MARKED MOVIES

Bug * * * *

Posted in Horror, Mystery with tags 2006 on August 24, 2012 by Mark Walker

Director: William Friedkin.
Screenplay: Tracy Letts.
Starring: Ashley Judd, Michael Shannon, Harry Connick Jr, Lynn Collins, Brian F. O’Byrne.

When Bug was released in 2006, I all but ignored it, thinking it was going to be nothing more than a cheap, straight to DVD horror flick with giant cannibalistic ants and shit. It wasn’t until I took notice of actor Michael Shannon that the film resurfaced again and found it’s way onto my ‘to see list’. I took me a while to get a hold of it though and as a result it fell off my radar again until I was reminded of it recently. Now, I’m glad to say that I have seen it and it wasn’t at all what I thought it was going to be. It far exceeded my expectations.

Agnes (Ashley Judd) is lonely woman who moves into a rundown motel to escape her husband Jerry (Harry Connick, Jr) who has just been released from prison. She is introduced to eccentric drifter Peter (Michael Shannon) who seems to be hiding something and is prone to the occasional conspiracy theory. Not before long, things start to unravel as a bug infestation takes over the motel room.

Based on the play by Tracy Letts (who also writes the screenplay) and set largely within the confines of a remote motel room, it’s easy to see why this material would have played well on stage. It’s claustrophobic atmosphere is captured straight away by Friedkin and his unsteady camerawork lends a perfect sense of unease within the characters and their confined space. It begins slowly building with a gradual pace but with the arrival of an on-edge and abusive Connick, Jr and an unsettling and creepy turn from Shannon, the pace escalates to one of unbearable and visceral intensity. This is less of a gory horror and more of a psychological, character driven chamber piece that benefits from three brilliant performances. Unsurprisingly, it’s Shannon who once again stands out. He’s an actor that possesses a natural intensity and this is a role that’s fully suited to his abilities. In fact, it might even be Shannon’s finest performance and that’s saying something. However, it could also be seen as to why Shannon has now, seemingly, been type-cast as a loon-ball. Particularly impressive is Friedkin’s handling of the material though and how it grips with a plot that’s entirely unexpected while exploring the heavy issues of psychological trauma, emotional dependency and delusional paranoid schizophrenia. It’s only towards the end that the film starts to show it’s faults. It does contain a lot of ambiguity but it’s rushed and plot holes do become apparent at this time. So much so that a couple of characters appear and disappear without explanation.

This will not appeal to everyone and those expecting an out-and-out horror will probably be disappointed but if you enjoy your horrors in a more cerebral, psychological fashion, then this certainly delivers.

Mark Walker

37 Comments »

Wild Bill * * * *

Posted in Crime, Drama with tags 2012 on August 22, 2012 by Mark Walker

Director: Dexter Fletcher.
Screenplay: Dexter Fletcher, Danny King.
Starring: Charlie Creed-Miles, Will Poulter, Sammy Williams, Leo Gregory, Neil Maskell, Andy Serkis, Olivia Williams, Liz White, Jason Flemying, Jamie Winstone, Mark Monero, Sean Pertwee, Marc Warren, Charlotte Spencer, Hardeep Singh Kohli.

It’s pretty much inevitable that throughout each year a British working class drama will make an appearance. What’s surprising about them though, is that whoever steps behind the camera, they seem to find some more mileage and deliver something different from a now tiring formula. Paddy Considine done it last year in “Tyrannosaur” and now (another) actor turned director Dexter Fletcher does it with this.

“Wild” Bill Hayward (Charlie Creed-Miles) has just been released from prison. He heads back to his home where he finds that his partner has abandoned his children in his absence, leaving his 15 year old sons Dean (Will Poulter) and 11 year old Jimmy (Sammy Williams) fending for themselves. When there is a threat of them being taken into care, Bill reluctantly decides to stick around but his youngest has got involved in drug dealing, dragging Bill back into the life he’s been trying to avoid.

I’ll be honest in my judgement of this film beforehand, I was expecting another attempt at ripping off Guy Ritchie and the success of his film’s “Lock, Stock and Two Smoking Barrels“, “Snatch” and “RocknRolla”. I’m happy to say that that wasn’t the case here. Sure, this film possesses a similar gritty feel and similar touches of humour but writer/director Fletcher has crafted a very personal film that has an appeal of it’s own. This doesn’t follow the conventions of the British crime flick but delivers a touching and heartfelt family drama. It also pays homage to the classic western in a very understated and clever way; apart from the title itself, the main character of Bill has a tattoo of a Sheriff badge on his chest; he refuses to be run out of town and stares down the local nasties – climaxing in a bar room (saloon) showdown where it becomes apparent why he has received his moniker. All the elements are here and Fletcher does extremely well in managing them with a subtlety, without losing track of the job at hand. Despite the downbeat, and sometimes threatening characters and dysfunctional family element, there is a lightness of touch to be found here and the whole cast deliver memorable shows. Ultimately though, it comes down to the leading man himself – Charlie Creed-Miles. A lot of people may be unaware of this highly underrated actor’s talents but he had previously delivered excellent supporting roles in Gary Oldman’s directorial debut “Nil By Mouth” and Luc Besson’s “The Fifth Element“. Whether or not this film gets him more work remains to be seen but he’s certainly deserving of it and shows impressive range as a decent hearted father with an underlying protective ferocity.

This is a film that manages to juggle several themes and moods and marks a very successful debut from Dexter Fletcher. I only hope that more people pay attention this little gem.

Mark Walker

16 Comments »

Shotgun Stories * * * *

Posted in Drama with tags 2007 on August 20, 2012 by Mark Walker

Director: Jeff Nichols.
Screenplay: Jeff Nichols.
Starring: Michael Shannon, Douglas Ligon, Barlow Jacobs, G. Alan Wilkins, Travis Smith, Michael Abbot Jr, Glenda Pannell, Natalie Canerday, Lynnsee Provence, David Rhodes.

In 2011, relatively unknown writer/director Jeff Nichols took a lot of people by surprise when he delivered one of the best films of the year in “Take Shelter“. However, four years prior to that he had already made his debut with Shotgun Stories which is a film that shares a similar downbeat tone. Despite being seen by very few, this impressive debut shows a strong ability from this new director.

In the back roads of South East Arkansas, three close brothers, Son (Michael Shannon), Boy (Douglas Ligon) and Kid (Barlow Jacobs) hear the news of their estranged fathers death. They attend the funeral if only to relate their vehement hatred of the man as he abandoned them in their youth and started a new family. As result of this, their fathers other sons (and half brothers to them) get involved in a feud that reaches dangerous and deadly proportions.

I always find it quite interesting watching the debut of a director you admire, especially when you’ve been introduced to them at a later date and find yourself looking back at their earlier material just to see where they honed their skills. In this case, it’s easy to where Jeff Nichols is coming from. Like “Take Shelter“, this film starts off at a deliberate pace. It’s in no hurry to tell it’s story and favours a slow approach to build up it’s characters and the mundane lifestyles they lead. It may be a little slow for some but the story here is all very deliberate and naturally handled. Nichols certainly has an eye for small town America and with help from cinematographer Adam Stone, he effectively captures the vast emptiness of the town which also reflects in the emptiness of the characters’ lives. Everything about this film is subtle and understated but all the more brooding and effective for it. Performance wise, there are some faults with the lesser known actors but as always, Shannon delivers a solid show and with scars on his back that resemble shotgun shells, it only serves to fuel the films enigmatic nature and understated detail. When the feud between the half brothers takes hold, the muted first half of the film turns to one of tension as it reaches tragic Shakespearean heights that’s handled very impressively and never succumbs to formula. By this, there lies the question on whether the denouement is as satisfactory as it could be but Nichols’ handling is undeniably good and it makes for an impressive debut from him. It’s not quite as good as “Take Shelter” but this is a director that has started strongly, backed it up with one of the best film’s of 2011 and I believe will continue to go from strength to strength – time will tell with his forthcoming film “Mud” released later in 2012.

