Film Reviews by GI

A truly remarkable and quite beautiful film that is a very touching period romance with an enthralling mystery story for its main plot and with some very gritty and realistic war scenes thrown in for good measure. Set mainly in 1920 and young country girl Mathilde (Audrey Tautou) refuses to accept her fiancé, Manech (Gaspard Ulliel) was killed in 1917 on the western front. She begins an investigation to find out what happened to him even though he is officially listed as one of the dead. She discovers he was one of five men condemned for self inflicted wounds and cast out into no mans land where they were all apparently killed. She finds that the stories of the other four are all wrapped up in the fate of Manech. This really is a delight of a film. The balmy, almost sepia, look of the 1920s and the unbelievably realistic recreation of Paris at that time is really very impressive and this is juxtaposed with the grey, dank scenes set in the trenches in 1917, some of the closest recreations of the the First World War that cinema has produced. The characters are all wonderful and very memorable and the film boasts Jodie Foster in a cameo. Ultimately this has a very clever and intricate storyline constructed like a mystery thriller with murder, deceit and twists that are very unexpected. This is a first rate film and will appeal to everyone as it has almost something for all film tastes. If you've never seen this and are looking for something truly exceptional, look no further.

This is considered to be Alfred Hitchcock's greatest achievement and it has occasionally been cited as one of the greatest movies ever made. It is certainly a masterpiece of suspense and for its time it's a bold tale of sexual obsession, misogyny and an example of the 'male gaze' theory of American drama. A mystery thriller it stars James Stewart, who was criticised for being too old for the role, who plays 'Scottie' Ferguson, a former police detective forced to retire after his fear of heights resulted in the death of a colleague. He is hired by an old friend to follow his wife, Madeleine (Kim Novak), who suffers from blackouts and Scottie is asked to keep a protective eye on her. But soon Scottie becomes obsessively in love with her and they start an affair. When another tragedy strikes and Madeleine is killed Scottie falls into a deep depression until one day he sees Judith who bears a resemblance to Madeleine. They start a relationship and Scottie tries to influence how she dresses and acts in order to look more and more like Madeleine. This has some great twists in the plot and it's a brave role for Stewart who was better known for wholesome roles. Hitchcock utilised new photographic effects to simulate the dizzying effects of Scottie's vertigo and he resisted attempts to over explain the plot. This is a major American film and certainly one that every film fan should make sure they see.

This remains a very relevant film and it's a great story. A very uncompromising condemnation of populism, weak politics, apathy and of course showing what happens when people allow control of their lives to become a reality. Set in a future dystopian United Kingdom where a fascist government run by a dictator, Chancellor Adam Sutler (John Hurt), ensures its control of the population by a severe insistence on religion, homophobia and racism all of which is allowed by an apathetic public and overseen by a military style police force. Then a terrorist emerges to challenge the authority, he calls himself V (Hugo Weaving), wears a Guy Fawkes outfit and with the help of a young woman (Natalie Portman) begins a campaign to bring down the regime. On its first release this was criticised for being rather too talky and not enough action but viewed today it doesn't feel like that at all and the action set pieces are quick and effective and very exciting. It's a really detailed story with some very sharp looks at modern society and a warning of what may happen if democracy is challenged and people sleepwalk into its destruction. The cast are impressively good including Stephen Rea as the cop hunting V, Stephen Fry as a broadcaster with a secret, and Tim Piggot-Smith as the regime's second in command - a sort of Himmler character. This film has developed a cult following over the years and V's iconic mask is recognised as a symbol of resistance. A quite powerful film, written by the Wachowski Brothers (now sisters), who were the creative force behind The Matrix (1999)

This multi award winning film is a tragicomedy with a very dark edge with a story that is Shakespearean in style and there's a touch of Hitchcock in its sinister thriller roots. It operates on several levels and sort of draws you in so that it becomes almost horribly fascinating even when you're forced to laugh out loud. It's basically the story of two families who live at the extreme opposite ends of the social spectrum. One is the Kim family, a destitute street family of Mum, Dad, son & daughter who con, steal and defraud their way through life barely surviving day to day. By posing as a qualified college graduate the son manages to get a job tutoring the daughter of the super wealthy Park family. Gradually the Kims inveigle their way into the Parks trust by lies and deceit and begin to enjoy the luxuries of their wealth. But unbeknownst to both families there's something about to go awry with all their lives. The plot goes in a completely unexpected direction and, if you haven't seen this film it's better not to read much more about it as it works best when you're surprised by the turn of events. This is a film that taps into a storyline that's been used in cinema before, the unreliable and manipulative servants who know more about intimate lives of their employers than they should. Events in the film border on comedy farce and it is very funny at times but it will shock you too. A film I highly recommend especially as its the first foreign language film to win the Best Picture Oscar.

