Film Reviews by GI

A brilliant and creepy psychological horror film with a restrained plot that works really well. Set in a small rural English village where one afternoon a strange phenomena affects everyone in the village when they all black out. Everyone recovers with no apparent side effects but a couple of months later it seems that all the women of childbearing age are pregnant even though it's an impossibility for some of them. Twelve children are born a few months later and develop at an accelerated rate and appear to be of high intelligence, they are similar in appearance and soon the villagers begin to fear them. One of them a scientist (George Sanders) who's wife has given birth to one of the children tries to find out why they are so different. This is one of those cycle of films that appeared in the late 1950s and early 60s that delved into the paranoia around technological developments, radiation and atomic energy and like Invasion of The Body Snatchers (1956), this is one of the most original and being set in quaint old England gives it a pagan feel of the supernatural. What appeals most about this film is the clever avoidance to over explain the plot leaving the viewer to make their own assumptions but whatever you decide is behind the strange happenings this remains a very unsettling film and a first rate British film. It's a pity the women who give birth to the children and are emotionally and socially damaged by the experience are somewhat sidelined in favour of the superstitions that the menfolk develop but this is arguably a result of the need to divert the audience away from the rather closeted subject of childbirth and appease the censor. A 1964 sequel and a 1995 remake changing the setting to small-town America are not a patch on this original. A film well worthing checking out if you've never seen it.

A roisterous, rowdy swashbuckler full of romance, sex and violence with Hollywood's usual warped view of history. A great adventure film though and one worth seeking out if you've never seen it. Produced and starring Kirk Douglas, who was major box office at the time, but who was notoriously difficult on set. Interesting though that he plays the anti-hero here tipping over into the bad guy at key moments in the story. This is all about the fight over a beautiful woman, in this case Janet Leigh, between the corrupt Northumbrian king (Frank Thring - always good as a slimy baddie) and Kirk Douglas' one eyed Viking warrior. Into the mix comes Tony Curtis as a slave but who may have a more interesting background who loves the same woman and this cues fights, feuds, and battles to get the girl. The great Ernest Borgnine plays the Viking boss and British stalwart James Donald is the English traitor with the knowledge to fill in all the plot points. This film fits into the big, brash, colourful matinee epic that made huge money. With the big budget came a film that rolls along at great pace, over the top characters and great fun. It's always worth checking out these great films from around the late 50s and early 60s because they never fail to entertain.

The perfect Trump era social drama with a nice dose of good humour thrown in which makes this very watchable and quite heart warming even if occasionally its a little underwhelming. Written and directed by Emilio Estevez he also stars as Stuart, a librarian at Cincinnati's large central public library. During a particularly cold winter the library is daily inhabited by the city's homeless trying to stay warm. They're generally an affable lot and Stuart treats them with respect although they cause wannabe Mayor, Josh Davis (Chritian Slater), a lot of angst. One evening a large group of the homeless decide to stay in the library as there are insufficient shelters in the city. Stuart supports them but soon the forces of law and order led by Davis and cop, Bill (Alec Baldwin) treat it as a siege and a stand off begins. There's no doubt the film is a direct attack on the right wing media and far right politics of contemporary USA and occasionally it's very blunt in its messaging. But it's overall a rather pleasant film with it's heart firmly in the right place and for that its well worth a watch. Good support cast also includes Taylor Schilling, Jena Malone, Jeffrey Wright and Michael K. Williams.

This is one of those period English dramas that oozes charm and a nostalgic vision of a past time, in this case the late 1930s on the eve of the Second World War. It's based on a true story but reimagines the nature of relationships and adds fictional characters. The story centres around the discovery of the Sutton Hoo treasures. Carey Mulligan plays wealthy landowning widow Edith Pretty who has long been curious about the ancient mounds on her Suffolk land. She hires Basil Brown (Ralph Fiennes) a renowned local archaeologist to excavate the mounds and against the odds he finds a buried ship and much more. The establishment in the guise of a pompous expert (Ken Stott) comes from the British museum to take over the dig. The first act of the film as the relationship between Edith and Basil develops in a sort of restrained romance and the mound reveals its first treasures is arresting and sets a firm sense of the time and place with all the class issues neatly reflected in the clipped accents and local drawl. The second act ditches that to focus on a real romance between two of the diggers at the site played by Lily James and Johnny Flynn. This has less impact and almost overshadows the more interesting characters of Basil and Edith. Overall though this is a comfortable, interesting and gentle film that is a very pleasant evening's viewing. Recommended.

