MARKED MOVIES

Taken * * *

Posted in Action, thriller with tags 2008 on January 11, 2012 by Mark Walker

Director: Pierre Morel.
Screenplay: Luc Besson, Robert Mark Kamen.
Starring: Liam Neeson, Famke Janssen, Maggie Grace, Leland Orser, Jon Gries, Holly Valance, David Warshofsky, Xander Berkeley, Olivier Rabourdin, Katie Cassidy, Gerard Watkins.

What with the recent re-vamp of “The A-Team” and this successful actioner, it seems that Liam Neeson has now been re-invented as something of an aging action hero and surprisingly, it works.

Bryan Mills (Neeson) is a retired government agent, struggling to get back into the life of his teenage daughter (Maggie Grace). But after she’s kidnapped while holidaying in Paris, Bryan has less than four days to track her down before she disappears into the sex slave trade and in the process of his search, he dishes out some tough justice.

This was supposedly expected to be a straight to DVD deal but turned out to be an unexpected hit for Neeson and co. It was that well recieved that a sequel is in now in the making. You can’t go too far wrong either, when imaginative French director Luc Besson has written the story. It gets quite rediculous toward the end, but this is still a taut little thriller. Despite being full of stereotypical bad guys, who are no more than fodder for Neeson’s knuckle sandwiches, it still works. As long as you dont expect too much and just sit back and enjoy him bashing a few heads and crunching some bones. Neeson also gets to spout some tough Eastwood-esque lines…”I push one button and 38 agents are here before you have time to scratch your worthless balls.” He’s a brutal and unrelenting character but lots of fun to watch.

It is what it is, but for it sheer pace alone, it’s a cut above most of the (mindless) genre.

Mark Walker

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Knocked Up * * * *

Posted in Comedy with tags 2007 on January 10, 2012 by Mark Walker

Director: Judd Apatow.
Screenplay: Judd Apatow.
Starring: Seth Rogen, Katherine Heigel, Paul Rudd, Leslie Mann, Jonah Hill, Jason Segel, Jay Baruchel, Martin Starr, Charlyne Yi, Alan Tudyk, Kristen Wiig, Bill Hader, Joanna Kerns, Iris Apatow, Maude Apatow, Harold Ramis, Andy Dick, Loudon Wainwright III, Jessica Alba, Eva Mendes, Steve Carell, James Franco.

Of recent times, director/producer Judd Apatow’s collaboration with actor/writer Seth Rogen and their brand of humour, seems to have mass appeal. It has brought success with “The 40 year old Virgin”, “Pineapple Express” & “Superbad” but none better than this outing.

Entertainment TV reporter Alison Scott (Katherine Heigl) goes clubbing with her uptight sister (Leslie Mann) to celebrate a surprise promotion. Buoyed by happiness and booze, she hits it off with a friendly slacker called Ben Stone (Seth Rogen) and takes him home for a spot of one-off sex. A series of pregnancy tests later, and a one-night stand is turning into a lifetime commitment.

I have to admit that I put off watching this for quite some time, as I thought it would be just another juvenile ‘dick joke’ film. I was wrong. Well…almost. Apatow’s crude humour is ever present and welcome, but this film doesn’t shy away from dealing with adult situations and relationships also. It’s a very observational comedy, dealing with the myriad of emotions when becoming a parent for the first time. There were moments when I felt like Apatow had been spying on my life, before the birth of my first child. I could empathise and identify with the characters and their mixed emotions. The dialogue is sharp and hilarious, the characters neurotic and the situations very real. It works well both as a comedy and a dramatisation of the most important time in a persons life. The actors all put in great work, especially Paul Rudd and Leslie Mann with the seemingly perfect happy family. The main problem is the running time though, it is just a bit overlong and Apatow seems to have the recurring problem of not knowing when to wrap things up. Towards the end, I began to feel that Heigl (and the film) was so overdue that a hormone injection was needed to help things along. Still, getting there raised all sorts of giggles and delivered some good gags.

Like the baby itself…an unexpected joy.

Mark Walker

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Taking Woodstock * * 1/2

Posted in Comedy, Drama with tags 2009 on January 10, 2012 by Mark Walker

Director: Ang Lee.
Screenplay: James Schamus.
Starring: Demetri Martin, Emile Hirsch, Eugene Levy, Imelda Staunton, Jeffrey Dean Morgan, Liev Schreiber, Paul Dano, Richard Thomas, Dan Fogler, Edward Hibbert, Henry Goodman, Kevin Sussman.

I’m starting to lose count on the amount of times director Ang Lee has tackled a new genre. He’s done martial arts; comic-book; thriller; romance; family drama; westerns and literary adaptation. Now? Well now, he’s tackles the story of how the legendary music festival “Woodstock” came to be.

Elliot Teichberg (Demetri Martin) discovers that a music festival near his family’s motel has lost its licence. Trying to save his parents’ business, he calls Woodstock Ventures and offers to help them stage the gig at a farm in White Lake. What happens after that, has now went down in history as a legendary free-spirited musical weekend.

