p_adkins2004 Reviews

Unbreakable (2000)

Its all perspective

[7/10 · 12 April 2007]

I've seen this film before but was looking through my DVD collection to find a film my kid brother could watch with me, without it being a kids film or a comedy. And I found this. In fact, I think M. Night Shyamalan are great for films to watch with people of all ages, as although they explore fairly gritty and dark ideas they are fairly family friendly.

On second viewing, I liked this film about as much I did the first time round - I like it, but it holds itself back. A lot.

Firstly, the setup is ridiculous, as a 'comic book' film set in reality the concept of Bruce Willis's invincible character seems a little too far fetched to ever be used a relatable figure to the audience, through whom the audience's perceptions are questioned. Unlike Night's other films where the hero's tend to be everyday sorta people (such as Gibson in Signs), Willis is a character totally out of place in the viewer's universe.

The climax of the film is under-developed, with the kidnap plot thrown into the film far too late, and so as the 'actiony' finale lacks any really weight or significance which it craves.

However, this film is not all about special powers or Willis's character, if you look carefully it's a film about perception. Using the directive (is that a word? I doubt it) masterfully, Night subtly sprinkles the film with ideas and shots in which the viewer's perception is brought into play. For example in the final scene of reconciliation between Willis and his wife, their son is shown in full shot filling a glass up midway of of orange juice, the camera then focuses in on this glass next to the newspaper with Willis on the headline, a metaphor surely for the films objective of asking is the glass ever really half empty? This is further emphasised by the decent twist (c'mon on its a Night film, of course it has a twist), in which the viewer is left wondering whether the set villain is actually the hero of the film.

I like this film, mainly due to it's direction and thought provoking message, however as a blockbuster or an entertainment flick I can understand why people think it doesn't stand-up compared to the rest of the blockbusters filling up the local odeons.

Sexy Beast (2000)

'Well I Ain't Gonna Tell Ya What To Do!'

[8/10 · 8 April 2007]

A British gangster flick with heaps of style, but unlike many obvious comparisons with the likes of Lock, Stock and Layer Cake, this film has got much more substance.

Ray Winstone is retired gangster Gal Dove, living a new life of peace in Spain with his loved wife and close friends. However, a very unpleasant visit from Don Logan (Ben Kingsley) drags him back into the dark underworld of violence and bank robbery.

Ask anyone, and they will tell you the best thing about the film is its three leading stars, Ian McShane, Ben Kingsley and Winstone, who are cracking in the roles and the relationships between the character.

My only concern is that the second half of the flick pans out like you pretty much expect in the linear well known gangster format with the 'job' taking the role of the film's climax. And despite being done well, and having a few twists, it is heavily over-shadowed by the psychological, tension-packed first half in Spain - with the relationship between Gal and Don being the best thing the film has to offer.

A decent British gangster flick...set in Spain. Well worth a watch due to some of its cracking factors, but you've probably already seen it.

The Man Who Knew Too Much (1934)

Hitch's early work.

[6/10 · 25 March 2007]

If you've ever seen 'The Man Who Knew Too Much' this probably isn't the version you've seen. Yes, it is directed by Hitchcock, but he remade it in the US many years later and the latter film is the more popular version these days.

This film, set in London, sees a husband and wife try to stop the assassination of a government official and rescue their daughter from the murderers responsible.

It's by no means he greatest achievement ever, and would struggle to keep a modern audience interested (apart from Hitchcock fans). Sure Peter Lorre is great as the mastermind villain, and the plot is intriguing and fast paced, but due to the lack of Hitchcock's famous fast cut, tense inducing directing it doesn't standout.

Still not a bad film but by a long-shot, just not one of Hitch's greatest.

It's All Gone Pete Tong (2004)

Spinal Goes Large

[7/10 · 23 March 2007]

Imagine 'Spinal Tap' meets 'Kevin & Perry Go Large' and you have pretty much summed up this mess of a film.

