Film Reviews by GI

Often claimed to be one of the most accurate of war films this is one of the best British films ever made. Based on a celebrated novel it's a story of Royal Navy escorts during the Battle of The Atlantic and the Arctic convoys in the Second World War. It has a documentary realism and seamlessly weaves actual war footage into the film making it very tense. It's a story built around two naval officers, Captain Ericson (Jack Hawkins) and Lieutenant Lockhart (Donald Sinden) and their tours of duty on two ships that attempt to protect merchant convoys from U-Boat attacks. The film captures the monotony, fear, camaraderie and terror of the war at sea as the two enemies stalk one another and all the while the sea presents the most frightening danger. Controversially it shows the awful and difficult decisions that men have to make when faced with war. Hawkins and Sinden give first class performances and this film cemented Hawkins as a major British star. There's a host of British character actors in support too. This is a significant war film, certainly one of the few that didn't go in for the false heroics of Hollywood films in this genre but sought to capture the realities of war. It shows that a war film can be intense and gripping without the need for gratuitousness. A remarkable film that deserves a modern audience and it is most certainly a film I highly recommend if you've never seen it.

An award winning apocalyptic film from New Zealand. An interesting story about a scientist (Bruno Lawrence) who finds himself the only human left after a massive energy project goes wrong. Of course he's not the last man standing as he finds a couple of others along his journey that involves his struggles with isolation through to trying to put right what has happened. It's a little enigmatic and the scenes involving the loneliness are ideas seen in any number of similar films. The film has it's fans although viewed today it seems a little dated and at times clichéd. The tensions between the three survivors are never pursued quite as satisfactorily as the film promises but the strange ending leaves the film feeling like it's something different and a bit mysterious. Worth checking out.

A tough, uncompromising, realistic and very thought provoking war film set on the Russian Front during the Second World War. Twenty years before the celebrated realism of Saving Private Ryan (1998) came along director Sam Peckinpah made this film that Orson Welles described as one of the greatest war films ever made. He was right, this is a remarkable film with some of there most authentic combat scenes committed to film. It's a story of ordinary men thrust into the maelstrom of war and reliant on luck and experience to survive. Death by random shellfire litters the film and the constant fear in the characters is always evident and battle is experienced by the soldiers everyday. James Coburn plays highly decorated Sergeant Steiner, a German soldier who has become highly respected by his men and the officers above him for his combat skills and ability to survive. But he hates the establishment and ideology that forces ordinary young men into war. He therefore immediately distrusts his new commander, Captain Stravinsky (Maximilian Schell), a class obsessed man desperate to win the Iron Cross. When Stansky lies in order to win the medal Steiner stands against him so Stravinsky sets about ensuring Steiner and his men will not survive. This is Peckinpah's last great film, a genius director mired by alcoholism, but who turned ordinary stories into something very special. This film is a bloody, compelling indictment of war. The battle scenes are epic in construction and exciting while portraying the horrors of war. Thematically this delves into the philosophy of humanities obsession with war through politics and ideologies where the victims are those forced to fight. A masterpiece and a film I highly recommend.

A pyschological thriller that doesn't quite find itself. This is one of those narratives where the audience are constantly torn between did it happen or is it all in his mind. Aaron Eckhart plays Arthur, an ex cop now private eye but who is also a conspiracy theorist and mentally unstable. He's mired by grief due to a family trauma. He gets hired by a woman claiming her daughter was mysteriously killed in the small border town of Wander. The circumstances have a similarity to something in Arthur's past and so he sets off to investigate. Once there he uncovers a conspiracy that affects the entire population....or does he? Eckhart's detective is too far gone here to make the story interesting, he does more stumbling onto things than actually investigate and of course you're constantly being juggled between is it his delusion or actually happening with a fairly predictable denouement at the end. It's all a bit drab and uninteresting. Heather Graham lends support.

Aussie comedian Paul Hogan wrote and starred in what he thought would be a nice little Australian comedy but this became one of the biggest grossing films of 1986. Viewed today it is guilty of cliché and it's really a clash of cultures, fish-out-of-water romcom but it exudes enormous charm and it's really funny even though there's some jokes about race and sexuality that might fall a bit flat today. The narrative falls into two neat halves, the first being the better of the two. Journalist Sue Charlton (Linda Kozlowski, in her first screen role) travels to a small town in the Australian outback in search of the story of a local man who was allegedly attacked by a crocodile, lost his leg but manages to crawl out of the bush to safety. She finds instead Mick Dundee (Hogan), a poacher who has lived all his life in the outback and he takes her on a trip into the bush where he has to save her from a crocodile. Here the seeds of a romance begin and Sue invites Mick back to New York where he finds the frenzied and trashy life of Americans very difficult to comprehend and faces the competition of Sue's fiancé for her love. The comedy of the first half is in introducing the contradictory character of Dundee and seeing a rich and somewhat naïve woman suddenly faced with the mysteries of aborigines and wild animals. The second half is more predictable with Dundee having to deal with escalators, bidets, LGBT Americans, prostitutes etc etc. The thing is it's still a funny and warm film with some great comedy moments. There were two sequels which didn't offer much new so are best avoided but this, the first, is worthy of rediscovery.