Anyone trying to craft a film worthy of the magic of Woodstock would have their work cut out for them, so wisely Ang Lee focuses on the outskirts of the infamous hippie festival of the 60’s. Instead of focusing on the bands or what was happening on stage, we experience the effect this time had on the people off stage, through several characters – mainly Elliot and his right of passage. It’s a light-hearted little film that is very slow to get going and definitely overlong. The talky first half is all about the organisation and chance encounter with promotors. This threatens to kill this whole film but when the festival gets underway, the second half is a lot stronger as the characters begin to loosen up. It sheds a bit of light on the effect this time and place had, but really there isn’t a lot else happening. Maybe it would have been better had the focus been on stage. What I found most interesting was the depiction of Elliot when high on acid. Speaking from personal experience, it’s the most realistic depiction of hallucinating I’ve seen on screen. It’s not overdone but shows more the vibrancy of colours as they move and bleed into one another and the almost ocean like movement of a large crowd of people when dancing together.

You would think with this depicting a defining moment in the whole 60’s ‘movement’, it would have something more than a very lesuirely pace. However, when the drugs and music start to flow, the film flows with them.

Disappointing but it has it’s moments.

Mark Walker

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3:10 to Yuma * * 1/2

Posted in Western with tags 2007 on January 10, 2012 by Mark Walker

Director: James Mangold.
Screenplay: Halsted Welles, Michael Brandt, Derek Haas.
Starring: Russell Crowe, Christian Bale, Ben Foster, Peter Fonda, Alan Tudyk, Gretchen Mol, Vinessa Shaw, Luke Wilson.

After his Oscar winning “Walk the Line”, director James Mangold got on the saddle to direct this adaptation of Elmore Leonard’s western (filmed once before in 1957 with Glenn Ford). He employs two fine actors for the lead roles but even they can’t help with a script that has more gaping holes than you can shake a ten-gallon hat at.

When notorious outlaw Ben Wade (Russell Crowe) is captured, a posse is thrown together – including penniless rancher Dan Evans (Christian Bale) – to escort him to the town of ‘Contention’, where the 3:10 train to Yuma prison will arrive. Getting there is no easy task though, especially when Wade’s gang are determined to rescue him.

This is a western that certainly looks like a potential classic. It has great performances; a keen eye and feel for detail; beautiful cinematography and it’s based on the easily adaptable writer Elmore Leonard’s book. So what went wrong? Well, for a start it could have been doing with a script that wasn’t so ridiculous and insulting. Granted, the movie starts off great and really looks like it’s going somewhere. Suddenly Crowe’s character begins to show a different, more sensitive side, other than the ruthless murderer we were introduced to and the film goes in a completely different direction, with the last 15 mins or so completely unintelligible. Crowe and Bale put in good performances and work well together but when a script stinks, there’s not much the actors can do to save it. It starts off very promising indeed, before resorting to ludicrous plot developments, ruining what could have been a fine addition to the genre.

3:10 to Yuma? It’s a shame Crowe and Bale couldn’t have caught the earlier train.

Mark Walker

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Harold And Maude * * * * *

Posted in Comedy, Drama, Romance with tags 1971 on January 10, 2012 by Mark Walker

Director: Hal Ashby.
Screenplay: Colin Higgins.
Starring: Ruth Gordon, Bud Cort, Cyril Cusack, Vivian Pickles, Charles Tyner, Ellen Geer, Eric Christmas, Tom Skerritt.

Director Hal Ashby made a name for himself throughout the 70’s with several high-quality films like “Being There”, “The Last Detail” and “Coming Home”, but it’s this lesser known film that’s his best work.

Harold (Bud Cort) is a young morbid man who fakes his own death in elaborate suicides, just to get the attention of his rich neglectful mother. He also attends funerals of people he has never met just to indulge his obsession with death. It’s at one of these funerals that he meets an old lady named Maude (Ruth Gordon), who is so positive and full of life that Harold is captivated by her and they both begin to fall in love with each other, exploring the wonders and beauty of life.

This is one of those ‘sleeper’ films that seems to pass people by, for no other reason than they haven’t heard of it or it can be difficult to get hold of. It was shamefully ignored come awards season also. Over the years though, It has garnered enough word-of-mouth attention to become a cult classic, and rightfully so. It’s an absolutely superb little black comedy that sensitively deals with themes of suicide, death, love and overall, life itself. It’s also the most unconventional love story you’re ever likely to see. The thought of a relationship between a young man in his late teens and an old lady in her late 70’s may put some off. However, this is a relationship that’s delicately handled with fabulous performances from Bud Cort as the morbid, death obsessed Harold who has a ‘sense of the absurd’ and especially Ruth Gordon as the eccentric free-spirited Maude, who opens his mind up to having a zest for life. It was for “Rosemary’s Baby” in 1968 that Gordon won an oscar but it’s here that she delivers one of cinemas finest and quirkiest of characters.
Cat Stevens’ songs throughout, also deserve a special mention. They are just a joy, and a fine example of how a soundtrack can compliment a film.

An unusual, often hilarious yet touching and heart-warming gem, that leaves you with a big grin from ear to ear. A pure delight.

Mark Walker

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The Game * * * 1/2

Posted in Mystery, thriller with tags 1997 on January 10, 2012 by Mark Walker

Director: David Fincher.
Screenplay: John D. Brancato, Michael Ferris.
Starring: Michael Douglas, Sean Penn, Deborah Kara Unger, James Rebhorn, Armin Mueller-Stahl, Peter Donat, Carroll Baker, Anna Katarina, Mark Boone Junior, Jack Kehoe, Tommy Flanagan, Spike Jonze.