In “Take Shelter“, Nichols dealt with events that had almost biblical proportions and when looking at this you can see that he shares a similar theme. This is a highly accomplished debut from one the most exciting new directors to reach our screens.

Mark Walker

18 Comments »

My Son, My Son, What Have Ye Done * *

Posted in Drama, Mystery with tags 2009 on August 19, 2012 by Mark Walker

Director: Werner Herzog.
Screenplay: Werner Herzog, Herbert Golder.
Starring: Michael Shannon, Willem Dafoe, Chloe Sevigny, Udo Kier, Michael Pena, Grace Zabriskie, Irma P. Hall, Loretta Devine, Brad Dourif.

Sometimes a film comes along that although it hasn’t received a wide release or even a reasonable marketing campaign, it can capture your attention by the very people involved. This has prestigious director Werner Herzog; the go-to-man for troubled souls Michael Shannon; a host of talented supporting roles including the always reliable Willem Dafoe and it’s executive-produced by surreal transcendentalist David Lynch. I thought it’s lack of attention was maybe because the film was a stinker or maybe it was just a cult classic waiting to be discovered. Now that I know, I’d unfortunately put the film’s relative obscurity in the former category.

Brad McCullum (Michael Shannon) is a strange young man living in San Diego. One day, unexpectedly, he kills his mother with a sword and locks himself away in his home, claiming to have hostages. Detectives Havenhurst (Willem Dafoe) and Vargas (Michael Pena) arrive on the scene to get to the bottom of Brad’s seemingly sudden act of lunacy.

As this film opens it’s apparent, early on, that it’s going to go in a different direction. The use of music is eerie and the behaviour of the characters very off-key but then that’s entirely expected when David Lynch’s name appears on the opening credits. It even has a few of Lynch’s regular cast members in Dafoe, Brad Dourif and Grace Zabriskie but the most apparent thing that separates this from Lynch’s efforts is the absence of haunting composer Angelo Badalamenti. Without him, it’s just not the same. There are several moments to be admired and those moments are mainly fashioned with a Lynchian wierdness but it’s an ability that Herzog just can’t get a handle on here. Even though Lynch is weird, he is never boring but Herzog certainly comes across this way. Despite it’s intriguing atmosphere and sense of mystery, I found myself losing interest and losing it rapidly. The performances – as expected – are great and Michael Shannon adds another intense and off-beat character to his résumé but the tone and poor script let down any impressive work delivered onscreen. In fact, if it wasn’t for the reliable cast, I’d rate this even lower than I have. As an exploration of mental health culminating into Greek tragedy, it’s ambitious but the sheer strangeness of it all just falls flat.
In the same year, Herzog released “Bad Lieutenant: Port of Call New Orleans” which was an another exploration of one man’s insanity but as impressive as that was, he doesn’t achieve the same balance with this one. I always knew I was taking a chance going into this but I really didn’t expect it to be as bad as it turned out to be. I held onto the fact that this it may have been misunderstood but I was, sadly, mistaken.

As the old proverb goes… ‘too many cooks spoil the broth‘; this might have worked better had either Lynch or, especially, Herzog had a clearer idea of what they were delivering. On this occasion I’ll be changing Werner’s name to ‘Herz-slog’. What he was formulating, I was receiving on a badly tuned frequency.

Mark Walker

16 Comments »

LET’S HAVE A SIT DOWN #4

Posted in Uncategorized with tags 2012 on August 17, 2012 by Mark Walker

With the release of The Expendables 2 upon us, I thought this would be a fitting time to turn two of cinema’s biggest macho personas on their heads. In this episode, 80’s and 90’s action stars Sylvester Stallone and Arnold Schwarzenegger work out their aggressive homoerotic tensions and engage in some rough sexual activity. This may not be the ‘sit down‘ that most would expect from these two heavyweight action stars but I couldn’t resist twisting it about a little. Although it might not look like it, I assure you, that all words are spoken by them in character. I omitted some words to give it a different context but added absolutely nothing. Be aware, there may be a risk of the iconic characters and film’s used, never looking the same way again.

(Warning: there are some profanities included and some strong suggested sexual references but if you find it crude and insulting, then the mixed up wordplay has actually worked)

Stallone: Hey, Yo…

Schwarzenegger: Nice night for a walk.

Stallone: Do you like having a good time?…

Schwarzenegger: … you’re making a big mistake. You got me mixed up with somebody else.

Stallone: I been comin’ here for six years, and for six years ya been stickin’ it to me…

Schwarzenegger: If you’re not ready to act, give me a break and shut up.

Schwarzenegger: Your clothes… Give them to me now.

Stallone: I think my underwear is riding into my throat.

Schwarzenegger: Why are you being so immature about all this?

Stallone: Yeah, well… 500 times a night? It stings after a while, ya know.

Schwarzenegger: I’m the party pooper.

Stallone: It’s really hard to say this. I feel like, well… I’m thinking maybe it’s time that I should, uh, step down maybe…

Schwarzenegger: Well I’m sorry to disappoint you but you’re gonna… enjoy all the glorious fruits life has got to offer – acne, shaving, premature ejaculation…

Stallone: You know what the trouble with you is? You’re too violent.

Schwarzenegger: I know now why you cry but it’s something I can never do.

Stallone: Emotions… there ought to be a law against them.

Schwarzenegger: Why am I wasting time with a dime-store putz like you when I could be doing something much more dangerous, like re-arranging my sock drawers?

Stallone: Everybody needs something. And I think what YOU need is a whole lotta ME, wrapped around you on a cold winter night.

Stallone: Why don’t you screw…

Schwarzenegger: No problemo.

Schwarzenegger: My body. My choice.

Stallone: Your body has to be here, but your mind can be anywhere.

Schwarzenegger: Enough talk.

Schwarzenegger: Come on… just… put… in me and look me in the eye and see what’s going on in there when you turn it.

Stallone: You’re gonna regret this the rest of your life… both seconds of it.

Schwarzenegger: The… nine millimetre.

Stallone: I can’t hear you…

Schwarzenegger: Come on… Come on, Do it. Do it, Come on, Come on… I’m here I’m here… Come on… I’m here, Come on, Do it now…

Stallone: You’re a big man, but you’re out of shape. For me it’s a full time job.

Schwarzenegger: Who is your Daddy?…

Stallone: You’re the disease, and I’m the cure.

Schwarzenegger: My nipples are very sensitive.

Stallone: Y’know, sometimes charity really hurts.

Schwarzenegger: Cutie pie. One of us is in deep trouble.

Stallone: I’m taking care of business.

Schwarzenegger: Oh, you think you’re bad, huh? You’re a fucking choir boy compared to me. A CHOIR BOY!

Stallone: Yeah, to you it’s Thanksgiving; to me it’s Thursday.

Schwarzenegger: You Want to be a farmer? Here’s a couple of acres

Stallone: Stop or my… will shoot.

Schwarzenegger: Come with me if you want to live.

Stallone: You ain’t so bad, you ain’t so bad, you ain’t nothin’. C’mon, champ… in the face.