And it starts so well, interviewing legit DJs and dance music moguls about the imaginary legend DJ Frankie Wilde. It sets to be a truly ingenious spoof on the age of electronic music, but then it starts downhill from there. The editing is so screwed up, that half the film is cut to look like a mockumentary style film with talking heads, and the rest is shot like your regular cinema comedy flick with panning angles, and camera work that has clearly been decided to fit the piece not vice versa. It also doesn't help that the film is completely scripted (and not very well at that) so the whole effect looks very false.

The film's redeeming second half in which it battles with Wilde's deafness sensitively and thought provokingly almost drags the film up to a decent standard, with a decent film twist and a feel good feeling, but you can't help feeling that it could have been done a lot better, and not as rushed.

However, the film does have some good features, for instance Paul Kayes is brilliant as Frankie, becoming the character instantly, and rattling off a number of great one liners like a pro. He is probably the films strongest point.

It also has decided not to just opt for the stereotypical Ibiza feel of partying, drugs and Britishness, although it shows this side it also shows a beautiful, poignant and Spanish side to the devil's isle.

I liked this film because of my love of dance music and Ibiza, however as a film standing up on its own it inevitably fails and probably has a future destined to the bargain bin section of HMV.

Lethal Weapon 2 (1989)

Lethal Weapon 2: Substandard Follow-up

[5/10 · 18 March 2007]

I really really liked Lethal Weapon for a whole host of reason, but the sequel certainly doesn't stand up to its predecessor.

The character development, which in the first film was pivotal, is dropped and your just expected to enjoy the character of Riggs and Murtaugh on the merits of the first film alone, which is alright at the start of the film, but soon it is revealed they are simply shadows of the previous multi-dimensional selves (especially Riggs).

The film lacks the dark underbelly of the first, in which despite having a good plot, the screwed up achololic and weary senior officer's transformation in to coherent unit was nothing less of genius.

Plus this film has the terrible Patsy Kensit in, whose South African accent is actually terrible, and can't act for toffee.

Its a shame, because I really wanted to love this film, as much as the first one, but despite not being a bad movie it just doesn't live up to the original.

High Hopes (1988)

Thatcher's London through the eyes of a socialist.

[8/10 · 11 March 2007]

Released in 1988, this is Mike Leigh's (director of Vera Drake) sublime comedy which examines the social climate of 1980s London.

I really liked this film, it centres on one extended family living in London during the Thatcher years. Cyril is a Marxist, who does despite his strong values and views chooses not to act on them, giving the world up for a hopeless cause. His partner, Shirley, desperately wants a baby, despite Cyril's strong views that the world is already "over-populated". Living in the last council house on a now yuppie infested road is Cyril's mum. A member of the generation who has been forgotten, she is slowly losing her marbles, much to the distaste of her neighbours. And as for Cyril's sister, Valerie, who lives in the social climbing climate of the middle class, she has seemingly to forgotten her roots and family ties, no doubt due to her excessive drinking of cheap champagne and her leeching husband.

This film is a brilliant gem of 1980s British cinema, despite its clear socialist values (it's cartoonish portrayal of the rich and yuppie somewhat softens the blow of its left wing message), it brings up so many interesting questions in an intelligent manner, portraying all its characters from a variety of angles and political stances, its hard not to like Cyril, but when he criticises a young 'active' Marxist follower for planning to open a market stall, he is shown to be hypocritical.

Leigh' doesn't just direct, but also write, and the script is water tight. It is extremely witty, just full of emotion and very down to earth.

This film is a very good snap shot of life in a variety of social situations and views in the churning world of the 1980s as the capitalistic London really began to boom. It is a flick that will not doubt have you smiling from cheek to cheek, yet also leave you feeling emotionally vulnerable and self-questioning.

Gladiator (2000)

Not the classic it wishes it was.

[6/10 · 2 March 2007]

With Oscar weekend just passed I decided to dig out a film that had won loads of Oscars, and nominated for even more. I went for Gladiator, a flick I hadn't seen for at least five years, which five years ago I remember thinking wasn't anything special.