A delightful true crime caper and underdog story that has that streak of British eccentricity which will appeal especially to UK audiences. This tells the story of the mysterious disappearance of the portrait of the Duke Of Wellington by Goya from the National Gallery in 1961. Jim Broadbent, a national treasure if ever there was one, plays Kempton Bunton, who lives in the north east with his wife, Dorothy (Helen Mirren), who is constantly frustrated with Kempton's inability to keep a job because he can't help standing up to the establishment, his big cause being the paying of a TV licence for OAPs, so he refuses to have one of those too. When he sees how much the government have paid for the Wellington portrait he decides to 'kidnap' it for awhile and hold it for ransom. The police are convinced its a highly professional theft until Kempton decides he has to return it and he has to face the consequences. There's an element of comedy kitchen sink drama to this lovely little film made more funny and interesting by it being based on a true story. There's also a plot twist which makes it even more poignant. Overall this is a film enhanced by Broadbent especially and Mirren as his long suffering wife. There's the usual narrative digs at the class system which was very deeply ingrained at the times and the film has the air of the old Ealing style comedies making it very amusing and very watchable.

Jeff Bridges gives an award winning performance in this marvellous modern day drama. He plays 'Bad' Blake, a former country & western star now sadly broke, alcoholic and reduced to performing in bowling alleys and small bars. His manager urges him to start writing new songs if not for himself but for top star Tommy Sweet (Colin Farrell), once Bad's protegé. As his health deteriorates Bad is given a chance of redemption when he meets music journalist Jean (Maggie Gylenhaal) and they begin a romance. Bad warms to her young son, Buddy and he feels his life may now turn good again. But his alcoholism soon causes big problems. Bridges is one of the best of American actors around today and he always delivers a performance that is reason to see this film. Here he is a broken man trying to rekindle his genius but scarred by life and tries to find hope in love. The film has sadness, despair and redemption and above all showcases this remarkable actor. Robert Duvall also has a supporting role. A film I recommend.

Based on the novel by Nick Hornby this is a let down. It's a complete misfire which leaves it as cringeworthy and all despite a sterling cast no doubt trying their best. The story is essentially one about depression and how support from friends can help deal with it yet here we have a clumsy, somewhat inappropriate attempt at comedy to explain this. Four depressed people, a disgraced TV show host (Pierce Brosnan), a lonely girl mourning her dead sister (Imogen Poots), a failed rock star (Aaron Paul) and a mum failing in her care for her disabled son (Toni Collette), all happen to meet at the top of a building where they intended to commit suicide. Once you get that zany coincidence you can try and buy into the plot where they bond as a support group of friends and then inadvertently become a media story but look out for each other through a series of ups and downs. Sam Neill, Joe Cole and Rosamund Pike lend their talents to this poorly conceived comedy that is best avoided.

Director Ridley Scott's elaborate and convoluted tale about greed centred in the world of drug trafficking. It's a thriller that is visually impressive, has a very complex script courtesy of novelist Cormac McCarthy, a highly impressive cast and some real shocking moments. It's a modern crime film told in an epic style that probably needs a couple of viewings to really appreciate it properly but it really is worth it. Michael Fassbender is criminal lawyer (or counsellor in American parlance) who has a lavish lifestyle. He is deeply in love with his beautiful fiancée, Laura (Penélope Cruz) but finds his finances can't match the life he wants for them. He thinks the easy solution is to fund a one off big drug deal where he can realise a massive profit. He arranges this through his client and dodgy nightclub owner, Reiner (Javier Bardem) and Westray (Brad Pitt), a go between with the cartel that imports the drugs. But things go quickly awry when, unknown to everyone, Reiner's girlfriend, Malkina (Cameron Diaz) sees an opportunity to enrich herself and arranges for the drug shipment to go missing. This has serious implications for the Counsellor. Admittedly the film has some long talking scenes that slows the flow but when things begin to happen you get the typical Scott action set pieces that are tough and brutal. This director's films are always worth your time and this underrated one is far better than it's reputation. It's not his best but definitely a cut above anything similar. If you like your crime films realistic and adult then look no further.

A dark, thriller styled new take on Batman with inspired casting of Robert Pattinson as the titular avenger. He's really good in the role from playing Bruce Wayne as a sort of rock star type recluse to the pumped up Batman, roaming the murky, rain drenched streets of Gotham City in the night time, claiming to anyone he deals justice too that he represents 'vengeance'. The film continues the visual styling that Christopher Nolan brought to his 'Dark Knight' trilogy and whilst this new film doesn't match the originality of those films it has a lot going for it. The story is a mystery, with a serial killer on the loose murdering the city's dignitaries claiming they were all corrupt, in this regard there's story and visual elements of Se7en (1995) at play here, he also keeps leaving clues/messages at the crime scenes for The Batman. There's some great set pieces and whilst the film is quite long it seems to fit it's time well and doesn't resort to a giant punch up at the end like the Marvel films tend to do. Director and writer Matt Reeves has managed very cleverly to bring in key characters from the franchise including Catwoman (Zoë Kravitz), Riddler (Paul Dano) and Penguin (Colin Farrell - under heavy prosthetics). Andy Serkis as Alfred the butler is a little underused but does have 3 or 4 key scenes and the ever dependable Jeffrey Wright is Gordon the future commissioner of police. None of these characters is how you'd expect them to look or behave giving the film a fresh take on the franchise. There is the slight issue of having to tell the Batman's backstory which we've all seen in other films but it is wrapped up here in the film's central mystery plot so overall it works and for the most part feels fresh. Definitely a film to enjoy on a big screen as it's spectacular and atmospheric. 