Following up the magnificent, visceral serial killer thriller “Se7en” was always going to be a hard task for director David Fincher but with this, he opts for an equally dark, yet more playful, mind-fuck thriller.

Egotistical, successful businessman Nicholas Van Orton (Michael Douglas) gets an unusual birthday present from his brother Conrad (Sean Penn) – a gift certificate for a sophisticated recreational company that stages a ‘game,’ the nature of which is never revealed. Before long, Nicholas’ entire existence is torn apart as he desperately clings to his life and his sanity.

First off, this film has got plot holes aplenty but if you give yourself over to it and suspend your disbelief, this is a very enjoyable edge-of-your-seat psychological thriller. Fincher knows what he doing and wrings out the suspense at every turn. The twists and turns of the plot are so relentless that it’s easy to identify with the desperation of Douglas’ character.
Admittedly, I’m not his biggest fan but Douglas is absolutely superb in this. He captures the arrogance and egotistical nature he portrayed before, from his Oscar winning signature role ‘Gordon Gekko’ in “Wall Street” and couples it with a fragile vulnerability. The unravelling of his character is masterful and he delivers a very entertaining performance that just about manages to take your mind of the sheer implausability of the story. Like “Se7en”, Fincher’s ability to craft an environment that’s dark and depressing is once again captured, helped by subtly excellent cinematographer Harris Savides. There is a gloomy air of dread throughout and nothing ever seems natural, adding to the sense of unease as ‘the game’ unfolds. By the time the end credits roll and the final revelation is delivered, you’ll feel as exhausted as Douglas looks.

It doesn’t take much to realise the whole thing simply doesn’t hold up but if looked at as entertainment, then it’s a winner. Farfetched and unlikely, but highly imaginative.

Mark Walker

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The Savages * * * 1/2

Posted in Drama with tags 2007 on January 10, 2012 by Mark Walker

Director: Tamara Jenkins.
Screenplay: Tamara Jenkins.
Starring: Philip Seymour Hoffman, Laura Linney, Philip Bosco, David Zayas, Peter Friedman.

Having not experienced any of director Tamara Jenkins’ films before, I went into this film expecting something along the lines of “Little Miss Sunshine” in it’s supposedly humourous take on a dysfunctional family. That’s not what I got but there was still plenty to enjoy from the emotionally impaired characters.

As their estranged father Lenny Savage (Philip Bosco) sinks into senility in an Arizona retirement village, Wendy (Laura Linney) and Jon (Philip Seymour Hoffman) are forced to figure out how to care for the dad who never cared for them.

This is not a comedy as some of the critics would have you believe. Yes, there are moments of comedy but no more than the humour that accompanies life and it’s irony. This is a heartfelt drama, dealing with the painful responsibility that families face in our modern day, injected with humour and pathos and wonderfully acted by Linney and Hoffman – who are two of the best in the business. The relationship between the siblings is entirely believable. There is not a lot of communication between them but what’s not said, is just as important. There’s also not a lot going on in these peoples lives. They seem to think so but we are able to sit back and observe the avoidance they are trying to make. It also never fully discloses why the two of them have such contempt for their ailing father. It’s hinted that he never had much time for them but as the film draws to a close and Wendy’s creative writing and aspiration to be a successful playwright comes to fruition, a bit more is revealed as she uses her experiences as inspiration for her writing.

A good family drama, dealing with the stuggles that are becoming ever more present in our current times, helped by subtle and very real performances. If you have the patience to invest, you’ll be rewarded.

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Something’s Gotta Give * * *

Posted in Comedy, Romance with tags 2003 on January 10, 2012 by Mark Walker

Director: Nancy Meyers.
Screenplay: Nancy Meyers.
Starring: Jack Nicholson, Diane Keaton, Keanu Reeves, Frances McDormand, Amanda Peet, Jon Favreau, Paul Michael Glaser, Rachel Ticotin, Patrick Fischler, Kevin Watson.

Director Nancy Meyers is no stranger to romantic comedies. In fact, it’s her forte and your never left in any doubt as to what a film of hers will consist of. This is no different, but does have the added bonus of a more than watchable cast.

Record label boss Harry Sanborn (Jack Nicholson) only dates women who are half his age. But when he suffers a heart attack at the home of his girlfriend’s mother, playwright Erica Barry (Diane Keaton), he’s surprised to find himself falling for this intelligent, mature woman – even though she’s being courted by Harry’s young doctor (Keanu Reeves).

I’m not a fan of the rom-com genre but when it’s a selection of appealing actors delivering delightful performances, it’s hard to say no. It’s great to see Nicholson and Keaton sparring again, 22 years after their last collaboration in “Reds” in 1981 and how often do you get a film that has veterans such as these two great actors sharing screen time with the successful names of today, like Keanu Reeves and Frances McDormand? It doesn’t pretend to be anything other than an enjoyable romantic tale and for that reason you can sit back and know exactly what your in for, with the always reliable actors adding to the predictable comfort of it all.

Lighthearted love fluff, that works well for what it is and maintains a level of entertainment throughout, thanks to it’s star wattage.

