Film Reviews by griggs

I decided to rewatch Inside Out in anticipation of seeing the sequel, Inside Out 2. My initial viewing impressed me, earning the film four and a half stars out of five. However, this second viewing was a different experience, prompting me to revise my rating downward.

On re-watching, the jeopardy and stakes in the film felt significantly more contrived. The tension and plot twists that initially thoroughly engaged me now seemed forced and predictable. Additionally, the characters, both human and emotional, were much less likeable this time around. Some, like Joy and Sadness, which I once found endearing, came across as annoying.

Overall, while Inside Out remains a beautifully animated film with a creative concept, its charm diminished significantly on a second viewing. My excitement for the sequel is now more tempered, hoping it can recapture the magic that seems to have faded from the original.

O Lucky Man! is an absurdist film that presents a biting satire of 1970s UK society. Seen through 21st-century eyes, it becomes a grim reflection of its time, critiquing the socio-political landscape with a dark, almost prophetic tone.

Malcolm McDowell’s character, Mick Travis, is at the centre of the film, a proto-Thatcherite figure whose ruthless ambition makes him neither likeable nor sympathetic. His journey through various absurd scenarios serves as a vehicle for the film’s critique. Still, his lack of redeeming qualities leaves the audience detached, observing rather than engaging.

The ensemble cast, composed mainly of actors from 1970s UK sitcoms, adds an intriguing layer to the film. Their multiple roles create a tapestry of interconnected vignettes that enhance the absurdity. However, the appearance of Arthur Lowe in blackface (following a similar appearance by McDowell) is a stark reminder of the era’s problematic attitudes, leaving a bitter taste in the mouth. This unfortunate choice overshadows some of the film’s more compelling elements and mars its legacy.

Helen Mirren’s early role is a beacon of compassion in a sea of cynicism. Her performance adds a much-needed emotional depth to the narrative, offering a glimpse of humanity amidst the chaos. Mirren’s character is one of the few that evokes genuine empathy, highlighting her remarkable talent even at this early stage of her career. Alan Price and his band provide the film’s musical backbone, their songs interweaving with the narrative to underscore its themes. While their music is a highlight, the repetition of certain tracks suggests a fatigue with the story itself, reflecting perhaps the audience’s own weariness as the film progresses.

O Lucky Man! is a complex film oscillating between brilliance and discomfort. Its absurdist approach, ensemble cast, and poignant music are offset by dated and offensive elements. It offers insight and challenge for those interested in a satirical exploration of 1970s Britain.

The Big Blue boasts breathtaking underwater sequences and sweeping oceanic vistas that immerse the audience in the serene and often mysterious world beneath the waves. The visual storytelling is nothing short of mesmerising, capturing the vastness and beauty of the ocean with an artistry that few films achieve. Each frame is meticulously crafted, making the underwater scenes memorable and evocative.

Unfortunately, The Big Blue struggles to find its footing beyond its visual splendour. The script lacks depth, with dialogue often appearing stilted and uninspired. The acting, too, fails to deliver, with performances that feel wooden and fail to evoke the intended emotional response. While attempting to complement the grandeur of the visuals, the music often feels overbearing and out of place, detracting from rather than enhancing the experience. Editing further compounds these issues, contributing to a disjointed narrative flow that can be jarring for viewers.

Moreover, the film’s excessive length is a significant detriment. It sometimes feels unnecessarily drawn out and pretentiously indulgent, which can test the patience of even the most dedicated viewers. The pacing suffers, making it difficult to maintain engagement throughout its runtime.

One redeeming element beyond the cinematography is the subtle homage to 2001: A Space Odyssey. This nod to a cinematic classic is a pleasant surprise, offering a moment of reflection and a connection to the broader tapestry of film history. It adds a layer of depth and context otherwise lacking in the film.

The Big Blue excels in its visual presentation, creating a visually captivating experience. It falls short in almost every other regard. The script, acting, music, and editing leave much to be desired, making it a challenging watch despite its cinematic beauty.

While the artistry and ambition of Mad Dog are to be heralded, the end result is a confused tapestry where the narrative gets lost in the shuffle. It is a visual feast that leaves the audience yearning for a more coherent story to anchor its stunning images.

Everybody Wants Some!! is Richard Linklater’s spiritual sequel to Dazed and Confused, focusing on a college baseball team in the early 1980s. This lets Linklater fully explore the male character, a theme he embraces fully, something he is oft criticised for the neglect of female characters.

Amid a cast that makes it easy to map the characters from Dazed and Confused, Glen Powell stands out as Finn, providing the film's voice of reason. The film’s strength lies in its dialogue, with the best scenes featuring characters simply talking and hanging out.

Linklater’s keen ear for authentic dialogue and period details shines throughout the film. Much like in Dazed and Confused, the soundtrack drives the narrative, perfectly capturing the era’s vibe and enhancing the overall experience.

Linklater continues to reshape the jock image, showing them as complex and intelligent, primarily through Powell’s character. Despite this, it fails to critique their outdated views on women, failing to build depth in the portrayal.

