MarkCrozier Reviews

Special Delivery (1976)

A good entertainment with Cybill Shepherd a highlight

[7/10 · 16 January 2024]

If like me you fell in love with Cybill Shepherd after her appearance in Taxi Driver (1976) then you'll be thrilled to discover this little flick, as I was.

Appearing in the same year as Taxi Driver, it's a fun-filled romp that combines crime and comedy in a way that manages to keep you watching and not become annoyingly cute. That's not as easy as you think.

It starts off with a blast of action as four former Marines, all scarred in one way or another by the Vietnam War, rob a bank and then proceed to execute a tightly-planned getaway. Naturally, things don't work out quite the way they planned and therein lies the pivot to the rest of the film.

Cybill enters the scene at around 25 minutes in and she's a delight from the word go. Clearly there to fulfill the need for a female sidekick, she delivers in spades. Cybill had so much personality and is so naturally flirtatious and filled with mischief, its impossible to take your eyes off her.

I don't know much about Bo Svenson other than he looks like he could be an ex-football player. He has the sort of physicality that lends itself to this role but he struggles a bit with the subtle touches and witty dialogue. It kind of works because he's not required to do TOO much here other than run and fight.

To add some layers to the plot, another character is introduced in the form of a low-level grifter and drug pusher played by Michael C Graff who happens to witness the key plot development.

This serves to drive the film forward and keep our interest piqued. He's ably supported by fellow bad guys played by Vic Tayback (another reliable 70s presence) and Robert Ito.

Also of interest is Jeff Goldblum, who makes an appearance as a motorcycle thug.

All in all its a solidly entertaining film ably directed by Paul Wendkos that delivers the goods (no pun intended) and doesn't take itself too seriously. Particularly a must for fans of Cybill Shepherd.

The Challenge (1982)

A return to the glory days of Sat night VHS rentals

[8/10 · 19 December 2023]

This film brought back my younger days quite strongly. Those glory times when there were still video stores and you'd spend entirely too much time on a Saturday afternoon browsing the shelves in search of something good. You'd usually get two because one just wasn't enough. I stumbled across many films that way that are today revered as classics, like The Thing, Straw Dogs, Escape From New York, Rolling Thunder and The Warriors.

I didn't know much about movies then, but I knew these were great films because they gripped me from beginning to end. The Challenge brought back strong echoes of that experience, although I saw it on YouTube, which has become the great video store in the sky. It's a B-movie although it has A-class talent all the way. I mean, Scott Glenn, Toshiro Mifune and John Frankenheimer -- how can you resist that combo? I'm a big fan of Glenn, although he is kind of hamstrung in this role by a weird Joey Ramone haircut.

Nevertheless he does a great job as a down-on-his-luck boxer who gets a job to smuggle a very old and valuable Japanese katana into Japan. He's out to make a quick buck and thinks its an easy score. Naturally, it all goes wrong from the get-go and from there the story takes many twists and turns. Turns out the sword is being fought over by two brothers. One an unscrupulous businessman and the other a sensei, who runs a monastery-like training retreat for would-be warriors.

The legendary Toshiro Mifune plays the sensei and he's fabulous as usual. In time-honored tradition Glenn's brash American character is put through the mill by the monk warriors where he is tested and found wanting until he gradually earns the respect of the gruff old sensei. If you've seen The Last Samurai with Tom Cruise, this scenario will be quite familiar to you. The film ends in a spectacular set piece in an ancient temple that will remind you of another great video classic, 1974's The Yakuza, with Robert Mitchum.

The Challenge is ultimately not quite on a par with those two films but its immensely enjoyable nonetheless. Consider it a hidden gem that will not disappoint, especially if you like 'em filled with exotic sets and costumes and sprinkled with great fight scenes.

A Killing in a Small Town (1990 TV Movie)

Top-notch made for TV movie for fans of Barbara Hershey

[8/10 · 8 February 2023]

I enjoy finding these gems on YouTube. This is a made-for-TV film from 1990 that focuses on a true crime incident that takes place in a small Texas town in 1980.

It serves an excellent example of economical story-telling with an absolutely riveting central performance by Barbara Hershey, ably supported by the ever-reliable Brian Dennehy (RIP).

Interestingly enough, shortly after I viewed it, I discovered that there is not one but TWO TV series now being made based on the same case. How strange is that? One is called Candy and stars Jessica Biel and Melanie Lynskey and the other is Love and Death with Elizabeth Olsen.