And apart from the action sequences, that view still holds. Sure, the coliseum scenes are something special - possibly some of the great action scenes ever shot, but they are let down by a mess of a film, full of bad dialogue, gaping plot holes and bad acting.

Russell 'I can only do one expression' Crowe, is perhaps one of the films biggest let downs, he can't decided whether he is a emotionless bad ass, not giving a damn whether he dies or not, or whether he is an emotionally fragile man. I've never been a big fan of Crowe, but especially in the role of Maximus, I feel it is one of the film's hindrances.

The dialogue is camp and cartoony, with one of the first lines "Why can't people just admit when they've been conquered?!" appearing completely inappropriate for a savage battle scene. Throughout the film the dialogue is one of the recurring problems, which makes itself apparent when it appears self-aware or over-sincere ("You must live or I shall die").

Also, we're meant to believe that Maximus can escape the Roman army and travel undetected from Germania back to Spain, but wait he can't escape from a shoddy little slave ring. Its plot holes like this that mean that Gladiator can't be the classic it badly wants to be.

However, it does have quite a few redeeming factors, such as the fact that it is really well directed by Ridley Scott (his choice of panning camera shots and brilliant intimate feel to the battle scenes have to be seen to be believed). And Joaquin Phoenix is spot on as Commodus, never choosing to portray him as a straight bad guy, but the most multi-dimensional character in the film.

Oh yeah, and the soundtrack is great too!

Rear Window (1954)

Hitchcock's True Classic?

[8/10 · 22 February 2007]

This film is pretty much set in Jefferies flat throughout the whole 2 hours (reminding me somewhat of The Glass Menagerie, which is never a good thing), and no shot outside of the apartment block is shot, and although Hitchcock ensures the audience aren't too aware of this, it doesn't help the static feeling that this film creates.

The most interesting level to the flick is the relationship between Jefferies and his girlfriend, which at the start of the film is mismatched, disjointed and mainly physical (Kelly's sexuality is on full display here), yet through the supposedly horrific circumstances they are able to use murder as a lubrication to a better relationship. Kelly especially seems aware of this yet, almost acknowledging the sacrifice of a life as a fair act for the salvation of their relationship. In many ways this complex relationship means the murder itself plays second fiddle.

The murder plot itself is fairly basic and uninspiring, yet it is the unlikable Jefferies response to the proceedings which mean the viewer doesn't lose interest.

Compared to many of Hitchcock's true classics this film does not have a tense edge to it (not to the modern audience anyway, when the idea of voyeurism or being watched all the time is reality not fantasy), till the final 10 minutes of climax. Perhaps the idea of being watched from afar is accepted to the point where the pivotal point of the flick is somewhat lost.

What's Eating Gilbert Grape (1993)

Superb performance, let down by...

[7/10 · 19 February 2007]

The acting talent in this film stands out a mile; Johny Depp, DiCaprio and Mary Steenburgh are breathtakingly good. I thought it would be hard to watch the flick as I would constantly be aware of the big name tags on the back of the actors, but the method acting is done so well that they connect with the viewer instantly.

I wasn't that impressed with the film itself - despite the praise I have heard of it in the past. It seemed to superficially glide over all the interesting sub-plots it had created (e.g. the mass production of commercialism hitting the small time, and the fragility of life), never seeming to really dig into the points it was making. Instead it relies on the superb acting skills, before making some daft poignant point such as "Life always presents opportunities".

Well worth a watch, and is a true credit to the leading cast, but not the classic its branded as.

American Psycho (2000)

Bateman is the only sane character.

[7/10 · 23 January 2007]

The novel, by Bret Easton Ellis, of which this film is based on is outstanding. Horrorific, darkly funny and completely entrapping it is a modern classic, and a great statement about the yuppie culture - so I had high standards for this film.

Bale as Bateman was not how I envisioned the character, despite being a Bale fan I probably would have said he was mis-cast. Although he gets the charismatic and yuppie side of Bateman down to a t, the dark psychotic and broody side of Bateman is portrayed in the same over-acted manner.