Everybody Wants Some!! is a nostalgic, dialogue-driven film about male camaraderie and college life. Its engaging portrayal of youthful camaraderie makes it a worthy successor to Dazed and Confused.

Morvern Callar is a cinematic marvel that captures the essence of storytelling in its rawest, most unfiltered form. Samantha Morton's performance is a tour de force, a unique blend of breathtaking, fearless, and fascinating. She brings a rare intensity and authenticity to the character, a portrayal that is the film's beating heart, drawing the audience into Morvern's complex world with a magnetic force.

The film's direction and cinematography are compelling and a gateway to an immersive experience that blurs the line between fiction and reality. How Morvern Callar is shot is incredibly evocative, making it hard to remember that you are watching a film and not living within its scenes yourself. Every frame is meticulously crafted, contributing to a visceral and intimate atmosphere long after the credits roll.

Combining Morton's stunning performance with the film's masterful visual storytelling, Morvern Callar stands not just as one of the greatest British films of the 21st century but as a transformative experience. It is a testament to the power of cinema to transport, transform, and transcend. This film is not just watched; it is experienced, leaving an indelible mark on its audience and inspiring them to see the world in a new light.

Frank Capra’s Me Smith Goes to Washington has long been heralded as a classic of American cinema, taking up spot 26 on the AFI 100 List. However, with time, the film's once-inspiring narrative has succumbed to a dated sentimentality that may not resonate with modern audiences. The film is often criticised for its overly sentimental and idealistic portrayal of politics. Capra's characteristic optimism is on full display, culminating in a happy ending that feels excessively simplistic, given the complexities of real-world politics. This idealism, perhaps uplifting during its time, now comes across as naive and unconvincing. You cannot help but draw comparisons to "The Simpsons" episode "Mr. Lisa Goes to Washington," which offers a far more satirical and nuanced take on the themes of political integrity and corruption. Unlike Capra's film, the episode balances humour with a biting critique of political systems, making it a more effective and entertaining watch for contemporary viewers. While "Mr. Smith Goes to Washington" might have been revolutionary, it now seems more like a relic of a bygone era, hindered by its schmaltzy storytelling and an overly rosy resolution. Time has not been kind to this film, and its message feels lost amidst its saccharine execution. Time to take it off the AFI 100.

Death Race 2000 is ridiculous, but that makes it so much fun. With a ludicrous plot, outlandish costumes, exaggerated characters and gleefully gruesome special effects, it never takes itself too seriously. The film’s low-budget aesthetic only adds to its charm, creating a campy, over-the-top spectacle that’s impossible to look away from. It’s this blend of action and humour that has cemented its status as a cult favourite.

If you’re in the mood for a film that’s equal parts silly and subversive, this is one race you won’t want to miss.

Blade is a critical film in the Marvel canon, setting the stage for future MCU movies. Snipes excels as the half-vampire hunter, delivering intense action and charisma. The film’s dark, gritty style, extreme camera angles and impressive fight scenes stand out. However, the plot can feel disjointed, and some effects are dated. Despite its flaws, Blade’s undeniable impact proves that comic book adaptations could succeed commercially and critically.

Donnie Darko is a profoundly affecting film that challenges conventional storytelling with its unique blend of genres and intricate narrative. Jake Gyllenhaal’s compelling performance, combined with Richard Kelly’s visionary direction, makes it a standout piece of cinema that continues to resonate with viewers. Whether you interpret it as a tale of mental illness, a sci-fi mystery, or a philosophical exploration of fate and free will, Donnie Darko is a film that invites reflection and discussion, solidifying its status as a modern classic.

An absolute downpour of joy! Gene Kelly may be the lead, but Donald O’Connor steals the show with 'Make ‘em Laugh’.

Badgers? We ain't got no badgers. We don't need no badgers. I don't have to show you any stinkin' badgers!

Dune Part 1: is, well, fine. The visuals are impressive, but after a while, all that sand starts to feel repetitive. The cast is solid, but their characters never really pop off the screen. The story has potential, but it’s mostly set up for what’s to come, leaving you with a lot of build-up and not much payoff. If you’re a die-hard fan of the book, you’ll probably appreciate the effort. For everyone else, it’s an okay way to spend a couple of hours, but don’t expect to be blown away. It’s decent, but not much more than that.

If you’ve ever wondered what it’s like to spend two and a half hours watching paint dry in a desert, Dune Part 2 is the film for you. This cinematic nap fest is a dazzling display of orange hues and sand with a plot that trudges along like a weary traveller lost in the dunes. Fans of epic sci-fi prepare to be underwhelmed. For everyone else, make sure you have a pillow to hand.

John Krasinski's IF has a certain charm, but it just doesn't quite hit the mark. In the cinema where I watched it, the kids were running around whilst adults tried to sleep to pass the time, neither engaged nor entertained. The film can't seem to find its groove, and even though there are a few sweet moments, it ends up being a letdown, and I can’t remember a single laugh. All in all, it's a bit of a disappointment and doesn't live up to what it could have been: a kind, engaging family comedy.