Probably because the case itself remains notably odd and compelling. I won't give the details away here but if you're a fan of true crime you'll enjoy it I have no doubt.

The movie itself is a low budget affair but it is note perfect and exceptionally well-edited, written and acted with not a single second wasted on frivolity.

If you're a student of film you can learn a lot from this. Tell the story, tell it well and don't mess about with a load of extra nonsense.

A powerful story, well-told.

The Collector (1965)

Perfect for Halloween

[9/10 · 19 October 2022]

Now if you want a perfect Halloween film, this is it! As creepy and spooky as it gets. Why, because its perfectly plausible, unlike all those silly supernatural films.

Based on a remarkable John Fowles novel, The Collector is a wonderful realisation of the story, with exceptional leads in a young Terence Stamp and the ethereally beautiful Samantha Eggar, who unfortunately didn't make that many pictures.

It's beautifully made and pulls no punches, taking the story through the logical conclusion which is unfortunately not a happy one.

In any event, its a powerful tale and has only become more relevant over time, although Fowles' take on this terrible crime of kidnapping is entirely more intellectual than the usual motivation of money or sexual gratification.

Arch of Triumph (1948)

As good as Casablanca -- if not better!

[8/10 · 29 August 2022]

I must admit I find IMDB ratings puzzling. This movie gets an average of 6.3? Must've seen a different movie to the one I watched. The one I saw was just as good as the revered Casablanca, if not better!

How can you not enjoy one of Ingrid Bergman's better performances and a cracker turn from Charles Boyer (I haven't seen as many of his films so I can't judge it quite as accurately) not to mention some great supporting work from Louis Calhern and Charles Laughton.

The film perfectly illustrates the fluidity and uncertainty that prevailed in Europe leading up to WWII. It wasn't clear to me why the lead character played by Charles Boyer is a refugee but you can't help but feel for the man as he lives in a shadow world where his skills are valued but he is forever in danger of having his life turned upside down.

The complicated relationship between the two lead characters is real and believable at a time when movie romances were often sugarcoated. Ingrid Bergman turns in of her great performances, doing wonders with a character that is, in my opinion, far more interesting and nuanced than Ilsa Lund. (I don't mean to harp on about Casablanca but the two films do have lots of similarities.)

Arch of Triumph deserves more recognition than it gets. Yes, the story is complex and perhaps its TOO complicated and nuanced. Also, it doesn't have the instantly quotable lines that Casablanca has (and of course, no Bogart) but it's a far more interesting and realistic storyline and shows that, like life itself, neat and tidy endings seldom happen.

Pretty Baby (1978)

Will make you nostalgic for the 70s

[8/10 · 5 August 2021]

For a start, this film could only have been made in the 70s. It would never get off the starting blocks today in these ultra politically-correct times, which should make you wonder about how much actual 'progress' we have made.

The truth is it is a fairly tame account of life in a 1920s New Orleans bordello. That said, it is made by one of the greatest directors to have ever lived, Louis Malle, so you will be thoroughly entertained throughout. It also features two fantastic actresses -- Susan Sarandon and Brooke Shields. The latter must surely have had one of the most interesting careers in moviedom. I happen to think she's wonderful in this role -- totally unselfconscious and committed. I mean, she's 12 years old, for crying out loud!

Brooke is without a doubt one of the most fascinating actresses and of course one of the most beautiful to ever grace the screen. (For more of young Brooke, check out Wanda Nevada, a terrific comedy that was made a year later.) Just consider that in two years from '78-'79 she made this film, 'Wanda Nevada', 'Endless Love' and 'King of the Gypsies'. Before she turned 16 years of age... not too shabby.

Apart from that, Pretty Baby is a fascinating look at life in a cathouse but still somewhat romanticized, if you ask me. One imagines the real conditions of these working women's lives was quite a bit more harsh than is shown here. Nevertheless, one is grateful for the moments of lightheartedness as its not meant to be a documentary.

If this sort of thing fascinates you take a look at 'House of Tolerance' (2010) which offered a more realistic view of life in a turn of the century whorehouse in Paris.

The Fire Within (1963)

Unforgettable film-making

[9/10 · 19 July 2021]

For me this is French movie-making at its finest. Just a simple story but executed with devastating effectiveness through exceptional acting, black and white photography and an amazing score. Once seen, never forgotten.