This enigmatic heist thriller remains a captivating film and deserved the Oscar for Best Original Screenplay. Now a massive cult favourite it's a film riddled with interesting clues that reveal themselves on each viewing. It has a sophisticated story structure and puts an original spin on the heist genre. The editing, direction and brilliant ensemble cast make it a modern classic of American crime cinema. Five criminals are put in a police line up accused of an armoured car robbery but there presence together is unusual and soon they form together to commit a jewellery heist targeting corrupt NYPD cops. As they become more successful they are approached by a lawyer to take part in a high stakes crime on behalf of a legendary criminal named Keyser Soze, who some believe doesn't really exist. With Gabriel Byrne, Kevin Spacey, Stephen Baldwin, Kevin Pollack, Benicio Del Toro and Pete Postlethwaite heading up the cast and with the mystery of who is actually pulling the strings running through the entire plot this is a film that pulls you in and results in some great discussions afterwards as everyone has their own theories. The fact that this film fails to yield to a completely transparent ending is what maintains its eternal charm. Whatever the established view you can still ask is there is something to be found in the story here to confound that view? It's what makes this so appealing. So whether you are content you've worked it out or are still open to a different reading The Usual Suspects is a film that enthrals and it's most definitely a film that should be on your list if you've never seen it.

There's a unique English sadness to this social drama about sexual repression set in the early 1960s just before the explosion of sexual freedom that marks that decade. Edward (Billy Howle) and Florence (Saoirse Ronan) are two University students, she a talented classical musician, and they, in the heady days of youth, meet and fall in love. She's from a well to do family with two dominant and self focused parents, and he's from a more humble background with a caring father and an artist mother who has mental health issues following a terrible accident. The narrative centres around Edward and Florence's wedding night, in a horribly conventional seaside hotel, where as virgins they are faced with the awful realisation they are unprepared for what turns into a humiliating fiasco and irreparably effects their lives. The story has two codas, one set in the mid 1970s and the second in the early 2000s, and reveals the fate of the two characters. This is a moving and very well acted film although it stubbornly withholds some answers which may leave the viewer a bit frustrated but it's a neat period piece adapted by Ian McEwan from his own novel and worth a watch.

Although very loosely based on real events this is a gangster film entirely rooted in the cinematic genre. It's bright almost comic book look, interspersed with fast, bloody action makes it highly watchable and very entertaining. When you combine the almost iconic action set pieces with the pounding score composed by Ennio Morricone and add the great performances you have a mix that makes for great, popular cinema. Kevin Costner, then a relatively unknown actor, plays Elliot Ness, a US Treasury agent sent to Chicago to bring down prohibition kingpin Al Capone (Robert De Niro having the time of his life). Finding that the police are riddled with corruption Ness turns to humble but honest beat cop Malone (Sean Connery, with an Irish accent that slips all over the place but he's riveting when on screen and won an Oscar), and with an accountant (Charles Martin Smith) and a tough rookie (Andy Garcia) the four of them take on the ruthless gangster. There are two stand out action set pieces, one a gun battle on a river bridge, which mixes humour with bloody violence and the second a slow burning, slow motion fight in Chicago's Grand Central Station taking place on the main stairs. It's director Brian De Palma's homage to Battleship Potemkin (1925) even adding some sailors who get caught in the crossfire. It's one of those scenes that makes you love cinema. This is a period gangster film that has sets recreating the old classic gangster films of the 30s with added colour and it's a real treat. A moral tale where law and order is blurred with right and wrong. If you've never seen this then you really must and if its a favourite then time to watch again.

If you were entertained by Underworld (2003) then you'll enjoy this too. It's a direct sequel with the story and action starting immediately where the first film left off. Vampire warrior Selene (Kate Beckinsale) and Michael (Scott Speedman) are now on the run having killed Viktor (Bill Nighy), a vampire elder. Unknown to them the first and most terrible vampire Marcus has been awakened and is also hunting them because they unknowingly have the key to release Marcus' brother William, the first and most terrible werewolf. This film ups the gore and violence, there's a raunchy sex scene and the film has a more distinct gothic horror feel with some impressive monsters. There's a great prologue set in the thirteenth century which features Bill Nighy in a return cameo as Viktor and some fun new characters including Tony Curran as Marcus, Steven Mackintosh as debauched vampire Tanis and Derek Jacobi as the key to the whole story. The whole plot from the first film involving Speedman's hybrid character is made pointless in this film but never mind its best not to over think these films. It's never going to win any prizes and you either will love it or hate it but occasionally this sort of great cinematic entertainment simply fits the bill.