Mark Walker

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Let Me In * * * *

Posted in Horror with tags 2010 on January 10, 2012 by Mark Walker

Director: Matt Reeves.
Screenplay: Matt Reeves, John Ajvide Lindqvist.
Starring: Kodi Smit-McPhee, Chloe Grace Moretz, Richard Jenkins, Elias Koteas, Cara Buono, Sasha Barrese.

The ink had barely dried on the film-critics’ acclamations of the Swedish horror film “Let the Right One In” in 1998 before Hollywood had stepped in for their take on the novel by John Ajvide Lindqvist. Remakes are not normally a good idea but “Cloverfield” director Matt Reeves makes a surprising exception to that rule.

Owen (Kodi Smit-Mcphee) is a lonely boy, who’s living with his mother in an apartment complex in snowy Los Alamos, New Mexico. His parents have separated, and his unhappiness is magnified by the fact that he’s been targeted by a school bully. One night, in the courtyard outside his apartment, he meets his new neighbour Abby (Chloe Moretz), a sullen, mysterious 12-year-old girl who tells him she can’t be his friend. Before long she goes back on her word because it turns out that she’s lonely, too. The big difference is that she’s a vampire who needs fresh blood to survive.

Those who have seen the original may think this version unnecessary. It certainly sticks very closely to its predecessor; from the lonely isolated setting, to the gloomy, eerie atmostphere and strikingly powerful and horrific images. Surprisingly for a remake though, it has ironed out the creases the original seemed to suffer from. I’d have to have a reappraisal of “Let the Right One In” but my first impression was that, although beautifully crafted it was quite lethargic. This time, Reeves cranks up the pace – without rushing it – and cranks up the gore – without being gratuitous. The CGI effects may be a little overused for some tastes but I found that they worked well. The two young leads deliver sensitive, believable performances, with the ever reliable but underused Elias Koteas and especially Richard Jenkins, lending good support. The only problem with the film is, having already seen the original, you know what’s coming next and it lessons the impact. Otherwise, it’s a fantastic and deliberately paced horror/love story.
A good remake should always add to what went before and this certainly does that. An excellent example of how it should be done. If you’ve not seen the original then you’re in for even more of a treat.

Bravo, Mr. Reeves, you’ve silenced many naysayers, myself included.

Mark Walker

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Rosemary’s Baby * * * * 1/2

Posted in Horror, thriller with tags 1968 on January 10, 2012 by Mark Walker

Director: Roman Polanski.
Screenplay: Roman Polanski.
Starring: Mia Farrow, John Cassavetes, Ruth Gordon, Sidney Blackmer, Ralph Bellamy, Charles Grodin, Maurice Evans, Victoria Vetri, Patsy Kelly, Elisha Cook, Jr, Patricia O’Neal.

Psychological torture and terror have been a consistant theme throughout director Roman Polanski’s career but few, if any, have been executed as skillfully as this adaptation of Ira Levin’s bestselling novel.

Rosemary (Mia Farrow) and Guy Woodhouse (John Cassavetes) move into a new apartment with the hope of starting a family. Shortly after their arrival they meet their new neighbours, a very friendly elderly couple named Roman (Sidney Blackmer) and Minnie Castevet (Ruth Gordon). Not before long, odd things start to happen and Rosemary has strange dreams and hears strange noises while Guy becomes remote and distant and begins to spend a lot of time with the new neighbours. Then Rosemary falls pregnant and begins to suspect that her neighbours are involved in the occult and have something to do with her poor health and her unborn child.

As soon as the opening credits are rolling, Polanski already sets the eerie tone with simple use of a childlike lullaby and creepy music. He’s a masterful director who’s in complete control of his material and his use of surreal, dreamlike imagery coupled with muffled voices through the wall is horror genius and deeply unsettling. It’s a proficiently crafted horror with the story unravelling at it’s own pace, as Rosemary’s grip on reality and her sanity are in question. Polanski also keeps us guessing just like the conflicted protaganist, while cranking up the suspense and paranoia deliberately but assuredly, helped by excellent performances throughout, particularly Ruth Gordon (in an Oscar winning role) and Sidney Blackmer as the creepy interfering neighbours. What’s even more fascinating is the spooky coincidences that followed the film; Polanski’s pregnant wife Sharon Tate was murdered – a year after the film was made – in 1969 by Charles Manson and his followers, who titled their death spree “Helter Skelter” after the 1968 song by The Beatles and this bands prominent member John Lennon would later be murdered outside the very Manhattan apartment building where Rosemary’s Baby was filmed. The history and association of this film is a story in itself.

A restrained, deliberately paced and intelligent psychological horror of the finest kind. It doesn’t stoop to cheap shock tactics but simply chips away at the psyche of it’s character, not to mention ours aswell.

Mark Walker

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Pacific Heights * *

Posted in thriller with tags 1990 on January 10, 2012 by Mark Walker

Director: John Schlesinger.
Screenplay: Daniel Pyne.
Starring: Michael Keaton, Melanie Griffith, Matthew Modine, Laurie Metcalf, Mako, Carl Lumbly, Dorian Harewood, Luca Bercovici, Tippi Hedren, Jerry Hardin, Miriam Margoyles, Hal Landon, Jr, Tracey Walter, Dan Hedaya, Beverley D’Angelo.

Having such good films under his belt like “Midnight Cowboy” and “Marathon Man”, director John Schlesinger is no slouch when it comes to crafting a quality drama or suspense. However, with an irritatingly underpar cast, this is not one of his finer efforts.