Big Wednesday (1978)

Underappreciated cult classic

[9/10 · 9 March 2021]

Where I grew up on the east coast of South Africa, surfing was a pretty big deal and Big Wednesday was often mentioned by the many surfer freaks that went to my high school. But this is not a surfing movie.

Surfing is just a backdrop to the real story - the transience of time and in particular, the golden days of youth.

What the film is really about, and what elevates it to a much higher level, is how time just slips away. What I believe Milius attempted to do with BW was to capture the magnificence of a certain time in HIS life when everything just hung together beautifully, suspended for what seems like forever.

And like so many great pieces of art, in the process he made something that contains a universal truth -- that everyone longs for the intensity of their youth -- and I believe that holds the key to its enduring appeal.

For many people this magical stretching of time is most profoundly felt when they are young, say around 18 or 19 years old. Which is the age the main cast happens to be. They are young, restless and facing a very uncertain future due to the Vietnam War.

For these reasons they do their best to prolong the magic of that particular time and place for as long as possible.

Now this theme has been the subject of countless movies, but few have created them with as much humour and sheer truthfulness as Big Wednesday. Even though the principal cast members, like Jan Michael Vincent and Gary Busey, never really went on to do anything major (although Gary created any number of memorable character roles) in THIS movie they just work together beautifully.

If you've ever seen another film which attempts to create the same mood as this, by the name of Fandango, you might understand what I'm getting at. Fandango has everything that BW has - the humour, the ensemble cast, the looming Vietnam War - but it doesn't capture the magic as well as BW.

Why this is exactly is hard to say because Fandango is pretty darn good in itself. But BW just creates such a sublime portrait of those mad times in your life... expressing sentiments and a yearning that are near impossible to put into words. It's a true cult classic, yet if anything, still underappreciated.

And yeah, the surfing is pretty good too.

City That Never Sleeps (1953)

Don't miss this great Noir sleeper

[8/10 · 18 January 2021]

I caught this movie on YouTube where I watch a lot of these old B&W films, which I love for their simplicity and great stories.

I started watching this and I was surprised that it isn't better known. Bear in mind there are literally thousands of films like this so it's difficult for them to stick out but this one does.

First off it has a great script. This is something I always look for as these films were largely driven by their scripts (as opposed to big explosions and special effects) and this one has a doozy. There are many quotable lines in it.

Secondly, it has a very bad villain. This guy doesn't hesitate to shoot anyone, women and cops included. And he's very effectively played by William Talman. You will remember Talman as the titular lead in The Hitchhiker, another very memorable noir outing that was directed by none other than Ida Lupino.

Thirdly, there's this great minor character in it played by a guy whose job it is to stand in a club window and pretend to be a mechanical man, his face painted all silver. This bit is played by Wally Cassell. It's a small part but its got some great lines and it's just so odd it really sticks out.

Other than that its a fairly standard noir picture but it will stick in your mind. I think it deserves a bigger audience among those who treasure these noir oddities.

Middle of the Night (1959)

Another Kim Novak cracker

[8/10 · 17 December 2020]

If you're a fan of 'vintage' films you'll know that Kim Novak is one of the greatest beauties ever to grace a screen. And a terrific acting talent as well.

This movie, based on a play by Paddy Chayefsky, features Novak as a young woman, a bit lost in life, who is wooed by an older man (Fredric March), who is himself at a stage where his life feels empty and meaningless.

Nowadays he would be named and shamed by the #MeToo movement, as she also works for him, but thankfully, this is 1959 -- when people were allowed to be people. Which means it's all about two humans who just want to love and be loved in return.

If you're looking for a crackerjack entertainment, filled with human truth and some great subtle comedy, set against a wintry backdrop of the New York garment district, you'll love this film. The script is superb, two leads are fantastic, as are all the supporting players.

For Novak fans, follow this up with the film she did the following year alongside the great Kirk Douglas, Strangers When We Meet, and you'll have an equally satisfying experience. She never fails to disappoint.

The Night Visitor (1971)

They don't make 'em like this anymore

[8/10 · 21 October 2020]

People often ask me why I watch older films almost exclusively nowadays. I'll tell you why: because in days gone by people made movies because they were passionate about concocting a great story, and it wasn't just about the bottom line.

As every film fan knows, the 70s is chock-a-block with such examples and the Night Visitor is one of them.

I often revisit films that I saw in my childhood that have haunted my consciousness ever since. The Night Visitor was one of them. I had these vague memories of watching it many years ago on television. It was a very clever story and so unusual that it stayed with me for YEARS.