Stallone: You know, you got a big mouth, you know?

Schwarzenegger: Well… I’ve got to hand it to you. It’s the best… fuck yet.

Schwarzenegger: … I hope you leave enough room for my fist because I’m going to ram it into you… and break your god-damn spine.

Stallone: You can’t break me.

Schwarzenegger: Bleed, bastard.

Stallone: … somewhere between my vest and my pants.

Stallone: Don’t push it. Don’t push it… Let it go. Let it go.

Schwarzenegger: I’ll show you collateral damage.

Schwarzenegger: Now that hit the spot.

Stallone: I look at this… and I don’t like what I see.

Schwarzenegger: Consider that a divorce

Stallone: How do you think this makes me look?

Schwarzenegger: You’re one… ugly motherfucker.

Stallone: Well, we’re all a little freaky… It’s those straight ones you’ve got to worry about.

Schwarzenegger: I just had a terrible thought… what if this is a dream?

Stallone: I can’t get it out of my head. A dream of seven years. Everyday I have this. And sometimes I wake up and I don’t know where I am. I don’t talk to anybody. Sometimes a day – a week. I can’t put it out of my mind.

Schwarzenegger: If this is a dream then who the hell invited you?

Stallone: All right, just relax… You wanna talk – we’ll talk. I’m a sucker for great conversation.

Schwarzenegger: You gave me a Raw deal.

Schwarzenegger: No sequel for you.

Stallone: I feel like a Kentucky Fried idiot.

Schwarzenegger: You were never that smart.

Stallone: During this… I’ve seen a lot of changing, in the way you feel about me, and in the way I feel about you. In here, there were two guys… I guess what I’m trying to say, is that if I can change, and you can change, everybody can change.

Schwarzenegger: No more games.

Stallone: I’m expendable.

Schwarzenegger: Hasta la vista, baby

Stallone: You should finish what you start.

Schwarzenegger: I’ll be back.

Stallone: I’ll be the judge of that.

30 Comments »

The Skin I Live In * * * * *

Posted in Drama, Horror, Mystery with tags 2011 on August 16, 2012 by Mark Walker

Director: Pedro Almodovar.
Screenplay: Pedro Almodovar, Agustin Almodovar.
Starring: Antonio Banderas, Elena Anaya, Marisa Paredes, Jan Cornet, Roberto Alamo, Blanca Suarez.

Any time I approach a film by director Pedro Almodovar, I know straight away that I’ll have to pay attention. He explores difficult and heavy themes but does them with such style and attention to detail that his craftsmanship cannot be ignored. For anyone wondering whether he achieves the same level of quality with this recent effort, then wonder no more. He does and more so.

Robert Ledgard (Antonio Banderas) is a plastic surgeon who has perfected a new form of artificial skin. The problem with Ledgard though, is that he’s not entirely healthy of mind and as a test subject, he holds Vera (Elena Anaya) captive in his home to conduct his experiments. However, the arrival of a wanted criminal makes an appearance at his home which brings forth the dark history of the doctor and patient and how they came to be in their current situation.

Something that I have always tried to avoid when writing down my thoughts on a film is treading into spoiler territory. This is certainly one of those films that’s difficult to write about without giving away major parts of the plot. Suffice to say, Almodovar himself described the film as “a horror story without screams or frights” that was loosely based on the novel “Tarantula” by French writer Thierry Jonquet and inspired by Georges Franju’s 1960 film “Eyes Without a Face“. It also has an odd David Lynch feel to it, or more to the point, Lynch’s daughter Jennifer and her 1993 movie “Boxing Helena” (much more accomplished than that of course) In different hands this film could have fell into torture porn territory and ended up hitting the straight to DVD slasher shelf but with Almodovar at the helm, it takes on a whole new shape and form. His ability to construct an elaborate narrative cannot be questioned and he commands an audiences attention, while teasingly, revealing the layers to his story. Quite simply, he’s an artist! That statement alone should be enough to simplify this highly creative director’s impressive catalogue. Scenes are shot with such an eye for detailed beauty that you’d be forgiven for being reminded of classical pieces of art as he frames his picture like an expressionist painter. The production design is superb and visually, the film is simply beautiful. The beautiful look isn’t reflected in the material though. This is dark stuff and despite being, both shocking and bizarre, it possesses a sense of humour – all be it, a sick one. Almodovar’s recurrent themes and probing of the human psyche are also explored; masochism, transgender issues and repressed sexuality but ultimately this is a modern, twisted take on the Frankenstein story and one that he imbues with style and creative flair. But nothing is black and white here, he even toys with the morality of the audience in clever use of the Stockholm syndrome in which a hostage begins to identify with and grow sympathetic to their captor. As always with Almodovar though, there are a major plot developments that throw his films off-kilter and take such dramatic turns that they quite near takes your breath away. To reveal any more would be completely irresponsible and wholly unfair of me but rest assured that this is thought provoking filmmaking and a craftsman plying his trade at a very high standard. He’s also aided by superb performances by his leads; Elena Anaya could well be the next Penelope Cruz and it’s great to see Banderas deliver such an intense and brooding character, making you wonder why he and the Spanish auteur have waited 21 years before collaborating again here.

A provocative and macabre near masterpiece from Almodovar. It’s one worthy of attention and arguably his finest film to date.

Mark Walker

40 Comments »

Brave * * * * 1/2

Posted in Adventure, Animation, Family, Fantasy with tags 2012 on August 7, 2012 by Mark Walker

Directors: Mark Andrews, Brenda Chapman.
Screenplay: Brenda Chapman, Mark Andrews, Steve Purcell, Irene Mecchi.
Voices: Kelly Macdonald, Billy Connolly, Emma Thompson, Robbie Coltrane, Kevin McKidd, Craig Ferguson, Julie Walters, Steven Cree, Callum O’Neill, Piegi Barker, Steve Purcell, John Ratzenberger.

Ever since “Toy Story” in 1995, Pixar Animation Studios have consistently delivered the goods. The only possible exceptions being “Cars” and it’s sequel. On the whole though, they have gained a reputation for delivering high quality and innovative story-lines. However, they have now reached a point where they are in danger of becoming victims of their own success. Nothing but the best is expected. This one attempts to go against their usual standard of storytelling and although some have criticism for it’s change of direction, I personally found it as appealing as ever.

In the Scottish highlands, bold young princess Merida (Kelly Macdonald) defies and rejects the services of her mother Queen Elinor (Emma Thompson), who has arranged for her to be married. Merida would rather hunt in the forests with her skills in archery and when her mother refuses to back down on her betrothal, Merida flees from the kingdom where she seeks the help of a witch (Julie Walters). This impulsivity brings a curse upon Merida’s family and one that she must undo before it’s too late.