Young couple Patty (Melanie Griffith) and Drake (Matthew Modine) purchase a Victorian home in San Francisco. They fix it up and rent one of the apartments to fast-talking businessman Carter Hayes (Michael Keaton) unaware that he is in fact, a sociopathic swindler.

When this film was released in 1990, I actually enjoyed it. I was 12 years old. Looking at it now, I have to admit that my critical faculties had not kicked in then. There’s no denying that it’s a well crafted suspense yarn but it’s also ludicrously plotted. The fault doesn’t lie with Schlesinger though, in fact, he does really well handling the tension and suspense. The fault lies with the unintelligible script. Would this stereotypically disturbed character really waste his time, being no more than an inconvenience by drilling holes in the walls? Do disturbed sociopaths really sit watching static interference on TV, in a darkened room, while flipping a razor blades over their fingers? Methinks it’s all a little melodramatic. Keaton does his best sinister look with animated eyebrows, Modine needs his quiff trimmed and Griffith gives her usual one-note innocent, softly spoken, damsel in distress act. Three very limited actors with a very limited script. Schlesinger brings what he can to the table, but it’s not enough to overcome ineptitude.

Hitchcock would have had a field day with similiar material. Schlesinger tries his best to emulate the old master but he’s ultimately fighting a losing battle with a very limited cast.

Mark Walker

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Animal Kingdom * * *

Posted in Crime, Drama with tags 2010 on January 10, 2012 by Mark Walker

Director: David Michod
Screenplay: David Michod.
Starring: James Frecheville, Joel Edgerton, Guy Pearce, Ben Mendelsohn, Jacki Weaver, Luke Ford, Sullivan Stapleton, Mirrah Foulkes, Josh Helman, Justin Rosniak.

Anyone that’s familiar with the Australian television show “Neighbours” will know what I mean when I refer to this as the underbelly of ‘Ramsey Street’. I’m not a fan of said television show and I’m not entirely convinced by the praise this film has critically received either.

After the accidental death of his heroin addicted mother, 17 year-old Joshua ‘J’ Cody (James Frecheville) goes to live with his grandmother, ‘Smurf’ (Jacki Weaver), and her criminal sons, Craig (Sullivan Stapleton) and Darren (Luke Ford). The sudden arrival of their fugitive older brother, Pope (Ben Mendelsohn), gets the attention of the local cops, kick-starting a turf war that sees ‘J’ forced to fight for his survival.

As the film opens we get a decent introduction to the stoical nature of young ‘J’ as he shows a real lack of compassion, sitting on the couch watching TV, next to his deceased mother. This persona is no different from most of the characters throughout the film. The majority of them are devoid of any morals and the actors portraying them put in fantastic performances, particularly Mendelsohn as the unstable uncle and especially Weaver as the wicked-witch like matriarch. Despite the performances though, I still stuggled to see what all the fuss was about. Much like “Winter’s Bone” from the same year, this has been subject to critics clambering over each other to applaud it’s gritty dramatic nature. I found several things to enjoy; the performances and low-key style in which it’s shot being the notable ones but it’s certainly nothing groundbreaking. Being loosely based on fact, there’s a definite feeling of realism but as mentioned earlier, it reminded me of an extended episode of “Neighbours” – with the gloves off – and I pretty much avoid Australian television whenever possible.

Not a bad film, in fact it’s very good in places but it’s been overpraised somewhat. There’s no faulting the flawless performances though and it’ll be interesting to see what writer/director David Michod comes up with next.

Mark Walker

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Zatoichi * * * 1/2

Posted in Action with tags 2003 on January 10, 2012 by Mark Walker

Director: Takeshi Kitano
Screenplay: Takeshi Kitano.
Starring: Takeshi Kitano, Tadanobu Asano, Michiyo Ohkusu, Gadarukanaru Taka, Diagoro Tachibana, Yuko Daike, Yui Natsukawa.

‘Beat’ Takeshi Kitano made his name as a standup comedian before entering into cinema with a surprising array of serious and very violent roles. Here he tries to recapture the successful character who was a popular figure in Japanese film & television throughout the 1960’s to the 1980’s.

Nineteenth-century blind nomad known as a gambler and masseur is also a lightning-fast master swordsman who stumbles into a town run by gangs and a powerful samurai. When he meets two geishas who are out to avenge their parents’ murder, the fireworks begin.

I’ve never seen the very successful series of films or television program of which this is based upon, so i’m not in a position to compare but it doesn’t hinder the enjoyment of this visceral yet playful bloodfest. Kitano stages the whole yarn in a very theatrical style, with extremely exagerrated bloodletting, combined with an excellent soundtrack to fit with the rythmic moments and movements from the characters, like workers plowing the fields or rain pattering off an umbrella. It’s beautifully shot and really captures the ingriguing Japanese culture with several stunning shots. As much as I admire the almost mystical and stoic tradition of the Japanese, I’m not the biggest Samurai fan, so the whole thing worked for me only to a certain degree. However, if your a fan of swordplay, then this will be right up your kimono.

There’s no denying the visual style throughout this serene yet kinetic bloodbath. It’s like an eastern spaghetti western, but if your not interested in the genre then harikari may be a better option for you.