All I could remember was a man scaling the tall granite walls of a very secure prison located in a cold and forbidding wasteland. But I couldn't for the life of me remember the name of it.

Then one day I'm scrolling around on YouTube and there it is, uploaded by another film nut. I was overjoyed. A really nice high-def transfer too. It was like running into an old friend that you haven't seen in years.

The story is a real twisty that keeps you watching until the end. It's driven by the wonderful character actor Max von Sydow (who sadly passed away not long ago) with terrific support from Liv Ullman and Trevor Howard.

It's a murder mystery but not quite like anything you've ever seen. Beautifully wrought sets and a fantastic atmosphere courtesy of the location among the snow-swept wastelands of Sweden. The twist at the end is the cherry on top of a delicious cinematic feast for the eyes and brain.

They simply don't make movies like this anymore. Seek it out if you enjoy something highly original and satisfying.

A Hatful of Rain (1957)

Gritty kitchen-sink drama

[8/10 · 19 October 2020]

I have a particular fondness for tough, working-class films from the 50s, as epitomised by films like On The Waterfront and Clash By Night. Many talk about the golden era of Hollywood and to them this means the 40s, but in my opinion it was the 50s when things really took off. Not only was America producing some very fine examples, but British cinema also shone during this decade.

I believe the over-riding reason for this was World War II. After the war, social issues became more acceptable to discuss openly. After all, the whole world had just endured 5 years of unimaginable horror. Also, many men came back from the war with bad habits, dope addiction being one of them. It was no longer something you could ignore, which led to films like A Hatful of Rain.

A tough, gritty picture that I assign to the genre known as the 'kitchen sink' drama, A Hatful of Rain focuses on a man, Johnny Pope (Don Murray) who is trying to build a life while wrestling with a heroin addiction picked up while trying to deal with the horrors of his stint in the Korean war.

Most affected by this are his wife Celia, played by a luminous-as-ever Eve Marie Saint, who naturally serves the moral center of the film and his brother, Polo, (played by Anthony Franciosa). These three live cheek by jowl in a little apartment in Brooklyn, New York City.

The situation is further complicated because Polo is secretly in love with Celia and Celia is questioning her love for Johnny because she suspects he's seeing someone else. The tense situation is further exacerbated when the brothers' father comes for a visit. He idolises Johnny and dismisses Polo, all of which adds up to the typically tense family dynamic.

Adding to the fun are some colourful drug dealer types wielding some very hep 50s slang played by Henry Silva and William Hickey.

The film is originally based on a play, and that comes across clearly with plenty of dialogue and the typical scenarios that playwrights love. However, the film does take good advantage of the locations around Brooklyn to convey the tough, working-class conditions that the family comes from.

Johnny's addiction is well-handled for the most part, with only marginal hysteria, and it makes plain how heroin becomes the single driving force in an addict's life, overwhelming everything. It's an engaging film, driven by its well-sketched characters and by now familiar, if somewhat clichéd, family dynamics.

Galveston (2018)

An empty box of chocolates

[6/10 · 12 October 2020]

Why, oh why, does everything have to be made into a film? Here's one example that shows just why some properties should NEVER make the journey from paper to celluloid.

On the surface it looks great... We've got Ben Foster and Elle Fanning ! Nic Pizzolatto, the author of the book and mastermind of the universally applauded first season of True Detective, writes the screenplay. Not to mention he also wrote the book the movie is based on. So what could go wrong? Turns out plenty.

First off, the book was really cool. Despite a fairly thin plot it was made into a gripping neo-noir by virtue of Pizzolatto's painterly style and brilliant way with dialogue. Plus, he can really bring a place to life and the locations in Louisiana and Galveston are so vivid you can smell the ocean breeze and hear the paint flaking off the walls of those run-down motels.

Unfortunately, the contracted nature of the film means much of this is lost, especially the relationship that develops between the two main protagonists -- Roy Cady and Rocky. In the book, she is actually 16 years old and yet Pizzolatto manages to create a very convincing portrait of a tough, complex character who has been through life's school of hard knocks -- and then some.

One of the central joys of the story is the relationship between Roy and Rocky, as Roy fights with himself to avoid succumbing to the temptation of sleeping with someone who is woefully over-sexualised and uses her feminine charms at every turn to try and manipulate him into doing what she wants. It's this complex dynamic - and the verbal interplay between them -- which gives the story its depth and makes the book so affecting. In the film, given the constraints of time, it is sorely absent.