Not only have Pixar changed their formula in having their first female protagonist in Merida, but they also had their first female director in Brenda Chapman. It was Chapman who conceived the project under it’s original title “The Bear and the Bow” but due to creative differences she was replaced by Mark Andrews. Added to which, Merida was originally to be voiced by Reese Witherspoon, who declined due to scheduling constraints. These post production issues could be the very reason why some critics claimed this film to be uneven. However, one of the silver-linings was the dropping out of Witherspoon as that meant that Scottish actress Kelly Macdonald could replace her. As it is, she’s perfectly fitting. What aids this film immeasurably is it’s authenticity in terms of it’s language and voice cast. It’s predominantly filled by Scottish performers and their delivery is pitch perfect. There are Scottish words and references peppered throughout, that although it’s not a requirement to understand them, the “patter” and idiom are well served and add a very personal touch that strike a chord and deliver many good laughs. Some characters are certainly stereotypical but they’re fun and endearing nonetheless and surprisingly, for a Pixar movie, there’s a lack of furry animals and cuddly toys to grab the attention of children – although Merida’s three little brothers are adorable. What this mainly has, is heart, passion and the welcome change of a leading female character with a strength and independent spirit. The mother/daughter relationship at the films core, possesses a real depth that Pixar are not usually known for. 2009’s “Up” touched upon it but human relations don’t tend to feature heavily in their films. This is a different direction Pixar have taken but it’s not, altogether, an unsuccessful one. Admittedly, the story is a tad light and formulaic and ultimately, it gives way to the films colourful pallet. But what a pallet it is; it’s simply astounding. The whole film is exuberantly done and visually it’s an absolute kick in the eyeballs; from Merida’s flowing, fiery red hair to Angus her mighty Clydesdale steed and the vast, abundant, Scottish landscapes. The attention to detail is near flawless and it marks a highly impressive new achievement in Pixar’s animation.

Okay, it might not reach the heights of the “Toy Story” trilogy in terms of imaginative storytelling but this is visually beyond anything Pixar has done before. At one point in the film, a character lifts up his kilt and playfully exposes his arse to another clansman, taunting him with the words “Feast yer eyes“. These are the very words that I would choose to recommend this sumptuous film… “Feast yer eyes” indeed.

Mark Walker

43 Comments »

Mirror Mirror * *

Posted in Family, Fantasy with tags 2012 on August 6, 2012 by Mark Walker

Director: Tarsem Singh.
Screenplay: Jason Keller, Marc Klein.
Starring: Julia Roberts, Lily Collins, Armie Hammer, Nathan Lane, Michael Lerner, Jordan Prentice, Mark Povinelli, Joe Gnoffo, Danny Woodburn, Martin Klebba, Sebastian Saraceno, Ronald Lee Clark, Mare Winningham, Sean Bean.

Former music video director Tarsem Singh has steadily built a reputation for himself in creating feature films with high visual flair. For anyone that’s seen “The Cell” or “The Fall” then you’ll know exactly what I’m talking about. This film follows a similar visual path but is so ponderous in the script department that it’s sleep inducing.

In a stolen kingdom, Snow White (Lily Collins) lives with her wicked stepmother (Julia Roberts) but when she attracts the attention of a handsome young prince (Armie Hammer), her stepmother banishes her. In the forest, she finds the company of seven dwarves who rally together to help Snow White reclaim the throne.

Tarsem approaches the old fairy-tale of “Snow White” in an impressive and innovative way by adding a bit of feminism into the mix. It’s a welcome female spin on the fairy-tale structure by having no heroic prince and making Snow White less of a damsel in distress and focusing more on her strengths. It’s a good idea but sadly, that is where the new and improved story ends. The delivery is so painstakingly slow and dull that any positives are soon forgotten about and there’s absolutely nothing else in the script that’s noteworthy. This is a real shame as on the surface of it all, Tarsem has put the work in and his creative visual approach is as apparent as ever. However, with a story lacking in any form of excitement or wonder the superb visuals get bogged in a very tedious affair. It also doesn’t help that the main focus is not on Snow White but on the evil Queen. Now this might have sounded good on paper but to deliver the goods on-screen, you need an actress that has gravitas and one with unquestionable ability. That actress is most certainly not Julia Roberts. She is given a juicy dual role and one that she could really have shown her range but, quite frankly, she blows it. Admittedly, I’ve never been a fan of her. I did like her in her Oscar winning role in “Erin Brockovich” but I struggle to think of any other memorable performance. This is proof again, that Roberts is highly overrated. Armie Hammer, on the other hand, adds a good bit of comic relief as the bumbling prince and Lily Collins makes an admirable Snow White; the least said about the dormant caterpillars that rest on her brow, the better though. Two words spring to mind – tweezers and pluck.
Overall, a very disappointing modern take on an old classic and no matter how good it’s dressed up, it’s ultimately hollow underneath it’s elaborate accoutrements.

Rich in detail but poor in delivery. In this version, Snow White might not eat the poisoned apple and slip into a coma but the audience certainly do.

Mark Walker

21 Comments »

Gladiator * * * *

Posted in Action, Drama, History with tags 2000 on August 2, 2012 by Mark Walker

Director: Ridley Scott.
Screenplay: David Franzoni, John Logan, William Nicholson.
Starring: Russell Crowe, Joaquin Phoenix, Connie Nielsen, Oliver Reed, Derek Jacobi, Djimon Hounsou, Richard Harris, Tommy Flanagan, David Hemmings, David Schofield, John Shrapnel, Tomas Arana, Spencer Treat Clark, Sven-Ole Thorsen, Omid Djalili, Tony Curran, Michael Sheen.

When I went to see Gladiator on it’s release in 2000, I walked out the cinema bitterly disappointed. It went on to win 5 Oscars (including Best Picture) and received a further 7 nominations. This only added to my feelings of resentment towards it. As a result, I chose to avoid seeing it again and didn’t mince my words on my dislike for it. However, plenty of people – who’s opinions I respect – seemed to love it. For that reason, I chose to have a reappraisal.

During the days of the Roman Empire, dedicated soldier Maximus (Russell Crowe) loyally serves the emperor Marcus Aurelius (Richard Harris). When the emperor is killed, Maximus refuses to transfer his loyalty to his son and new emperor, Commodus (Joaquin Phoenix) and suffers the consequences. He is ordered to be killed but manages to escape, ending up in the hands of slave trader Proximo (Oliver Reed), who pits him into the Roman Colosseum as a gladiator. It’s here that Maximus realises he can still use the arena and the crowd to his benefit and plan his revenge on Commodus.

On only my second viewing of this film, my opinion has changed and changed for the better. I still have issues with it but it’s granduer is undeniably impressive and as a slice of entertainment it can’t be faulted. I can honestly admit now, that my scornful opinion of this film was slightly unjust. It was much better than I remember but still not the classic it’s proclaimed to be. For a start, it has a high tendency for melodrama. This is acceptable in some cases but with the acclimations that Gladiator has recieved over the years, I find it needs to be scrutinised a little further. One of the main causes for it’s melodramatic approach is some ridiculous dialogue. Reportedly, during production Russell Crowe himself had complaints with screenwriter William Nicholson’s dialogue, apparently telling him it was “garbage”. I found that to be the case in several scenes and when delivering it, the uncomfortableness in the actors looked apparent. However, they manage to carry it well enough; Crowe is a commanding presence in his Oscar winning role but it’s by no means his best performance. I think his abilities were better tested in previous films “L.A. Confidential” and especially “The Insider“, which he deserved the Oscar for. Phoenix is another actor I admire and he also delivers a good performance but unfortunately suffers with a poorly written and stereotypical character. He’s no more than a cartoon villain – complete with dark eye shadow – and he couldn’t really get any more nasty. Old hands, Harris and Reed phone their performances in and it looks as if Reed is just there for the beer tokens. Jacobi, however brief, shows his thespian abilities and the always excellent Djimon Hounsou is wasted in another poorly written role. There’s not a lot going on for the character’s, as ultimately, this is all about the spectacle. And a fine, grandiose one it is. With “Blade Runner” and most recently “Prometheus“, Scott has never been known to scrimp on the visual front and this is no different. It is
exquisitely detailed (kudos to cinematographer John Mathieson) and filmed in the grandest of scales. The director can’t be faulted in his ability to capture the hearts and minds of an audience and this is no more apparent than the impressively choreographed battle scenes and wonderfully ethereal afterlife sequences – shot with a highly artistic eye. Such scenes are afforded a greater power by a superb score from Hans Zimmer and the haunting vocal talents of Lisa Gerrard (for those unaware, check out her beautiful work with Australian outfit “Dead Can Dance“). On a visual and audio front, this film can’t be reckoned with but unfortunately, I found it to succumb to formula. Despite the fact that the real life Commodus did actually fight in the the gladiatorial arena, the ending stretched credulity for me but I suppose dramatic license is commonplace in film’s of this type.