Mark Walker

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Burn After Reading * * * * 1/2

Posted in Comedy with tags 2008 on January 10, 2012 by Mark Walker

Directors: Joel Coen & Ethan Coen.
Screenplay: Ethan Coen & Joel Coen.
Starring: George Clooney, Brad Pitt, Frances McDormand, John Malkovich, Tilda Swinton, Richard Jenkins, J.K. Simmons, David Rasche, Elizabeth Marvel, Jeffrey DeMunn, Dermot Mulroney.

Convoluted labyrinthine plots, sharp dialogue, eccentric characters and an exceptional ensemble of actors are what the Coen brothers are known for, and with this espionage comedy/thriller, they tick all these boxes once again.

In Washington, D.C., the lives of several oddball characters cross paths when CIA analyst Osborne Cox (John Malkovich) quits over a drinking issue and his memoirs unexpectedly falls in to the hands of dumb health club employees Linda Litzke (Frances McDormand) and Chad Feldheimer (Brad Pitt), who decide to try a bit of blackmail to make a coin for themselves. Meanwhile, Cox’s wife Katie (Tilda Swinton) is sleeping with horny treasury marshal Harry Pfarrer (George Clooney) who has a secret or two of his own.

What more can you ask for, when the Coens amass a very impressive line-up of top notch actors and mix them up in a bit of espionage, extortion, illicit affairs, online dating and sex toys. They spoil us once again with their ear for side-splitting dialogue and wonderful actors to deliver it, not to mention the often zany, screwball antics of the well drawn characters. There were moments of pants-wetting hilarity in this, to rival some of the best of the Coens’ work. The performances are so good from the entire cast that peoples opinions differ greatly as to who was their favourite. Malkovich is at his maniacal best; Swinton once again nails the cold-hearted bitch routine; McDormand is perfectly goofy and endearing; Pitt is hilarious as a naive camp dope and Clooney once again shows his range with exaggerated expressive features of vulnerability and paranoia. It’s hard to pick a favourite but if I had to choose, it’d be the unsung and highly underrated Richard Jenkins. His performance is beautifully nuanced. His character is all about hiding his emotions and Jenkins’ subtle expressions are heartbreaking yet hilarious. He’s an actor that can do drama and comedy effortlessly and this is another of his consistently excellent deliveries. The only slight problem I had with the film, was the coherence. I loved every individual scene bit it somehow felt a little disjointed. However, this is a very small gripe from a highly entertaining experience.

The Coens strike comedy gold again, and after the the near mishap of “The Ladykillers” it’s good to know that they’ve still got their funny bone intact. Another strong argument for inventing an Oscar award for best ensemble.

Mark Walker

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The Ladykillers * * *

Posted in Comedy with tags 2004 on January 10, 2012 by Mark Walker

Directors: Joel Coen & Ethan Coen.
Screenplay: Ethan Coen & Joel Coen.
Starring: Tom Hanks, Irma P. Hall, J.K. Simmons, Marlon Wayans, Ryan Hurst, Tzi Ma, Diane Delano, George Wallace, Stephen Root, John McConnell, Greg Grunberg, Bruce Campbell.

The Coen Brothers’ recent remake of “True Grit” was exceptionally better than the original. The same can’t really be said with this one, as it’s a lesser effort from the brothers. However, the Coens off form can still be better and more enjoyable than most on it.

Polite and eloquent Southern gentleman, Professor Goldthwait Higginson Dorr III, (Tom Hanks) rents a room from churchgoing widow Marva Munsen (Irma P. Hall), then plots a daring heist in her basement with an ill-chosen group of accomplices disguised as purveyors of religious music. They soon fall foul of their gospel-clutching landlady and as they desperately attempt to eradicate her, it’s themselves who one-by-one pop their devious clogs.

Once again the Coens working with cinematographer Roger Deakins deliver a film that is crisp and sharphly detailed. Their usual ingredients are all here, except for one thing and that’s surprisingly the one thing the Coens are most accomplished at; a tight screenplay. The film takes too long to set up the heist and by the time the plan is foiled and the whole deal goes south, the film is drawing to a close and leaves you with an unsatisfied feeling of what could have been. The cast do a fine job, but with the characters on show I couldn’t help wanting to see some of the old tried-and-tested ensemble of actors the Coens regularly employ; Steve Buscemi, John Turturro or Jon Polito could have fitted in nicely here. Marlon Wayans is completely out of sorts. He seems as though he stepped off the set of a disasterous Ice Cube comedy. Other than him though, the cast are good. Irma P Hall is a joy as the sassy landlady, and it’s great to see the Coens’ new regulars J.K. Simmons and Stephen Root but the real star of the show is Tom Hanks. He’s funnier than he’s been in a long time and delivers a performance of such wily eccentricity -complete with southern gentlemanly accent – it’s hard to take your eyes off him. It’s one of my favourite Hanks performances and his effort deserved a better script to work with him. I just hope the Coens can find another role for him in the future. It’s a collaboration I’d love to see again. This is probably my least favourite of the Coens’ work but there’s still plenty to enjoy and the gags are good enough to maintain a level of entertainment.

A fine attempt at remaking the classic Ealing comedy of 1955, but it never quite excites the way the Coens are capable of and resorts to some heavy-handed slapstick. Tom Hanks adds a big reminder of how good he can be though, making it worthwhile just for him.