While the DOP does some very nice work with the locations, it simply doesn't achieve the depth and flavour that Pizzalatto's descriptions do, given that this particular piece of real estate is central to the mood of the story. In something like True Detective, which had the luxury of being able to stretch time, the character of the place came across much more effectively.

Some people, and Pizzolatto is one of them, can write is such an evocative style that when you read their work it's as if you're watching a movie. This makes any film version of their books totally superfluous.

Do yourself a favour -- skip the movie, and read the book. The film version is like having a starter and dessert and skipping the main meal.

The Nightingale (I) (2018)

An unfortunate case of excess

[6/10 · 28 September 2020]

This film could have been so much better.... if the makers had the discipline to edit it. Unfortunately it suffers from an excess of... pretty much everything. Too much violence, sudden death and destruction. After awhile one becomes desensitised to it.

That said, there is plenty that's worthwhile, notably the setting and performances which are excellent all round, particularly those of Sam Claflin as the reprehensible Lieutenant , Damon Herriman as the Sergeant and Aisling Franciosci as Clare.

The real stand-out, though, is Baykali Ganambarr as Billy. What a phenomenal talent! He's never anything less than completely convincing. So much so that the film really should have been called Blackbird, in my opinion.

The film's location is the island of Tasmania and it's a beautiful setting. The historical period reveals a highly disturbing and not often seen aspect of Australia's colonial past.

All in all it could have been a lot better, but it drags on for too long and the film-makers allow it to lose pace and urgency. If they'd just cut 20 minutes from the last third it would have improved the whole thing tremendously.

Eden (I) (2012)

Far more horrifying than any horror film

[7/10 · 4 September 2020]

I watch a LOT of movies so I'm used to formula, which all too often is what is relied on these days. I was therefore pleasantly surprised by Eden because it's not in the least predictable, and I can only imagine that's because its based on a true story. I don't know how MUCH of it is true but you can definitely see that elements are not the product of a script-writer's imagination.

Why? Because they are simply too sickening to be made up. I won't discuss the plot elements, other than to say it's about kidnapping young women to sell them into a life of sex slavery. Yeah, fun stuff! That said, it doesn't rub your face in the gruesome details of what the girls are forced to do, but rather focuses on the experience of one person, the Eden of the title, as she works to free herself from a seemingly unwinnable situation.

Played by Jamie Chung, at first she seems to be an almost unbelievably naive and trusting person but gradually her gritty determination is revealed as she turns the tables on her kidnappers. This part is the most satisfying because it's not far-fetched or predictable. The characters are all well-played, with a rare turn by Beau Bridges as a completely evil SOB.

Jamie Chung is very believable in a demanding role that requires her to be in every scene, and plays it very low-key throughout, using her magnetic eyes to great effect to express what's going through her mind. Matt O'Leary also does very well in a supporting role.

This is a very important film and needs to be seen as widely as possible. I have a teenage daughter and I want her to watch it. As a cautionary tale, it does a terrific job. Far more horrifying than any horror film.

Strangers When We Meet (1960)

Fabulously entertaining look at infidelity

[9/10 · 20 December 2019]

I now almost exclusively watch films from the golden age of Hollywood and this one was a real pleasure from start to finish. Why? Three simple reasons. First off, Kirk Douglas, who I consider one of the all-time true greats of Hollywood. Second, Kim Novak, a fine actress who does some of her best work here. Also, one of the most drop-dead gorgeous women ever to grace the silver screen. Third, a truly great script from Evan Hunter (best known for The Blackboard Jungle). that manages to perfectly capture the deadly state of boredom that can affect anyone who has been married for long enough and which ultimately leads not just men but women to stray. There's plenty of other things to like about this film, including a terrific little part for Walter Matthau as the neighbourhood creep, some beautiful cars and a fabulous house that Douglas's character designs, but these three factors are enough to make this a great entertainment.

Quarry (2016)

Total genius

[9/10 · 21 February 2019]

This show hit so many buttons for me. It was just perfect. The story, the characters, the pace, the cinematography. It's very hard to take that these brilliant shows just don't last. What a shame. Logan Marshall-Green is now all over Netflix (currently enjoying his work in Damnation, another great show that didn't last) but this was my first exposure to him. Peter Mullan is also absolutely superb and now doing great work in Ozark. Also quite cool that a fellow South African (Jodi Balfour) is in this. This is television at its very best... make a point of tracking it down.