Director Francis Ford Coppola has tweaked the structure and edit of The Godfather: Part III to produce this slightly long version with a different start and a different end. But don't be fooled that this adds anything particularly new, in fact for the most part its the same film, and, for me, the ending here is strangely weird considering the new title - The Godfather Coda: The Death of Michael Corleone.. The original film was much derided on release and has never really garnered the accolades of the previous two films, masterpieces both. I have a suspicion that Coppola has been wounded ever since and this is his attempt to try and convince everyone that The Godfather: Part III is as good. He's wrong. This new cut changes nothing in the plot and if you agree with Al Pacino Michael Corleone's narrative efforts to become respectable don't fit with the conscience free Michael of the previous films. There is much to admire in this film and some of the set pieces are well constructed but the climax is too similar to that of The Godfather (1972) and obviously so. So overall this new edit is somewhat disappointing and bears no similarity to the excitement of Coppola's tinkering with Apocalypse Now (1979). If you want my advice it's stick to the original release version, its slightly more satisfying.

This is a bizarre love story set in an Hungarian slaughterhouse, and some of the scenes of the actual work are not pleasant but they effectively set the back drop for what is a Lynchian style romance story. It follows Endre (Géza Morcsányi), the manager, a dry, ageing man with a damaged arm who is attracted to Mária (Alexandra Borbély), a new girl who has Aspergers and is the subject of mockery at work. They discover that every night they share the same dream and begin to bond over it. Their love is intense within their dream subconscious (and its not a routine sex dream either and I won't spoil it by revealing it) but they have difficulty in turning this into reality. This is a tender film that attempts to place the love story into a surreal world where ill suited people can bond. There are some shocks along the way especially as Mária has difficulty coping with intimacy in any form. Interesting and at times absorbing although perhaps a little too out there for the mainstream.

The title of this gutsy crime film caused confusion when the film was released with people thinking it was a martial arts film. It is actually a very gritty and interesting cop drama set in New York's Chinatown. Mickey Rourke, then a rising star, plays NYPD cop Stan White who is assigned to Chinatown to deal with youth gangs but because he's confrontational and, scarred by his time in Vietnam, a racist he targets the neighbourhoods crime bosses who have traditionally been allowed to operate with impunity. The new boss of Chinatown, Joey (John Lone) is trying to make a big drug deal which Stan is determined to foil. Written by Oliver Stone and directed by Michael Cimino this is more than just a straight forward cop film, it has complexity and an intriguing plot that includes scenes in Thailand. Rourke is excellent here as the determined and damaged cop who refuses to kowtow to his superiors orders, the film also deals with his collapsing marriage and there is some realistic violence although the film is not simply a blood and guts story. This is a film that may have passed you by but it's worth checking out as it's a really interesting and clever variation on the traditional cop drama. There are themes here involving the effect on individuals and society following the Vietnam War and the inherent racism in everyday American life. It also draws a beady eye on police corruption and 'arrangements' made with criminals for political gain.

Based on a true story although it takes a few liberties apparently this somewhat gentle drama is about Forrest Tucker (Robert Redford) a serial bank robber all his life who has escaped from prison multiple times and now in his seventies is still robbing banks; flashing his gun at surprised bank tellers and treating them to a smile and pleasantries. He's part of a small gang of oldies along with Danny Glover and Tom Waits and hunted by cop Casey Affleck. This is set in the 80s and the plot gives Tucker a love interest in the form of Sissy Spacek and some flashback sequences that utilise old Redford movies. It's an ok story, Redford seems a little stiff and wooden at times and I was left not really knowing what the film is trying to be. The central robbery happens off screen and the relationship between criminal and cop is opened up but never fully explored. As Redford's supposed swansong it's of interest but a little lame.

This is a really funny, quite touching and sexy romcom directed by Woody Allen and set in Spain, one balmy summer. Vicky (Rebecca Hall) and Cristina (Scarlett Johansson) are two old friends who spend a summer in Barcelona. There they meet the charismatic artist Juan Antonio (Javier Bardem) who seduces both of them. But as the heady mix and match of the three of them gets complicated, into their lives comes Juan's ex wife, Maria Elena (Penélope Cruz), a tempestuous and unpredictable woman and Vicky's boring but safe fiancé Doug (Chris Messina) arrives from the US intent on marrying Vicky in Spain. All of their lives become very tense and confused as who loves who gradually reveals itself. Cleverly scripted and with great performances, not least Cruz who won an Oscar here, this is one of Allen's more appealing films of late and there's something very original about the convoluted relationships that the plot follows. It's also a very funny film too. If I have one big criticism is that the ending is a bit of a damp squib but that said this is still worth checking out if you've never seen it.

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.