The film, thank god, does not choose to 'Hollywood' the novel, with the viewer still being left with an ambiguous ending, in which one must decide how much of the events actually happened and what was in Bateman's fantasy or delirium, it is never clear as it is both hinted at the he did everything and nothing - which is great. By doing this the film manages to portray the book's clear statement on reasons and not the means.

Interestingly, despite being called 'Psycho' the film manages to portray one of the book's best factors - the interesting point that perhaps in Bateman is the only sane man. In the Yuppie culture and circles Bateman runs with, he is the only one with enough self-awareness to realise that the life they live is hollow, meaningless and futile - thus creating his blood lust.

This film scratches the surface at what the book means and is no where near as dark, but for a 100 minute film it succeeds far more than I thought it would. Bale makes an admirable effort, and yet despite the flicks clear downfalls, there lies a enthralling and thought provoking film.

12 Monkeys (1995)

Dystopian visions

[9/10 · 20 December 2006]

Directed by the master of dystopian visions, Terry Gilliam, Twelve Monkey bombards the audience with a complex, yet digestible, film - which unlike it's fellows in the genre, is also heatwarming. Bradd Pitt and Bruce Willis enter career altering roles, which demonstrate their immense talent and no doubt paved their way for future roles.

The direction and photography of everything from the set pieces to the 1996 Philidelphia are breathtaking, to the point where the viewer is fully emerged in the film, becoming part of the concept - yet still being aware enough to fit the jigsaw plot together.

This film is a true classic and my favourite Gilliam film (although Brazil is very close), I think it will go down in history as one of the best sleeper hits of the 1990s. It has certainly paved the way for future films of a similar films (just look at the clear resemblances to Gilliam ideas in films such as Children Of Men).

Also if you pick up the DVD, the additional documentary film 'The Hamster Factor' is a very insightful view not only into Gilliam's film but the entire Hollywood studio process.

Heat (1995)

'95 - Year Of The Mann

[10/10 · 7 December 2006]

Here's another gem I've only just got around to watch, and its pretty much as near to a masterpiece as a film can get.

For those of you who don't know what Heat is about, it follows Lt Vinncent Hanna (Pacino) trying to track down and convict a group of cons, who are terrorising LA, headed by Neil McCauley (Deniro). Its supported by an all-star cast (Val Kilmer, Ashley Judd, Jon Voight, Natalie Portman ...) and is directed by Michael Mann.

Due to Mann's style, the LA surroundings and photography are fully utilised, creating a visual backdrop second to none, and not just serving as pleasant on the eye but also plot devices throughout.

Sure it's a cop flick, but more than being about the cat and mouse antics of the cat and mouse style story, it is an explicit snapshot of human nature and choice, it is a compact summary of what Mann clearly views as the mechanics of everyday occurrences placed under extreme stress. The subplots to each character is complex and twisted with each is a powerful subtext, which is not fully revealed till the last shot has been fired in the closing scene.

Simply stated, this film is genius. Managing to manor around the simplicity plot holes of the 'cop' genre, Mann has created a stunning canvas of human life and emotion second to known, which is kind to the eye yet persistently juxtaposing the viewer's perspective.

Scum (1979)

'I'm The Daddy Now!'

[9/10 · 2 December 2006]

This film from 1979 was Alan Clarke's picture on the brutality of the British Borstal. It focuses in on a number of new entrants into the borstal; Carlin (Ray Winstone), Davis and Banks, as well as examining long time inmate Archer.

This piece is very very brutal, with possibly one of the worst rape scenes in the history of film (not only in the act itself, but the after-effects are soul scarring). The cast are very strong, with Winstone demonstrating why he is one of Britain's best, as he goes from keeping his head down to super violent angle of vengeance in the film's duration. In fact the most fluid scenes is also its most violent, as Carlin goes to the game room, fills a sock with two pool balls and batters the wing's 'daddy'.