Comes a Horseman (1978)

Good, solid western with much to enjoy

[8/10 · 18 August 2018]

This is a solid western story, although set later than most in the genre, during WWII. There is plenty to enjoy, including gorgeous vistas, fine performances by the leads, and in particular Richard Farnsworth and Jane Fonda and beautiful wide angle photography by the master cinematographer Gordon Willis. On the downside there are some editing issues. The ending especially feels somewhat rushed and could have benefited greatly from an extra five minutes to jack up the suspense. One gets the feeling that the film was already running long and they had to wrap it up. Also, I had some trouble 'buying' James Caan as a cowboy, mostly because I am so used to seeing him in very urban settings. Not that he doesn't acquit himself well as he makes a lot of out a slightly underwritten role. These are minor quibbles and rest assured you will not be wasting your time with this one, it's a very solid effort and ticks many of the boxes you'd want in a movie of this nature. And especially if you're a fan of Jane Fonda, as I am, it's not to be missed. Look out for a very young Mark Harmon of NCIS fame.

Drop Dead Gorgeous (1999)

Under-appreciated comedy classic

[8/10 · 17 October 2017]

Not sure how people can not find this movie funny... this movie is freaking hilarious!

Not only that but the cast is pure quality. The magnificent Kirsten Dunst in the lead... Ellen Barkin as the alkie Mom... Alison Janney... Amy Adams in her first movie role, the sadly missed Brittany Murphy...

Plus a superb turn from Denise Richards in the role she was born to play. The only one who goes a bit OTT is Kirstie Allie but everyone else is pretty restrained, considering.

Not only that, but the script is dark, dark, dark. If you think bulimia isn't at all funny, wait til you see this flick... au contraire, mon cheri, its hilarious!

If you're a fan of the classic Christopher Guest mockumentaries like Best in Show, you will eat this movie up. It uses the same format to excellent effect.

Well worth a look... how can a flick that totally eviscerates small town beauty contests not be?

Big Sur (2013)

Kerouac on a downer

[4/10 · 13 August 2017]

This film is a total drag. I had no idea Kerouac was such a loser. I honestly don't know what he had to complain about. Here he is, a famous writer, in bed with a gorgeous woman, surrounded by friends and the guy is miserable as hell. I have no sympathy for people like that. Plus he never stops drinking. I guess being a writer the booze is just an occupational hazard but still, I've never seen anyone drink that much! I know he died young as a result of alcoholism and that really doesn't surprise me now. Both he and Cassady had such sad endings. Perhaps there is a moral in there somewhere but I don't know what it is.

If you want to read a truly inspirational writer, who is often called the father of the beats, check out Henry Miller, who is mentioned in the film once or twice, as another writer who would up in Big Sur. Now Miller knew how to live. He never let depression beat him. The man was a force of nature. Forget about Kerouac and Burroughs, these guys had serious issues. Henry Miller is yr man. Reading his material never fails to lift my spirits. As for the film, watch it for the scenery and a semi-nude Kate Bosworth, that's about all it's good for.

Page Eight (2011 TV Movie)

British to the core... or should I say snore?

[6/10 · 19 March 2013]

I must say its pretty incredible just how different British films are from American ones.

This is a spy thriller, sort of a James Bond for people who don't like guns. There are some very well known Brit actors in it, including the ravishing Rachel Weisz, her of the remarkable eyebrows. I will freely admit she is the main reason I watched this. Unfortunately she is not required to do very much other than look sad and pretty, which she does incredibly well I might add.

This is one of the Brit films where there is lots of talking. Clever dialogue. Except it never sounds as if its anything real people would say. The only character who seems vaguely real is the journalist spy played by the chappie from Trainspotting.

Lead man Bill Nighy is a major problem. He's gone from character actor to leading man based on a growing fan base (I suspect largely among the ladies) but the fellow has all the expressiveness of a kitchen table.

He simply can't emote, whether he's talking to his daughter, his ex- wife, the woman who wants to take him down, his new girlfriend... it doesn't matter WHO he's talking to, he remains exactly the same. I mean, I understand stiff upper lip and all that, but for God's sake, this is acting, man. So act! You can only take so much stoicism.

And no, the fact that he collects art, likes jazz and sleeps with lots of women doesn't make him more interesting, because none of it is plausible!