I enjoyed this a far-sight more than I used to, as it’s undeniably epic and visually arresting. Essentially though, this is an action movie. A good one but not much more than an action movie dressed in the Emperor’s clothes.

Mark Walker

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Midnight Run

Posted in Action, Adventure, Comedy, Crime with tags 1988 on July 31, 2012 by Mark Walker

Director: Martin Brest.
Screenplay: George Gallo.
Starring: Robert DeNiro, Charles Grodin, Yaphet Kotto, John Ashton, Dennis Farina, Joe Pantoliano, Wendy Phillips, Richard Foronjy, Robert Miranda, Jack Kehoe, Tom McCleister, Lois Smith, Tracey Walter, Philip Baker Hall.

“Here comes two words for you… shut the fuck up!”

Many films have tried (and failed) to combine the genres of action and comedy. They were particularly popular in the 80’s with the most successful being Walter Hill’s 48 Hrs and Michael Ritchie’s Fletch and four years before this film, director Martin Brest had already delivered one the decades best in Beverly Hills Cop. With the studios churning them out to this day, this still stands as the finest of it’s kind and still the one to beat. Continue reading →

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MOVIE CONFESSIONS

Posted in Uncategorized with tags 2012 on July 28, 2012 by Mark Walker

In solidarity with my fellow film bloggers I thought I better confess my film sins on the excellent blogathon created by Nostra at MyFilmViews. More details can be found here. As a lot of people were getting involved, I felt I should share also. So here goes…

1: Which classic movie don’t you like/can’t enjoy and why?

It has been said before but I’ve got to go with “Easy Rider“.

Really couldn’t get into it. It was directed by a hippie for hippies. I can see the appeal for people living through this time but despite experimenting with drugs myself, I still couldn’t get it. I could relate to the hallucinogenic experiences but quite frankly the film itself was dull. Oh… and I’m not a biker.

2: Which ten classic movies haven’t you seen yet?

I’ve seen plenty of stuff throughout my 34 years so had to actually trundle through the IMDb to see which ones cropped up. Here they are..

Sunset Boulevard.
Modern Times.
M.
The Great Dictator.
Singin’ In The Rain.
Bicycle Thieves.
The Seventh Seal.
The 400 Blows.
The Sound Of Music.
La Dolce Vita.

3: Have you ever sneaked into another movie at the cinema?

I haven’t sneaked into ‘another’ movie at the cinema but I have sneaked into the cinema altogether. I walked straight past the kiosk on a quiet evening and checked every door till I found a film that was just starting. That film was Roman Polanski’s “The Ghost“. Good film, but then again, sometimes things are better when they’re free. 😉

4: Which actor/actress do you think is overrated?

I’ve got to go with “The Duke” – John Wayne.

Man, that guy and his drawl just doesn’t cut it for me. I find him wooden and can’t quite get why people like him so much. He’s practically the same in every film he’s done. I recently compared him in his Oscar winning role in “True Grit” to that of Jeff Bridges’ portrayal of the same character. Bridges blows his ten gallon hat off and no mistake.

5: From which big director have you never seen any movie (and why)?

Again, I’m another that hasn’t seen any Ingmar Bergman. It’s not through want of trying but I’ve just never found any of his film’s readily available. I suppose if I try harder I could maybe manage it. “The Seventh Seal” has been on my watchlist for years.

6: Which movie do you love, but is generally hated?

“Twin Peaks: Fire Walk With Me” was a real gem for me.

I’m a big fan of David Lynch and the TV series before it. It was criticised for being incoherent and possibly self-indulgent but I absolutely loved it. It’s such an eerie and ethereal treat and a perfect final doze for fans of the series.

7: Have you ever been “one of those annoying people” at the cinema?

Unfortunately, yes.

When I was about 16 I went to see “Trainspotting” with a group of friends. The problem was, I had already seen it and being intoxicated with the alcohol of choice in my city (a strong tonic wine called “Buckfast”) I proceeded to shout out the lines before the characters uttered them. Needless to say, I’m thoroughly embarrassed about this now and the cinema employees seen it fit to eject me from the theatre. Good on them!

8: Did you ever watch a movie, which you knew in advance would be bad, just because of a specific actor/actress was in it? Which one and why?

Got to go with Will Ferrell here.

I am astonished at how people laugh at this guy. I like to think of myself as having a good sense of humour but I throw away better lines on a daily basis than the ones Ferrell has made a career out of. The one that stands out is “Anchorman“, it has such bottom of the barrel humour and I have questioned my abilities to understand him. I just don’t get him. He seems as if he’s making it up as he goes along… and it shows. I know the film has a fervent cult following but quite frankly, I think it’s garbage.

9: Did you ever not watch a specific movie because it had subtitles?

I love foreign cinema. I find it far more substantial and maybe that’s because I’m reading as well as watching. At least two film’s in my personal top ten are subtitled but in all honesty, I’ve got two young kids who run me dry every day, so when it comes to watching a film in the evening I tend to put off anything that will demand from me. I’ve been demanded of, all day.

10: Are there any movies in your collection that you have had for more than five years and never watched?

I’m thoroughly looking forward to eventually getting to all these film’s. I wouldn’t have bought them otherwise but I’ve just not found the time.

“Munich” – Steven Spielberg.
“Bad Education” – Pedro Almodovar.
“Downfall” – Oliver Hirschbiegel.
“Lust Caution” – Ang Lee.
“Precious” – Lee Daniels.

11: Which are the worst movies in your collection and why do you still own them?

“Dune” (simply because I collect everything David Lunch has done. It’s bad but it has it’s place in my collection)

“Nine” (I’m a big fan of Daniel Day-Lewis and I’ll give anything a try that he’s in but on this occasion it was a mistake. I have the intention of making this film “4 1/2” – once I break the disc in two.

Any others, I discarded a long time ago.

12: Do you have any confessions about your movie watching setup at home?

I know a lot of people who find this lunacy from a person that enjoys movies so much but I occasionally watch films on my iPhone. I stick a couple of headphones in and off I go. The screen may be small but I still find I can become embroiled. It’s not ideal but it’s convenient at times.

13: Any other confessions you want to make?

There probably is, as I’ve been a very naughty monkey in my time.

I use my film viewing and writing as a catharsis for my indiscretions but I’m exhausted after answering everything so truthfully. Feel free to spark my memory in any way though.

Mark Walker

34 Comments »

The Hunter * * * 1/2

Posted in Drama, Mystery with tags 2012 on July 27, 2012 by Mark Walker

Director: Daniel Nettheim.
Screenplay: Wain Fimeri, Alice Addison.
Starring: Willem Dafoe, Sam Neill, Frances O’Connor, Morgana Davies, Finn Woodlock, Sullivan Stapleton, Callan Mulvey, Jacek Koman.