Mark Walker

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The Color Of Money * * * *

Posted in Drama with tags 1986 on January 10, 2012 by Mark Walker

Director: Martin Scorsese.
Screenplay: Richard Price.
Starring: Paul Newman, Tom Cruise, Mary Elizabeth Mastrantonio, John Turturro, Helen Shaver, Bill Cobbs, Bruce A. Young, Richard Price, Iggy Pop, Forest Whitaker.

It’s a salivating inducing prospect for any film fan to have old hands Martin Scorsese and Paul Newman and new hand Tom Cruise combine, to follow on the story of pool shark ‘Fast Eddie’ Felson from Robert Rossen’s classic 1961 film “The Hustler”. Attempting a sequel to that great film may seem like blashpemy but if anyone can pull it off, these three can.

Aged pool hustler ‘Fast Eddie’ Felson (Newman) discovers a younger version of himself in small-time hotshot Vincent Lauria (Cruise), who’s bubbling with talent and attitude and decides to mould him into a hustler just like he used to be. But Vincent’s mouthy lack of restraint begins to spoil a perfect partnership and Eddie considers another shot at the big time himself.

Scorsese crafts a film that compounds most peoples expectations and first off, it seems like a waste of time and talent. However, on repeat veiwings this stands alone as a very fine loose sequel and a great film in it’s own right. Newman as ever is absolutely superb (finally grabbing that elusive Oscar Award) as the embittered and disillusioned hustler, now working a living from seedy pool hall to seedy pool hall. Scorsese brings his usual professional approach to what is an unusual choice of film for him. His cracking of the pool balls, tobacco filled halls and fast talking cons are spot on and helped by some rich and inventive camerawork by Michael Ballhaus. Despite these veterans impressively plying their trade though, they are almost upstaged by the cocksure vibrancy of Cruise. His performance is alive, energetic, and overall what he’s supposed to be…an irritating little shit. It’s a fabulous turn from him and love him or loathe him, it’s a reminder of how good an actor he can be. Shake this up with a few supporting turns from the likes of John Turturro and Forest Whitaker and the ingredients are all there. What it just about lacks though, is the finished article. The film heads along the path of an inevitable showdown between teacher and student and then frustratingly doesn’t deliver. Maybe this is the correct choice from Scorsese, maybe he wanted to avoid the cliched ending but you can’t help but feel a little disappointed in not seeing it happen.

The anti-climactic ending threatens to undo the whole film but the talent involved shines through, in what is a richly textured drama with sharp dialogue and two magnificent lead performances.

Mark Walker

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The Good Shepherd * * *

Posted in Drama with tags 2006 on January 9, 2012 by Mark Walker

Director: Robert DeNiro.
Screenplay: Eric Roth.
Starring: Matt Damon, Angelina Jolie, Robert DeNiro, Alec Baldwin, John Turturro, Billy Crudup, William Hurt, Timothy Hutton, Tammy Blanchard, Michael Gambon, John Sessions, Keir Dullea, Gabriel Macht, Martina Gedeck, Joe Pesci.

Robert DeNiro’s second directorial effort, 14 years after his debut “A Bronx Tale”. He again shows that he’s as good a director as he is an actor but unfortunately, it’s the script that let’s this potential classic down.

In 1961, after the Bay Of Pigs fiasco, CIA agent Edward Wilson (Matt Damon) tries to learn who leaked word of the planned invasion of Cuba. He recalls his long service with the Agency, and ponders the failure of his marriage to Clover (Angelina Jolie).

Having been involved in some of the best films ever made and worked with some of the best directors; Scorsese, Leone, Coppola, Bertolucci to name a few. You can see where DeNiro’s ambition and scope has come from with this sprawling, convoluted espionage film. First off, he amasses a very impressive cast playing out over a number of years and in split-time frame structure. His attention to detail and eye for capturing time and place is astutely done and wonderfully captured, and it certainly doesn’t lack ambition. It’s heavily based on fact and covers a lot of ground; the origins of the CIA; Nazi sympathisers; the invasion of Cuba; the cold war conflict with the Soviet Union, as well as Wilson’s strained relationship with his wife. Despite all this though, the film is surprisingly lacking in excitement. At times it borders on boring. It’s a real shame as everyone involved puts in a good shift but the major problem is the main character. He’s so stoic and impassive that it’s hard for Damon to deliver a performance that’s anything other than awkward and expressionless. It’s a difficult character to identify with and he’s hardly ever off screen, which is a bit of a slog at a running time approaching 3 hours. There are still many powerful scenes throughout though and Robert Richardson’s cinematography is splendid but despite the ambition also shown in Eric Roth’s script, it doesn’t quite come together as an absorbing or gripping spy thriller, when really it should.

Considering the talent involved, this is listless and ultimately frustrating. I really want to rate this higher – as I found plenty to enjoy – but can’t bring myself to do so.

Mark Walker

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Inglorious Basterds * * * *

Posted in War with tags 2009 on January 9, 2012 by Mark Walker

Director: Quentin Tarantino.
Screenplay: Quentin Tarantino.
Starring: Brad Pitt, Christoph Waltz, Michael Fassbender, Melanie Laurent, Diane Kruger, Daniel Bruhl, Eli Roth, Til Schweiger, Julie Dreyfus, Bo Svenson, Rod Taylor, Mike Myers.