Plus, there are plot elements that are baffling. He is supposedly left without a penny after his noble sacrifice, and yet he abandons his flat that is apparently stuffed with collectible artworks, selling only one and giving another away (along with his car) to his new girlfriend.

Why doesn't he sell all the paintings? What will become of his flat? It's as if the film makers expect us not to care. But we do care! As usual, they simply can't pull a good ending together. Too many loose strands are left untied.

I also sat through half of the recent remake of Smiley's People and found it similarly dull. The otherwise superb Gary Oldman was charged on that occasion with imitating a wooden mannequin. Is it a prerequisite before entering government service that you have to be a crushing bore with a Cambridge education? Given this evidence, it would appear so.

Come on chaps, let's give it a bit more spark and sizzle next time? And I don't think it needs to be James Bond, please God no. Just some more excitement. More war war and less jaw jaw, to paraphrase a famous Brit. Thanks ever so much!

The Master (2012)

The Story of America, Part III

[8/10 · 6 January 2013]

My wife and I saw this last night, at our local 'art' cinema. I mention this because The Master is very much an Art movie. It dispenses with the basics of plot and instead chooses to focus on its characters. The other essential of story-telling (that the central characters must be somehow changed by their experiences) is also somehow missing.

Chief characters Freddie Quell and Lancaster Dodd don't appear to be significantly altered by their relationship by the movie's end. Quell just seems to be more haggard and time-worn. Dodd merely to have lost patience with his one-time protégé. So what enjoyment and or insight is there to gain from The Master?

The enjoyment lies primarily with the level of professional abilities on display and its obvious creative achievements: the direction, the script, the performances, the music and the intriguing story of the origins of Scientology. However, despite all this obvious talent, the story itself feels incomplete and frustratingly open-ended, typical of so many 'art' films (see above). And yet, despite this failing, there is still an embarrassment of riches on display for the film enthusiast.

Phillip Seymour Hoffman is, of course, a highly accomplished and unfailingly magnetic performer. Every movie he appears in is enhanced immeasurably by his presence. And his portrayal of Lancaster Dodd holds many delights. Dodd's charisma is plain to see and he is a master salesman, as befits a man who sits at the head of a (soon to be global) personality cult. Hoffman succeeds in conveying all of these qualities with ease, along with Dodd's explosive temper. This is the artist at the height of his powers.

Playing the foil to Dodd's straight man is the mercurial and mysterious Freddie Quell. Quell's character is a riddle, wrapped in an enigma, shrouded in mystery (to borrow from Winston Churchill). His motivations seem to be extremely simple - get drunk and laid as often as possible. He seems to live in the moment and for the moment. In other words while Dodd is driven entirely by his intellect, Quell is purely instinctive. This dichotomy is the chief driving force behind the picture, as Dodd tries again and again to whip Freddie into shape and drive the 'animal' out of him. In the end he fails and Freddie goes back to his evil ways, no doubt to succumb to an early death as a result of his depredations. (Dodd's future achievements are, of course, a matter of record.)

Joaquin Phoenix does a masterful job of delivering Freddie to the audience, and its a mammoth undertaking. He is on the screen in almost every scene and truly plumbs the depths of his soul to create a mesmerising character out of very little. There is very little back story, no explanations, just a man fresh out of the war, suffering from Post Traumatic Stress Disorder who appears incapable of integrating into normal society. Freddie never attempts to explain himself, he appears incapable of rationalising or justifying his own behaviour. He just IS. Phoenix has been criticized for 'over-doing' it with tics and other mannerisms but I didn't see it. To my mind his performance was quite restrained and largely internal. Suffice to say it is a magnificent effort, and I am sure most serious actors, on viewing it, must have felt quite despondent and desperate, wondering how in hell they will ever match it.

The insight provided by the movie is another matter entirely. I think it is essential to view it alongside two previous PTA efforts, Boogie Nights and There Will Be Blood. To my mind these these stories are all very similar. They appear to be about the origins of the American persona and way of life. All three are uniquely American stories: the origins of the porn industry, the oil industry, and the quasi-psychiatric self-help industry.

The characters of Dirk Diggler, Lancaster Dodd and Daniel Plainview, too, are uniquely American. Self-made, larger than life, fiendishly charismatic, fiercely ambitious. Is this how the American psyche was shaped, PTA appears to be asking. Three uniquely American stories. Each in its own way, providing powerful insights into the American way of life, the origins of the American Dream, if you will. No doubt, some will disagree, but to my mind, it seems quite obvious.