Willem Dafoe is one of those actors that despite possessing a recognisable name in cinema still isn’t afraid to take on projects that are in danger of being unrecognised. He’s worked with some of my favourite director’s in David Lynch, Lars von Trier and Wes Anderson and yet always finds the time to be involved in lesser known works. This is another example of that.

A biotech corporation hires hunter Martin David (Willem Dafoe) to track down the, believed to be extinct, Tasmanian tiger. He finds board with a single mother (Frances O’Connor) and her two children who’s father has disappeared in the hills, hunting the same animal. As David delves further into the hunt, he realises that all is not as it seems and his employers, the locals and a tracker (Sam Neill) have other plans for him.

The premise of this film about the hunt for the last known Tasmanian tiger is intriguing enough but it grips even more because of the finely tuned, low-key atmosphere; the indulgence in some beautiful sweeping landscapes and a lead actor that has character written all over his rugged face. From the opening alone, it’s apparent that this film is in no rush and seemingly revels in it’s methodical approach. Now, that’s not normally a problem for me. In fact, I welcome it but when the film hints at a further depth without fully providing it then I begin to feel disappointment creeping in. There are themes of man’s relationship with nature and environmental issues going on underneath it all somewhere but the deeper you dig, you realise it’s not that profound. Yet, on the surface it would have you believe it is. That’s not to say that there’s not plenty to admire here. There is; it has a decent – if underdeveloped -conspiracy thriller element and it’s more than competently shot with beautiful cinematography and another solid performance from Dafoe to add to his growing canon. Most of the weight is on his shoulders and he carries it well but despite a very good performance, I wasn’t entirely convinced about his characters actions. On the one hand, he was very kind and concerned and the other, uncaring and cold. I think the fault with this lies with the script. His character isn’t fleshed out enough leaving him enigmatic. Maybe this was intentional but I just took his character to be muddled, giving off mixed messages and never fully allowing me to identify with him. The rest of the characters came off even less developed which would leave you to believe that this air of mystery amongst them was part of it all. If so, it just didn’t work for me.

It shares similar themes to “The Grey” before it, in terms of man versus nature and even in it’s attempts at a philosophical approach. I enjoyed it but I expected a little more profundity.

Mark Walker

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Tucker and Dale Vs. Evil * * *

Posted in Comedy, Horror with tags 2011 on July 26, 2012 by Mark Walker

Director: Eli Craig.
Screenplay: Eli Craig, Morgan Jurgenson.
Starring: Alan Tudyk, Tyler Labine, Katrina Bowden, Jesse Moss, Chelan Simmons, Brandon Jay McLaren, Christie Laing, Alex Arsenault, Travis Nelson, Karen Reigh.

Sometimes a film comes along that although completely preposterous and silly, it still possesses a certain charm. I grew up watching the likes of Bill & Ted and to this day, find them quite appealing. This first feature film from director Eli Craig isn’t far from that same brand of idiotic humour.

Tucker (Alan Tudyk) and Dale (Tyler Labine) are two gentle and likeable hillbillies who have purchased their own “fixer-upper” holiday home in West Virginia. With the beer and fishing gear packed they head there to relax and enjoy their new surroundings. On the way though, they encounter a group of spoiled college kids who judge Tucker and Dale on their rough exteriors. What ensues after that becomes bloody and messy and it’s not at the hands of the likeable duo.

On occasion, while commenting on films, you can find yourself being overly critical because it’s not normally the type of material that you’re interested in. When doing this, it can often be overlooked how well the film is actually structured or shot. I tried to be aware of this when I sat down to Tucker and Dale. Despite being a fan of Bill & Ted, I now think of myself a little too old to enjoy similar types of films anymore. Any that I do still enjoy, I put down to nostalgia. Of course, this is complete nonsense and now and again I should let myself loose a little and drop the critical barriers, so to speak. Well, in some ways, I did with this. I can obviously see it’s ridiculous premise and nature but there’s no denying that it’s actually rather fun and deserves recognition for putting a fresh spin on the usual horror conventions – the hillbillies are good, being hunted by bad college students. It’s a very appealing horror parody and is served well by two endearing leads in Tyler Labine and Alan Tudyk (in roles originally intended for Zach Galifianakis and Bradley Cooper before hitting the heights of “The Hangover“). They share a similar comradery to the aforementioned excellent dudes, Bill S. Preston esquire and Ted ‘Theodore’ Logan and without their appeal, this film just wouldn’t work anywhere near as well as it does. I had admiration for the director and actors working on it’s tight budget and even the effective comedy of error moments. However, at a short running time, I still found it to overstay it’s welcome and towards the end, it became the very type of film it was sending up. Although the brand of humour isn’t entirely to my tastes, there will be an audience out there that this will most certainly appeal to. I don’t happen to belong to that audience but I can still appreciate the effort and talent involved. Not to mention, some good humour.

This was a film that didn’t receive much marketing and as a result featured in very few cinemas. It did, however, please audiences across the board at several film festival screenings and is no doubt a cult classic waiting to happen. Think Bill & Ted dicing with the Evil Dead and you pretty much get the drift of this one.

Mark Walker

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Lucky Number Slevin * * * 1/2

Posted in Crime, Mystery, thriller with tags 2006 on July 24, 2012 by Mark Walker

Director: Paul McGuigan.
Screenplay: Jason Smilovic.
Starring: Josh Hartnett, Bruce Willis, Morgan Freeman, Ben Kingsley, Lucy Liu, Stanley Tucci, Danny Aiello, Kevin Chamberlin Mykelti Williamson, Dorian Missick, Robert Forster.

The biggest thing I remember hearing about this film upon it’s release was the mentioning of Ben Kingsley’s Knighthood on the film poster. This seemed to create quite a stir, as professional credits don’t normally include this. It transpired that is was all just a mistake but it overshadowed the film itself. A shame really, as this is quite a tight little mystery/thriller.

Arriving in New York to stay at a friend’s apartment, Slevin Kelevra (Josh Hartnett) finds that his friend is missing and owes money to two very dangerous criminals – The Boss (Morgan Freeman) and The Rabbi (Ben Kingsley). Added to which, Slevin finds himself mistaken for his absent friend and soon involved in a lot of trouble with them both. With the help of his friends neighbour Lindsey (Lucy Liu), Slevin tries to clear up the confusion.

I’ve always been a sucker for films that twist and tease, keeping you perplexed and forcing you to keep up to speed. I like it when the script has actually been given some attention and one that demands the attention of the viewer. This is that type of film. It keeps you guessing and is not without a dark and lightness of touch either. It helps when there’s an impressive cast assembled also and each of the performers involved here deliver fine pieces of work. Seeing old hands Freeman and Kingsley play off one another is a particular highlight. Ultimately, it’s the convoluted nature of the story that impresses most though. Screenwriter Jason Smilovic and director Paul McGuigan add substance and style to the proceedings and keep you at just the right distance from the characters’ motivations. However, intricate and clever films also face the danger of becoming too loaded. For the most part, this film is a success but the denouement is a little muddled. For a film of this type to work, it needs to have a pay-off and this does have a satisfactory one. The only problem is, it has one too many. Without revealing too much, the fate of a prominent character seems like it’s been tacked on and stinks of studio involvement, letting down an otherwise intricate and cleverly constructed film.

A satisfyingly convoluted crime yarn with an impressive and eclectic mix of actors. However, the unravelling is a major demerit. Well… that and Willis’ ridiculous hairpieces.

