rooted in traditional American genres. Once described by Quentin Tarantino as one of the coolest movies ever made The Driver is a superb example of Hill's film style. Sharply edited, low on exposition, little if any character background, fast paced action and a tight plot. Written by Hill with Steve McQueen in mind (he turned it down) this stars Ryan O'Neal, not an actor normally associated with tough action cinema, as the titular Driver (all the characters are unnamed in the film and referred in the credits by their role), a professional getaway driver for hire. He has a fixed fee, only works with top level criminals and accepts no mistakes. He's also the obsession of Bruce Dern's Detective, who will do anything to catch his man even setting up a bank job and ensuring the Driver is hired. It's a cat and mouse game with the story concerned with who is the cleverest. Great chases, gutsy action and well directed this is a fantastic 70s crime film, one of Hill's smaller but better for it films and worth seeking out if you've never seen it. Dern is great as the very unpleasant cop and it's the first American film role of Isabelle Adjani, who later regretted her involvement. A major influence on Drive (2011).
First class crime thriller, gritty, stylish and really quite astonishing as it takes the genre into unexpected directions. Ryan Gosling, in one of his finest performances, is the Driver (he has no character name in the film). By day he's a stunt driver on film productions and a mechanic for Shannon (Bryan Cranston) who is also an arranger for the Driver's work at night where he is a coolly professional getaway driver for hire. Despite being taciturn and cautious he befriends his neighbour Irene (Carey Mulligan) and her little boy and their feelings for one another slowly begin to grow until her husband (Oscar Isaac) returns home from prison. He is in debt to some very nasty bad guys and is ordered to commit a robbery for them. The Driver agrees to help him but it all goes awry forcing the Driver to take action. The film has all the hallmarks of a Michael Mann film, ultra cool nighttime scenes of LA, close up camera angles and quick and realistic violence. The support cast are impeccable and include Christina Hendricks, Ron Perlman and Albert Brooks. Russ Tamblyn has a cameo too. As the baby faced yet frighteningly tough Driver Gosling is a fresh take on the American anti-hero that litters the crime and western genres, and in many ways he reminded me of the stranger in High Plains Drifter (1973) and I'm sure the influence of Ryan O'Neal's character in The Driver (1978) is behind this film. The set pieces are exciting and realistic including a car chase sequence. This is a superb film and Gosling is spot on casting. A must see film.
Big budget, hi octane and full on action doesn't always make for a satisfying experience. Here the Russo Brothers attach their Avengers credentials to a Mission Impossible/Michael Bay style action fest that ultimately feels very silly. Ryan Gosling plays a CIA assassin recruited from prison by Billy Bob Thornton who becomes his surrogate father and becomes an anonymous agent. Known only as Sierra Six he globe trots killing for the CIA until he discovers there's some rogue management in the agency and he has the evidence in a microchip which acts as the film's MacGuffin. He then finds himself hunted by psychopath agent and torture expert Lloyd, played with obvious relish by Chris Evans. This cues set piece after set piece of chases, fights, shooting as Gosling channels his JohnWick/Ethan Hunt/Jason Bourne/James Bond hybrid personality. The trouble is it all feels a little flat and uninspiring and everything has been done before and I have to say better. Ana de Armas struggles with the limited role she's given, a shame as she showed what she's capable of in No Time To Die (2021) in a much smaller role. You'll end up laughing at much of it and the very clichéd ending as Evans and Gosling go mano a mano is a damp squib and a tired way to end a film like this. It's difficult to see where this is pitched, it's probably a teenage film as its too violent for kids and too daft for adults. Disappointing it certainly is and I'm guessing a franchise is in the offing.