Clint Eastwood's overwhelmingly brilliant revisionist western that completely deconstructs the myth narrative of this uniquely American genre. From the opening shot this is a beautiful picture to watch and an enormously clever story. Eastwood stars as Will Munny, a poor pig farmer, widower and father of two young children. When he hears that there's a bounty being offered to kill two cowboys for cutting a prostitute he decides he needs the money and teams up with his old friend Ned (Morgan Freeman) and a young man who claims to be a gunfighter (Jaimez Woolvett) to go and kill the two men. Years ago Will was a reputedly a merciless killer, a life he spurned after meeting his late wife and now he has to struggle to keep his old vicious temper at bay especially as he has to encounter the nasty sheriff, Little Bill Daggett (Gene Hackman). The script delves into how legend and word of mouth stories become warped and romantic in the telling whereas the truth is often much more sordid and violent. This is a story of ruthless men but, unlike the westerns of previous years, these have no code, no honour and are violent by nature rather than need. There are no fair play gunfights this is a story of cold blooded murder. Eastwood, who won the Best Director Oscar and was nominated for Best Actor, is remarkable here and Hackman (winner of Best Supporting Actor) along with Richard Harris as an egotistical killer makes for a great cast. Eastwood's contribution to the western genre is to be applauded and this is his finest achievement in relation to deconstructing the genre. This is a film that deserved the Best Film Oscar, it's a masterpiece and deserves a modern audience. If you've never seen this then I really urge you to seek it out, you will not be disappointed.

A smart, intellectual espionage film based on real events and benefiting from the trademark realism, in this case for the late 1950s, that director Steven Spielberg does so well and very much aided by the sharp script courtesy of the Coen Brothers. Tom Hanks utilises his All American family man persona to its usual full effect as the humble attorney Jim Donovan who is assigned to defend Rudolf Abel (Mark Rylance, in a stunning performance), a Soviet spy arrested by the FBI. Donovan is dedicated and does his job properly despite being publicly threatened and vilified in the tabloids and he manages to avoid his client being sentenced to death. A few years later and an American pilot is captured by the Soviets and Donovan is recruited by the CIA to negotiate a trade, the pilot for Abel. Reluctantly he agrees and heads off to Berlin but he decides to carry out the negotiations his way and rejects his CIA controller's orders. Spielberg recreates here the infamous U2 spy plane incident, a key moment in the Cold War. This is a tense drama that attempts to follow the world of spying in the Cold War accurately so consequently this isn't a film with gadgets and guns. It is rather a thought provoking story and effectively a historical one that brings into the public eye an unsung American hero. Hanks gives his usual well crafted performance but it's Rylance that makes the film so very watchable. This is one of Spielberg's more subtle and restrained films and its well worth a revisit if you've only seen it once and definitely one to see if you've not done so.

You need look no further if you want a full on fantasy action film that entertains from the get go because this is sheer adult fun, and admittedly for me a bit of a guilty secret film. The premise is that there's been a centuries old hidden war being fought between a race of vampires and the Lycans (or in other words werewolves). In the present day in an unnamed Eastern European city the vampires have all but wiped out their age old enemy but vampire warrior Selene (Kate Beckinsale - very impressive toting guns dressed in lycra!) discovers the Lycans have been rallied by their leader, Lucian (Michael Sheen), who was long believed to be dead and that they are seeking a human called Michael (Scott Speedman) for some nefarious reason. With the great Bill Nighy supporting as a vampire elder and with some great shoot out scenes, very impressive transformation special effects and a dark atmosphere aided by a loud rock soundtrack this is everything you can wish for in action cinema. The creatures are all fantastic and there's a loose theme around interracial relationships but you don't need to get bogged down in over analysing the text because this is what it says on the tin, full on, fun-filled action at its best. The film was such a success that it's spawned a series of films most of which have gradually become more tiresome (the first sequel is quite good though) but this first film is a must see.