Mark Walker

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My Neighbour Totoro * * * 1/2

Posted in Adventure, Animation, Family, Fantasy with tags 1988 on July 19, 2012 by Mark Walker

Director: Hayao Miyazaki.
Screenplay: Hayao Miyazaki.
Voices of: Dakota Fanning, Elle Fanning, Tim Daly, Pat Carroll, Paul Butcher, Lea Salonga, Frank Welker.

Anyone familiar with the animated works of Hayao Miyazaki will be aware that he takes you into a fantasy world full of imagination and delight. I’ve managed to work my way through a lot of his film’s but this one had always eluded me. However, maybe it was my anticipation for this that left me feeling more underwhelmed than I normally am with his films.

Satsuki (Dakota Fanning) and Mei Kusakabe (Elle Fanning) are two young sisters who move to a rural house in Japan to be closer to their ailing mother in hospital. Upon their arrival, they begin to explore their new surroundings and find that there are strange little creatures who inhabit the old building and further exploration into the forest brings them closer to a giant furry sprite named Totoro, who they go magical adventures with.

Miyazaki’s film takes it’s time to get going. It starts off positively and there is an early introduction to his fantastical nature but he never fully explores it. It was more of a human drama than it was a fantasy adventure. However, no-one does it quite like Miyazaki and his film’s always possess a refreshing vitality. This still delivers on that front but isn’t as accomplished as “Spirited Away” for example. I think the main problem rests in the pace of the film; it too lethargic for children and a little too heavy on the drama. The fantasy element is wonderful when it gets going but it’s not explored as in-depth as I would have liked, leaving my concentration to wander. The fact that this is included in the IMDb top 250 is high praise indeed but it shouldn’t be held any higher than “Howl’s Moving Castle“.
I also found the English language version a little off-putting. I mean, how hard can it be to add dubbing over hand drawn animation? It’s not as if there should be a problem with lip-syncing but for some reason, this didn’t seem to fit. Speaking of the animation though, it is quite exquisitely crafted and proof that Miyazaki has been at the forefront of hand drawn material for quite some time now.

Not as entertaining as I would expect from Miyazaki but still a wonderfully endearing and affectionate tale from the hand-drawn Sensei.

Mark Walker

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44 Inch Chest * * * *

Posted in Crime, Drama with tags 2009 on July 19, 2012 by Mark Walker

Director: Malcolm Venville.
Screenplay: Louis Mellis, David Scinto.
Starring: Ray Winstone, Ian McShane, John Hurt, Tom Wilkinson, Stephen Dillane, Joanne Whalley, Melvil Poupaud, Steven Berkoff.

Remember the British gangster film “Sexy Beast” released in 2000? You know, the one where “Gandhi” goes ape shit? Well, this film brings some of the cast and crew back together again. Unfortunately, it seems that Ben Kingsley wasn’t taking ‘yes’ for an answer this time and isn’t involved. It does, however, have actors Ray Winstone and Ian McShane again, as well as screenwriters Louis Mellis and David Scinto. Now, this may not have gained the same acclimations as it’s predecessor but this is still an undeniably powerful film in it own right.

When his wife Liz (Joanne Whalley) says she’s leaving him for another man, Colin Diamond (Ray Winstone) refuses to take it. He enlists the help of his criminal friends Meredith (Ian McShane), Peanut (John Hurt), Archie (Tom Wilkinson) and Mal (Stephen Dillane) in abducting her lover (Melvil Poupaud). They take him back to an old flat and keep him in a wardrobe, while deciding on how to take revenge.

Where “Sexy Beast” had it’s English lowlife criminals sunning it up in the villas of Spain. This film has them on their own turf. It’s back to the grit and grime of dear ol’ ‘Landan’ where Winstone gets to be ‘the Daddy’ again. This is no bad thing though as it’s what Winstone does best. And… he’s not alone. He’s joined by an excellent cast of familiar British actors – who all get their turn at spouting some vitriol. It’s the performers that’s the best thing about this and having such choice actors as Hurt, Wilkinson, McShane, and the very underrated Dillane all backing up the lead, is a thing of dramatic gold. The performances are uniformly superb and it’s an added bonus that they don’t go anywhere. This is a moody and intense chamber piece that has all of the actors sharing the same limited space for almost the entire film, making it more akin to a stage-play. There is a brooding intensity to it that only benefits from the actors’ terrifying and multilayered performances. On the surface, the characters have such a ferocity that they resemble a pack of rabid dogs but there are undercurrents of repression and weakness, at times making them about as threatening as a poodle. It’s this very attention to characterisation that keeps this film going. It’s also wonderfully shot in a sepia hue that adds a stark and bleak environment to the match the material. It may be too grim and misogynist for some tastes but essentially this is a love story about men full of bravado but quite fragile underneath their tough exterior. That being said, there’s no denying it’s vehement and vigorous approach and the title itself is very fitting.

I greatly enjoyed “Sexy Beast” but it’s wholly unfair that this film was compared and ultimately overshadowed by it. This is an impressive, moody and claustrophobic chamber piece with an ensemble that deliver with all the force they can muster.

Mark Walker

10 Comments »

Hunger * * * * *

Posted in Drama, History with tags 2008 on July 15, 2012 by Mark Walker

Director: Steve McQueen.
Screenplay: Steve McQueen, Enda Walsh.
Starring: Michael Fassbender, Liam Cunningham, Liam McMahon, Brian Milligan, Stuart Graham, Karen Hassan, Helen Madden, Des McAleer, Frank McCusker, Rory Mullen.

In 2011, “Shame” was released. It was a powerful piece of cinema and one of the most provocative and controversial film’s of the year. It was also one of the very best. But if you look back to 2008 and this previous collaboration with director Steve McQueen and actor Michael Fassbender, you’ll realise that provocative and hard-hitting filmmaking is something these two, seemingly excel at.

In Northern Ireland, 1981, Irish revolutionary inmates in the Maze prison begin a protest to attain political status and not to be seen as criminals. Their demands are refused by the British Government so one man, Bobby Sands (Michael Fassbender), leads a hunger strike. This was a defiant act against tyrannical British rule and one that would reverberate internationally.

I find it hard to be subjective in my views of the atrocities that the British Government imposed upon the Irish revolutionary movement. I’m disgusted and appalled at some of the parliamentary decisions and I make no excuses for my prejudices toward Margaret Thatcher either. The hunger strike of 1981, is a shameful and atrocious piece of history, of which, she was at the forefront. It’s a time in history that many will want to forget, but here, director Steve McQueen paints a vivid and unflinching portrayal of these harsh times and conditions. He starts by informing us that 2,187 people have been killed in “the troubles” since 1969 and that the British Govt have withdrawn the political status of all paramilitary prisoners. Irish republicans in the Maze Prison are on a ‘blanket’ and ‘no wash’ protest. We are then introduced to a prison guard, bathing his bloodied knuckles in water. Primarily, the warden we follow seems to be torn and struggling. However, it’s soon apparent that these prison wardens are only upholding the state, so sympathy wains. There is a struggle at heart here and the British Govt has a lot to answer for. Rearing her ugly head, Margaret Thatcher is overheard on a radio broadcast, refusing to accept any form of “political or criminal violence”. Anyone familiar with her time in office will be aware of her sheer hypocrisy here. She was known as “The Iron Lady“, no better than a fascist and throughout her time in power, was the very catalyst for many wrongdoings. My opinion may come across as biased but the atrocities that these young men faced in the fight for freedom is abhorrent. What this film has in it’s ultimate favour though, is that it doesn’t preach. It states the facts and for this, McQueen deserves the utmost credit and respect. Despite the grim material, we are afforded moments of artistic beauty; McQueen lingers long on shots and uses dialogue sparsely. At one point though, he film’s a highly impressive 22-minute conversation about semantics and political rhetoric and does 16-minutes of it without cuts. It’s a bold move that could stop the film in it’s tracks but actually, what it does, is reinforce the belief that this is a highly artistic and confident filmmaker you are witnessing. He even takes his time (about half an hour) to introduce our protagonist Bobby Sands and it’s here, he is aided immeasurably by his lead actor; Michael Fassbender’s transformation from a passionate healthy prisoner to one of starved frailty is astonishing and it’s easy to see why he made a name for himself after this. He truly is one of the very best and bravest actors around at present.
Rarely have political drama’s been so raw, unnerving and emotionally devastating. This is by no means easy viewing but it’s certainly important and essential viewing and it heralded the arrival of a visionary director and intense performer.