The film also looks at the other spectrum of inmate - Archer. Intelligent, and very aware of this, Archer demonstrates his rights to the point of refusing to wear leather due to his Vegetarianism. He acts as the film's voice, vocalising Clarke's damnation of them borstal system through his intellectual arguments which get him nothing but a longer sentence.

Harrowing, yet breathtakingly well producded and shot, Borstal should be considered one of the great British films of the 1970s, and is still painstakingly effective, as the argument underlining the film is still very valid in 2006.

The Buddy Holly Story (1978)

Tragic yet light

[6/10 · 27 November 2006]

Everyone must know who Buddy Holly is, but few people know he is solely responsible for kick starting Rock 'N' Roll, while Elvis Presley was a country singer.

This biopic follows the last few years of Buddy's life and his shoot to fame in New York. It has a very 'made for TV' feel to it, and although Gary Busey creates a stunningly charismatic Buddy, the film never really takes off. Don't get me wrong, the music (it's a musical by the way) is good and fits the film well, but the script is limited and the events are portrayed in a very linear or convenient fashion to the point of being biennial.

The film entertains, without expecting the viewer to think or reflect, which is the films major downfall. The film ends with a reconstruction of Holly's last concert before boarding the fateful plane, which caused his death. The sudden juxtaposition of the loud happy music with silence and a short paragraph explaining his death demonstrates the fragility of human life and a career cut short very powerfully (Buddy's wife was pregnant and his was to re-unite with his band who had left him the very next night).

Jackass Number Two (2006)

Gross Out just got better

[8/10 · 27 November 2006]

Does exactly what you expect, and then some. The first movie, was a step up from the TV show with sicker stunts airing uncensored and a gnarly factor that had increased. Surprisingly, Jackass Number Two is even more twisted.

The stunts have become more dangerous and spectacular, with some mind blowing painful antics sprinkled with good fun skits to keep that smile turning into a curl of disgust.

Knoxville, like always, dominates the proceedings, but this time he has reason to take centre stage as he volunteers for the most dangerous and idiotic of all the stunts, with Bam Magera also proving himself as wild as ever, despite having had his image toned down in 'Viva La Bam'. Surprisingly, the infamous Wild Boys (Steve O and Chris Pontius) seem to take part in fewer of the skits, despite being focal in the previous outings.

If you like Jackass or Dirty Sanchez then you will definitely enjoy this film, and will laugh your guts out for the 100 minutes of its duration, if you see it as childish, disgusting or a sad snapshot of the youth culture of today, you will find it as offencive as ever. So f**k off.

Haggard (2003 Video)

CKY: Hagggggggggard

[3/10 · 9 November 2006]

I like CKY and Viva La Bam, so I couldn't resist this when I saw it for £1.99 in Gamestation. It is Bam Magera's debut scripted film, penned by himself and Brandon Dicimaillo, and stars the entire CKY crew (Ryan Dunn, Raab Himself, Rake Yohn, Jenn Rivell, Don Vito etc etc). Brandon also is in charge of the artistic direction - which is one of the film's greatest merits - its quite CKYish in its colour style - but also shows progression.

Basically it follows (very loosely) Ryan Dunn's break up with girlfriend Glauren (played by Jenn). Vilo (played by Bam, named after Vilo Valo by any chance?) and Falcone (Bran) play his best mates who reek havoc by doing various stunts.

Its a bit like the CKY films but with a linear storyline (which is very basic indeed) and poor acting. Its strange, the usually super charsmatic gang seem to have the life sucked out of them when they know what their meant to say next.

The acting and script is pretty appalling for the most part, but the second half of the film is much better than the first (90 mins is a stretch for the flick though), and there are a number of redeeming factors, such as Tony Hawk's cameo, Dicimaillo's sub plots such as 'The Futurstic Invention Awards' and 'The Diamond Bike', the soundtrack is also very strong (its not ALL cKy and HIM - in fact Bomfunk MC's steal the film in terms of its use of music). In the second half of the film the sense of fun is much more real - especially since Don Vito has a fairly prominent role in the latter part - and he seems to steal every scene he is in.