Quentin Tarantino’s long awaited crack at World War II is a sumptuous and ambitious film. Yes, he rewrites history but he rewrites it with such audacity and injects it with such fun that it’s hard to resist his flamboyant take on it.

Col. Hans Landa (Christoph Waltz) has a reputation during the war and throughout France that has earned him the unofficial title “The Jew Hunter” deriving from his ruthless eradication and extermination. Meanwhile, the allies have their very own ruthless “Nazi killing” appointee in Lt. Aldo “The Apache” Raine (Brad Pitt) who has assembled a team of killers known as “The Basterds” and who’s mission is to brutally kill and deliver “Nazi scalps”. Both men find themselves closing in on each other through the news that there is to be a German propaganda film to show at a local French cinema run by Shosanna Dreyfus (Melanie Laurent), a young lady who’s family were killed at the hands of Col. Landa and who also has a plot of her own in place.

Tarantino’s characters all intertwine with his usual visual flair and ear for wonderful dialogue. Yet again, he has crafted a film to lose yourself in and enjoy the interaction of his brilliantly written characters. Pitt is gleefully entertaining and Waltz thoroughly deserved his Oscar win. Til Schweiger is also a standout as the former German soldier Sgt. Hugo Stiglitz, who takes great enjoyment from killing his own countrymen and as much as Eli Roth’s acting is disasterous, his character Sgt. Donny “The Bear Jew” Donowitz is wonderful and all this is done with welcome narration by Samuel L. Jackson. The film mainly consists of just a handful of scenes – or chapters – which are actually quite long and dialogue oriented but all done masterfully. Particularly the Sergio Leone-esque opening scene, “Once Upon a Time in Nazi Occupied France…”, complete with Ennio Morricone style music and the unbelievably tense basement bar scene where Michael Fassbender’s British Lt. Archie Hicox is exposed as a German imposter. These two scenes in particular are some of Tarantino’s finest work and the intoduction of “The Bear Jew” who likes to bash German soldiers with a baseball bat is classic Quentin. Where Tarantino falters though, is in the final act, where the film descends more into humour and becomes slightly rediculous and unconvincing. It’s fabulously done and thoroughly entertaining but the tone is different from what went before and each character becomes more of a caricature, leaving the film with an uncertain conclusion.

A welcome change of direction for Tarantino, while still retaining his idiosyncratic style. I await his next venture with even more anticipation.

Mark Walker

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Once Upon A Time In America * * * * *

Posted in Crime, Drama with tags 1983 on January 1, 2012 by Mark Walker

Director: Sergio Leone.
Screenplay: Sergio Leone, Leonardo Benvenuti, Piero De Bernardi, Enrico Medioli, Franco Arcalli, Franco Ferrini.
Starring: Robert DeNiro, James Woods, Elizabeth McGovern, Tuesday Weld, William Forsythe, James Hayden, Joe Pesci, Burt Young, Danny Aiello, Treat Williams, Larry Rapp, James Russo, Scott Tiler, Rusty Jacobs, Brian Bloom, Adrian Curran, Mike Monetti, Noah Moazezi, Jennifer Connelly.

Numerous excellent crime sagas have been made over the years and at the top of most peoples lists tend to be “The Godfather parts I & II”, “Goodfellas” and some would even have “Scarface”. Although these are superb inclusions in the genre, this Sergio Leone masterpiece is the definitive and the real classic of them all.

Based on the novel “The Hoods” by Harry Grey we are manificently told the story of David ‘Noodles’ Aaronson (Robert DeNiro) who, after several decades away, returns back to the lower east side of New York city where he grew up with his friends and became prominently involved in a Jewish life of crime. Having loved and lost throughout his time here, he reflects on what was a tumultuous time in his childhood (and young adulthood) and now in his twilight years, longs for answers to a fatal double-cross.

Leone is better known for his spaghetti westerns and brings that same style from the dry barren western plains to the sprawling city of New York. Along with him, is composer Ennio Morricone and his idiosyncratic and masterful musical style. When these two combine their talents you know you’re about to be treated to a wonderful storytelling experience. Just for good measure, throw in the iconic and most prodigious of screen actors in Robert DeNiro and what you have is a work of art. An absolute masterpiece of cinema. A multi-layerd epic that has such depth that it’s yet to be matched. “The Godfather” saga has a similiar magnitude but only over three films. Leone manages to condence his elaborate tale in just under 4 hours. However, the original U.S. release was cut by 88mins, ceasing to make sense, with characters appearing and disappearing suddenly. This would explain why it didn’t fare so well and shockingly wasn’t even acknowledged for any awards. Although compellingly acted by DeNiro, this doesn’t stand as his finest performance, but it certainly stands as his finest film and it’s by far the best work that James Woods has delivered, as well as the impressive supporting cast of Tuesday Weld, Treat Williams, Joe Pesci and Jennifer Connelly is her film debut. It’s all down to the excellence of Leone though and his stylish homage to the gangster film. It’s long, it’s engrossing and once all the pieces begin to fit together it’s a quite heartbreaking story in it’s telling.

With it gorgeous art direction by Carlo Simi, it’s heartwrenching soundtrack by Ennio Morricone and the magnitude of Sergio Leone’s vision, it’s one of the best films ever made. Sadly it was Leone’s last but a virtuosa one to go out on.

Included in My Top Ten films.

Mark Walker