McQueen manages that rare achievement of delivering a piece of work that is both brutal and harsh yet touching and quite beautiful. This is raw and unflinching material that is told candidly and without reservation. Simply stunning.

Mark Walker

19 Comments »

The Grey * * * 1/2

Posted in Action, thriller with tags 2011 on July 15, 2012 by Mark Walker

Director: Joe Carnahan.
Screenplay: Joe Carnahan, Ian Mackenzie Jeffers.
Starring: Liam Neeson, Frank Grillo, Dermot Mulroney, Dallas Roberts, Joe Anderson, Nonso Anozie, James Badge Dale, Ben Bray, Anne Openshaw.

As much as I was a big fan of the TV series in my childhood, I was never really drawn to the recent film version of “The A-Team” – which was the previous outing for director Joe Carnahan and star Liam Neeson. If truth be told, I wasn’t really drawn to this film either but for one reason or another I found myself giving it a chance. As it turns out, this wasn’t anywhere near as bad as I thought it would be.

On a return flight home, a group of oil drillers find their plane having problems mid-air. It crash lands, leaving a small number of survivors stuck in the Alaskan wilderness. The conditions they face are treacherous; it’s freezing and they have no food or shelter but their main concern is the pack of hungry wolves who are aware of their exposure and weaknesses and begin to pick them off one by one.

Neeson continues his emergence as an ageing action star and churns out a good performance here. He delivers his tough guy schtick with admirable ease, firing off some no-nonsense lines – “I’m going to start beating the shit out of you in the next five seconds” and is a convincing and commanding presence. He also shows a bit of heart and vulnerability despite the film being quite thin on characterisation. This is most apparent in the supporting characters who basically serve as no more than fodder for the big bad wolves. They introduce enough of a background to make you almost care but this would definitely have benefited from a bit more focus on the supporting roles. Maybe even throwing in a couple of familiar faces to make it less predictable and more able throw us off the scent as to who might be the next one for wolf meat. An almost unrecognisable Dermot Mulroney makes an appearance and an impressive performance from Frank Grillo aides Neeson’s plight in trying to shoulder a routine and formulaic script that’s been stretched from a short story into a two hour movie. There’s not enough material and it shows. Despite this, Carnahan and Neeson still manage to keep you watching. I found myself more involved in the second half of the film where it became more methodical and even existential in it’s approach but ultimately, this is an action/survival tale and despite attempts at something deeper and more meaningful, it remains what it is really; a thriller. Still, it’s a good thriller that benefits from a solid lead performance.

If you don’t expect too much from this, you might just find yourself having fun. It’s a film that, surprisingly, manages to have both a deliberate pace and a eye for action set-pieces. It’s not as purposeful as it would have you believe but it’s worthy on a suspense level.

Mark Walker

11 Comments »

Cloverfield * * * *

Posted in Action, Horror, Science Fiction, thriller with tags 2008 on July 14, 2012 by Mark Walker

Director: Matt Reeves.
Screenplay: Drew Goddard.
Starring: Michael Stahl-David, Lizzy Caplan, Jessica Lucas, T. J. Miller, Mike Vogel, Odette Yustman, Chris Mulkey.

Having recently watched (and thoroughly enjoyed) the latest of found footage film’s in “Chronicle“, I decided to look back at one of the sub-genre’s most critically praised. Now, when “Cloverfield” was released in 2008, I couldn’t really give two shits. However, I feel that might have judged this film unfairly and wanted to go back and give it another chance. After all, director Matt Reeves and particularly producer J.J. Abrams have built a steady reputation on the back of this.

While documenting a friends farewell party on video camera, a group of New Yorker’s find themselves videoing something else entirely. Their send-off is interrupted by an attack on the city as a massive and terrifying monster creates incredible havoc and tears the city apart.

As the film opens, we are given the gist straight away; middle-class yuppie-types with too much money and nothing to talk about. They have irritating mannerisms and deliver their dialogue in a resemblance of the kooky characters from the long-running TV show “Friends“. In this, I wasn’t sold. In fact, the only reason I persevered was just too see if any of them eventually got their heads ripped off. Thankfully, that wasn’t too far from the truth. After the long and protracted opening, the film suddenly jolts you to attention as panic sets in on the realisation that New York is under attack from some foriegn entity. The allegory to 9/11 is very apparent. As is the comparisons with another monster classic “Godzilla“. It’s at this point that you realise the dull opening was forgivable. Deliberate even. This isn’t a film about character development or even story. This is an unashamed monster/horror film about thrills and it’s a fine one at that. I have often proclaimed my dislike to a lot of found footage film’s and that particular style does become a bit irritating, not to mention disorientating here. However, it also works very highly in delivering the confusion and tension. The special effects are very impressive indeed and allow forgiveness for many of the film’s shortcomings. As mentioned, I had a real problem with the grating and shallow characters but, like most film’s of the found footage variety, you can imagine my delight at the realisation that there are very few, if any, survivors. That’s not say that I didn’t find myself rooting for them on occasion. I did, but that’s down the creativity of the filmmakers. Matt Reeves, (who done “Let Me In” – the American remake of the Swedish vampire movie “Let The Right One In“) does a sterling job in only his second directorial outing. He manages to mount the tension in abundance and he does it all, without the use of music. It was only after it was over and the credits were rolling that I realised my perception of this film had not been manipulated in any way, with an overbearing score.

You can see the clout that producer J.J. Abrams brings to the table here but his backing only allows a talented director to flourish. And that he does. This is a stylistically crafted, adrenaline filled, modern B-movie that commands your attention.

Mark Walker

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My Dad & The Dude

Posted in Uncategorized with tags 2012 on July 11, 2012 by Mark Walker

As most of you know, my blog mainly consists of Film Reviews but recently I’ve been throwing in something a little different. Some will be familiar with my “Let’s Have A Sit Down” running feature. If not, the episodes can be found here… #1, #2 & #3. This is another change of direction for me but will most certainly not become a feature. You’ll understand why, in a moment.

This is still a movie related post but is the result of another hobby of mine… painting.

Some of you may find this a bit morbid but this painting was done using the remains of my late father. He died two years ago and after getting him cremated, I decided at that point that I would commit them to a painting that he would have liked. It’s took me all this time to work up the courage to do this and for that reason, plain and simply, this will not be a regular feature.

And the result… ? The result was The Dude from both of our favourite film “The Big Lebowski“. I shared lots of great movie experiences with my dad but probably none more so than the cult Coens classic. The reason this film resonated with us is because my dad actually looked and acted quite a lot like The Dude himself.

So here is the 5 stages of the Oil painting that I done for (and including) my late dad Gerry Walker.

Stage 1…