The film will appeal to those who like the CKY antics, but only because of the core material and not the filler or story line bullshit. Oh, and will someone tell Bam that skating montages, especially in films, is sooo 1998.

However, the best part of the package on the DVD is not the film - but the 40 mins 'Making Of' doc.

The last 20 minutes of the documentary deal with Raab Himself's alcholism and the crew's real feelings towards each other amazing candidly (as usual Bam comes across as a bit of a dick, especially towards Raab's drink problem and Ryan Dunn comes across as a really nice down to earth guy). The last ten mins of the documentary deal with a friend (who is an infrequent CKY member) trying to kick heroin whilst staying at the Magera household with the crew - and a caring unitary side of gang (espcially Ape and Ryan) really comes across - a startling gem in an otherwise dull DVD.

For £1.99 I'm very satisified - although I hope Bam stays to the improvised and short skits from now on.

Ringu (1998)

Seen it once? Thats enough.

[7/10 · 23 September 2006]

This cult Japanese horror follows the investigative journalism of a young Reiko Aswaka, who in the course of duty watches a cursed video tape, in which the viewer is killed by a mysterious force exactly seven days after viewing. In her last week alive she tries to get to the truth behind the video (and it's apparent power) in order to save her life, and also the lives of her son and ex-husband who end up watching the tape.

Chances are you've heard of this film, or at least its American remake. Ringu is the most successful film in Japanese history in terms of financial box office records, and is seen as marmite for horror fans (love it or hate it?).

The first time I saw this film I almost wet myself. Seriously. Every twist, dark camera angle, screeching of the non-melodic soundtrack had my heart racing. Unfortatnutley, it wasn't true of the second viewing. The scares are obvious a mile off (due to long build ups), and in terms of horror it doesn't quite work.

However, I would still say that as a film it still works. Unlike most of its fellow genre inmates, even with the horror stripped away, there is enough narrative to make the film work and the detective side of the story (although fairly underwhelming at times due to the easy accessibility of what they are looking for) makes it far more worthwhile than the typical slasher flicks that have plagued the horror films recently.

The dark undertones (murky lighting, and slow panning shots) certainly create an atmosphere suitable on first viewing, but on second time round, without the shock value, they are a little bit too obvious, as if the plot is stuck in a linear rut in terms of style.

The film is superior to its American cousin in my view due to the strong cast, and the horrifying first viewing (if you haven't seen this film I would advice you watch it with someone, with the lights on), and whilst directed very tastefully and artistically (and far better than any American horror of the last 10 or so years) lacks the brutal or horrific punch an effective horror film should have.

Citizen Kane (1941)

Desert Island DVD #1

[10/10 · 28 March 2006]

Citizen Kane What a superb film. Everything in this film is perfection down to a tee, and it is shot SO well for it's time (I would say it's about forty years before it's time). Evidence of this is through the camera angles as they pan around, then up and into buildings. It is directed brilliantly by Orson Welles, who's presence really oozes out of the screen (and he plays the eldest Kane so well, that you cannot think of anything that would improve it). A beautiful sound track, a script so sharp that it's thick satire and irony is not lost and a good supporting cast really do mean this film is an essential classic, everyone should see.

I give this film five potatoes out of a possible five potatoes.

Highlander (1986)

Not a bad flick.

[7/10 · 2 May 2005]

I got this on DVD well cheap over in the UK. It's a good flick, and fun to watch. But the action scene have aged awfully, and the script has not got enough depth to it. Christopher Lambert, a french actor, seems a first an unusual candidate for the role of MacLeod, especially with his dodgy accents (both American and Scottish are pretty weak), and his poor set of credentials. However, in my controversial oppinon, he pulls the role off well. His cold and uncaring first impression as Nash is played very well, and as the Scottish warrior he appears to fit into the role well. He has the look of a star, and this too aides his efforts during the action scenes. As I mentioned earlier, Lambert is really let down by his diction. His poor accents are not embarrassing, but do nothing to propel the film into the gritty realism it reveals in, whilst at the same time contrasting.