On its own, The Master is undoubtedly a phenomenal achievement in film- making, no matter how you slice it. However, when viewed as part of a triptych, along with the above-mentioned two films, it takes on a whole new significance.

The Abyss (1989)

Classic Cameron!

[9/10 · 24 December 2011]

Boy, do I miss James Cameron. By that I mean Classic Cameron, not the Cameron of Avatar fame. To me Classic Cameron is best represented by three movies: The Terminator, Aliens and The Abyss. To me these three represent the highest pinnacle of mainstream action movies. Of the three, The Abyss is the least perfect but its got a permanent place in my collection of movies that blew my mind and made me the movie freak I am today.

The thing I love about this film is that it takes you to a whole new place. For me, that is what movies are about. Any movie that can convincingly transport me to a different time or place is a success in my mind. And The Abyss achieves that in spades. The second thing that makes The Abyss a great movie are the characters, in particular the three main leads. I think Ed Harris' character is one of the greatest and most believable action heroes of all time. Forget Tom Cruise, Bruce Willis, Schwarzenegger, Stallone... Ed Harris as Bud Brigman is The Man as far as I'm concerned. He never strikes a false note once during the entire 2,5 hours, even at the end which is the movies weakest point. Then there's Mary Elizabeth Mastrantonio. Wow, what an awesome female character. Strong, fearless, yet so believable. Cameron writes 'em like nobody else. Their relationship is also really convincing and touching. I never fail to tear up when I watch the climatic scene when Bud revives Mary Elizabeth. It just kills me. Finally there is Michael Biehn as the inimitable Lt Coffee. I mean, come on! Has there ever been a more sinister bad guy? I don't think so... Michael was, of course, absolutely fantastic in Terminator but I think he achieved the pinnacle of his career as Lt Coffee in Abyss.

Apart from that, there is so much else to enjoy here... the awesome underwater setting, the relentless action, the mind-blowing special effects, the humour, the unforgettable characters. My only regret is I somehow missed it on the big screen. But when I finally get that 40-inch HD flatscreen, you can bet the first movie I'll watch on it will be the Abyss. Classic Cameron!!

Some Came Running (1958)

Great melodrama for a Saturday afternoon

[8/10 · 19 June 2010]

I just caught this on TCM and I really enjoyed it. Even though it is dated etc etc the themes of two very different people trying to shake off their respective baggage and find each other are still relevant today. I love how writers are always depicted as drunken wastrels in films, although like every cliché there is definitely some truth in that! Sinatra and Dean Martin are great and their easy familiarity works very well for the film. Shirley McClaine is extraordinarily beautiful, perhaps a little too much so for the part.

Vincente Minelli does some fine work here, particularly with the roving camera in the carnival setting at the end. Admittedly I also found Hirsch's sudden head over heels conversion to a love-struck puppy a little hard to swallow but aside from that it's a great late 40s flick and still holds the attention right through to the heart-wrenching end.

Intolerable Cruelty (2003)

Under-appreciated classic from the Coens

[9/10 · 13 October 2009]

At first glance Intolerable Cruelty doesn't seem like a typical Coen brothers movie at all. With its 'rom-com' vibe and disgustingly good-looking leads, it seems like the Coens had sold out to the studios and were chasing the big bucks like everyone else.

Oh ye of little faith! If anything Intolerable Cruelty is one of the most enjoyable Coen flicks since Hudsucker Proxy. Set among the shark-infested waters of Los Angeles' divorce lawyers, Intolerable Cruelty is as cynical a rom-com as you'd ever expect to see, with Catherine Zeta Jones excelling as the professional gold-digger who eventually falls for divorce attorney Miles Massey, played with great comedic zest by the disgustingly good-looking AND talented George Clooney.

The script is packed with gems and repeated viewings are necessary to catch every little barb and quip. It is also rich with highly entertaining supporting roles by the likes of Geoffrey Rush, Richard Jenkins, Billy Bob Thornton, Cedric the Entertainer and Julia Duffy, not to forget Jonathan Hadary as the inimitable 'Heinz the Baron Krauss von Espy'. Personally I feel this is one of their most under-appreciated movies, I should know - I dismissed it myself when I first heard about it, but have since purchased the DVD and watch it whenever I need a belly laugh.

By the time Geoffrey Rush hoves into view in his open top Merc to the strains of Simon and Garfunkel I am already chuckling in anticipation of once again enjoying one of my all-time favourites.