A truly remarkable and highly original film. Categorising this is difficult and depends on your reading of it but it's probably best described as a science fiction/horror film although it's far more subtle and clever than you might expect from those genres. Scarlett Johansson, in arguably her best role, is a mysterious woman who roams the roads of Scotland luring men and taking them to a strange other dimensional place where their bodies are consumed. She maybe an alien entity, and the films opening suggests she is replacing another of her kind who has been killed. She is assisted by another 'alien' on a motorcycle who acts as her bodyguard. She completely lacks empathy with humans and is intent only on luring them to what is their doom. But soon she becomes intrigued by her body and the behaviour of the humans she observes and allows one of the men she catches to go free. Hunted by her companions she disappears into the highlands. There are some very disquieting scenes especially one on a windswept beach and the film has an eerie, dark and at times quite frightening atmosphere to it. But strangely the viewer begins to have some sympathy for the 'woman' as her path becomes more tortured. The end is well worth waiting for too. This is only director Jonathan Glazer's second feature film after Sexy Beast (2000) and on the merits of both he is a director of style and skill and worth checking out any future films. Ultimately this is Johansson's film, she carries the entire film and plays against anything she's done before or since. When you consider that Glazer used a lot of hidden cameras and many of the people she interacts with were ordinary people who were only told afterwards that they were in a film you can see clever she was in playing the part to the fullest. A brave performance and a highly impressive one. Under The Skin is a fantastic piece of cinema and I cannot recommend it highly enough.

A classic but forgotten British crime drama, very gritty for its time and especially as its set in Newcastle although there are no Geordie accents. This is quite an evocatively told story that is essentially one of thieves falling out. A group of criminals led by Johnny (Michael Craig) has been planning a wages van robbery for several months but when the company ups the security the gang's inside man, the panicky Dennis (William Lucas), says the job is now impossible. But Johnny goes ahead anyway and a security man gets killed. The gang soon begins to fall apart and the dead man's wife (Billie Whitelaw) decides to hunt the gang down for her revenge. With all the action taking place in the backstreets and outskirts of Newcastle and shot in stark black & white this has a sense of realism that is unique to British films of this time. The violence and sex were deemed very risqué in the early 60s and the film has some great character actors including Tom Bell and Kenneth Griffiths. Billie Whitelaw is especially good here with that steely look she had that made her very menacing. A thoroughly entertaining crime film from a time when British films were something very, very special indeed.

An amiable somewhat self indulgent drama set in the Paris literary world and trying to say something profound about the digital age and the crisis of younger people not reading books. Mixed in is that all the characters are having affairs with each other, some are suspected and some doing so with impunity. There are a couple of running jokes and the film is watchable and occasionally draws you in but the film is overall a little weak. Juliette Binoche stars and is always very appealing. Here she is a TV actor married to publisher, Alain (Guillaume Canet). He's refusing to publish emotionally needy author Léonard's (Vincent Macaigne) new autobiographical novel and who happens to be having an affair with his wife. It's all played out in a series of emotional and complex conversations that have some humour but the film finally feels empty.

The 1970s was a decade of western revival and there are many great westerns to be found made in this period. Director Robert Aldrich's Ulzana's Raid is arguably one of the best and a fantastic performance from Burt Lancaster as an ageing and cynical army scout. The film is a clear allegory to the Vietnam war and in particular the naivety of the Americans in believing they could easily defeat an indigenous enemy. This is a film ripe for restoration and it's quite bizarre that a good version has not been produced for the modern day market. There were two released versions, one by the director and a subtly different one put together by Lancaster. Most DVD copies contain Aldrich's version but it suffers from roughly done editing especially around some scenes of horses falling where tripwires were used. That said the Aldrich version is the more comprehensive in what is a film now considered to be a mini masterpiece. Set in Arizona, the harsh land being a key element of the plot, and an Apache warrior Ulzana escapes from the reservation with a small band of his braves and heads off on a murder spree. Young, inexperienced army Lieutenant DeBuin (Bruce Davison) is sent with his troops to catch or kill the raiders. He is assisted by MacIntosh (Lancaster) and an Apache tracker (Jorge Luke) but as they come across the horrific results of Ulzana's raids on homesteaders the lines between morality and civilised behaviour become more blurred. There's some grisly scenes of tortured bodies and victims but the film is quite restrained in depicting violence. It's in the themes of depravity caused by hatred that the film excels. It's certainly an important film in the genre and, if you're a western fan, definitely one to seek out.