A London based crime thriller that is surprisingly well done and entertaining. The trailer, poster and even casting suggest a clichéd rehash of any number of cheap exploitation flicks but this one is rather good. Craig Fairbrass who has made a career of playing hard men and has a somewhat limited acting range has of recent times been giving some performances that have some added spice and varied flavour. Here he plays Eddie, a career criminal just released after a long stretch and looking forward to running his family pub with his younger brother, Sean (George Russo). He's soon in for some unpleasant surprises as Sean is in hock to the Garrett brothers (Robert Glenister & Tomi May) who want their money or the pub. Eddie has resort to his old life to resolve his problems. Fairbrass plays this as a man torn between his old life and the redeemed one he really wants. He desperately wants to reconnect with his daughter (Izuka Hoyle) and make an honest new start but inside is the subdued anger of a violent man ready to burst out. On the face of it this has a vengeance narrative but it ends up being more nuanced and intriguing. It has some brutal violence but overall it's actually quite restrained. The female characters are a little underdone and lack depth but that aside this is a British crime film that is well worth checking out.

Fantastic and gritty police thriller with an absolutely stunning cast led by Sylvester Stallone playing against type. If you think of Stallone in his Rambo/Rocky, pumped up persona then he will surprise you in this cracking film. He plays overweight, partially deaf and kindly town sheriff, Freddie in the small town of Garrison, situated just over the state line from New York City. Most of the town's population are cops from the NYPD who tolerate Freddie as he's low key and doesn't interfere with them. But when Internal Affairs shows up in the guise of Robert De Niro hunting for a missing corrupt cop Freddie is forced to face the reality that his town is a mob funded front for corrupt police officers. This has a great story, some neat action and with support by Ray Liotta, Robert Patrick, Harvey Keitel, Annabella Sciorra and others this is a film that has a suspense driven plot that is very well written and superbly directed. This is great stuff, if you've missed this one then check it out you won't be disappointed.

One the best prison dramas of all time and with an iconic star in one of his best roles. Paul Newman plays Luke who after an act of drunken vandalism is sentenced to a term on a chain gang. Despite being a decorated former soldier Luke is a loner and a man who refuses to kowtow to the establishment. The strict rules of the prison soon has him earmarked by the 'bosses' as a troublemaker but they are unprepared for Luke's constant challenges to their authority. Set in the 1950s this is a sharp condemnation of an American prison system still in operation in the southern states when the film was made. A brutal regime designed to break a man's will and make him law abiding with punishment as the main aim. As a drama this is unequalled with a wonderful cast that includes George Kennedy, Harry Dean Stanton, Joe Don Baker and the great Strother Martin as the head of the prison. It's full of famous and iconic scenes including the '50 eggs eating contest' and it boasts the sexiest car washing scene ever committed to film. It's tough story with pinches of religious iconography, it's moving, humorous and tense and definitely one of those films everyone should see; you'll be surprised at just how good it is. A key American film of the 60s.

This is a rather touching and tender romance with some added suspense thrown in. And it's actually quite refreshing to see a story that's about the deep love of two much older people. The story is about Nina (Barbara Sukowa) and Madeleine (Martine Chevallier), both retired and living in a small French town. They have neighbouring apartments and on the surface are two friends. But they have a secret. They have been passionate lovers for years and have kept this from everyone due to Madeleine's family and her controlling husband. But since his death they are now planning to reveal all and live the rest of their lives together. But Madeleine fears the reaction of her two children and then fate deals them a serious blow when she has a major stroke and Nina is determined to be there for her. The two main performances are wonderful with Chevallier stunning as the part paralysed Madeleine and Sukowa revealing an icy determination as Nina determined to be by her side at all costs, at times she looks like she's capable of anything. A quite satisfying and lovely film, which if you like romantic drama will push all the right buttons.

Certainly eerie and atmospheric but rather a dull thriller about a young depressed woman who becomes obsessively convinced she is to die the next day. When she tells her friend she too gets the same feelings and so it goes with the 'thing' becoming contagious. The feeling of imminent death manifests as some disco lights and then everyone becomes more and more morose. I get that this fits well in the era of the Covid pandemic but as a narrative film it's just dull exemplified when the lead character repeatedly plays the same side of a record monotonously over and over (Grr) and I can even buy into the theme that death is always somewhere around the corner for everyone but it's still a difficult film to buy into. It definitely didn't work for me.