Well, that's odd. Did you get bored during the Golden Globes and decide to post this before things were over?
First Time Viewings, Part 1
Rooster Cogburn (1975). Hired to track down a vicious gang, federal marshal Rooster Cogburn reluctantly lets a missionary and a Native American lad accompany him after their mission is ransacked by the gang in this belated sequel to True Grit. John Wayne reprises the title role with just as much gusto despite noticeably looking older. Katharine Hepburn also puts in a strong turn as the missionary with the best scenes being the banter between the pair. The villains are not particularly interesting and the plot is no great shakes; in fact, Rooster Cogburn feels more like a remake rather than sequel to True Grit at times with Hepburn also seeking vengeance for a father killed. The plot is more complex than it first seems though. While most are quick to praise the chemistry between Wayne and Hepburn, it is the bond that slowly develops between Wayne and the young Amerindian, played by Richard Romancito, that is ultimately most touching. Romancito becomes a surrogate son of sorts to the once hardened old man who inadvertently finds himself with a 'family' for the first time as he pursues the gang. One wonders though just what messages (if any) the filmmakers had in mind with the project. Early on, Wayne is told "the west is changing and you aren't changing with it", and yet minutes later he hired because, again, he has "grit". Is the film meant to be a tribute to the virtues of old ways or a film about learning to change (unwillingly accepting companions)? Topped off with a memorable explosive climax, one thing for sure is that this is a more dynamic sequel than one might expect. -- #31 (of 81) for 1975, between Race with the Devil and The Return of the Pink Panther. (first viewing, Blu-ray Disc)
Death Race 2000 (1975). Set in the near future, this action comedy focuses on a televised automobile race in which drivers are rewarded for killing pedestrians while racing between the USA east and west coasts. Delightfully offbeat as this premise is, things get even more interesting as it is revealed that the race is government sanctioned and that the US President has used the race, preying on America's bloodlust, to boost popularity and win multiple elections in a wildly distorted, post-economic crisis political landscape. This is a film that can be enjoyed all social commentary aside though. The racecars are a wonder to behold, bearing teeth and horns to look animalistic, the action scenes are memorable and bits and pieces of the film are kooky in the best possible way: nurses wheeling out senior citizens to be run over in a euthanasia cleanse; resistance fighters sabotaging the races with fake tunnels, landmines and bombs disguised as babies (!). Lead actor David Carradine has a very interesting character too; nicknamed Frankenstein, he has supposedly undergone significant facial scarring and constant body part replacements as a result of all his crashes over the years, but this is soon revealed to be a rouse to dupe his supporters into believing him to be superhuman. The supporting performances are unfortunately wildly uneven and the film overstays its welcome by around five minutes with an inappropriate upbeat conclusion, but for the most part, it is an encapsulating ride throughout its economic eighty minute runtime. For a low budget project, it boasts some nifty futuristic sets too. -- #29 (of 81) for 1975, between The Dead Don't Die and Race with the Devil. (first viewing, DVD)
Dimboola (1979). Titled after the actual outback Victorian town where the story takes place, this Australian comedy circles around a British reporter who gets more than he bargained for when sent to Dimboola to write an article on small town life. His visits coincides with a couple of young locals getting married and between a hen's night (that he manages to attend by dressing in drag), a buck's party (where the groom gets it on with a stripper) and the wedding itself, the reporter finds a lot to write about as things hardly go smoothly or to plan. The film frequently feels like it is bursting with energy as all concerned really get into their characters. The humour is, however, very much of the hit-and-miss variety with pratfalls, drunkenness and the whole drag act worth little more than a roll of the eyes. There are, however, some greater subtler comedic moments too, such a reverend who cannot help but look when a teenager at the wedding reception lifts her dress up revealingly high to tap out a dance. The film's best gag though never feels like it is used for all it is worth as the groom's parents begin to suspect that he might actually be blood related to the bride. It is curious to learn that the play upon which the film was based never featured the reporter character in the first place as he is actually quite pivotal to the storyline here. Whereas without him, Dimboola would just be a film about a kooky outskirts town, with him, it is about the townsfolk being unable to adopt the guise of "normal... dead normal" town and the reporter coming to still like the town and its denizens all the same. -- #66 (of 101) for 1979, between 10 and The Troupe. (first viewing, DVD)
Kuffs (1992). Christian Slater plays a lazy layabout who inherits a police precinct (!) in this unlikely yet likeable comedy co-starring Tony Goldwyn. The premise is apparently based on fact with actual ancient San Francisco laws allowing private citizens to set up their own security patrols, however, the filmmakers are (sadly) less interested in this and more keen on fish-out-of-water elements as Slater gets up everyone's back when trying to run the precinct his own way. Further plot complications come with Slater also trying to track down his brother's murderer and if there is one key thing to hold against the film, it is the wild changes in tone as it alters between revenge thriller and bubbly comedy. Never to mind, Slater is in such good form that he carries the film through its rough patches. Taking a note from Ferris Bueller's Day Off, Slater sporadically breaks the fourth wall, humorously conversing with us. First time director Bruce A. Evans also has a number of other effective touches up his sleeve, like subtitles to indicate Slater's muffled speech when gagged and funny jump cuts as Slater knocks on several doors in a single street. Harold Faltermeyer additionally provides an appropriately upbeat score, even if the echoes of his Beverly Hills Cop composition are too pronounced for their own good. The antagonists are not particularly charismatic or well written, but as alluded to this is Slater's film first and foremost and he runs with the material very well, rendering his somewhat arrogant character sympathetic as he learns the meaning of responsibility in life for the first time. -- #43 (of 76) for 1992, between Dark at Noon and Leap of Faith. (first viewing, DVD)
Bye Bye Love (1995). Life is not easy for three divorced fathers who meet every weekend at a fast food diner to collect their kids from their exes in this mix of comedy and drama starring Matthew Modine, Randy Quaid and Paul Reiser. Each provides a heartfelt performance and Rob Reiner is also solid as a 'radio shrink' whose intermittent broadcasts seem to taunt the trio as he laments the state of marriage today and constantly sides with the wives when discussing divorce. For all the angst that the film builds up - suggesting that fathers always lose out in the divorce process - the comedy treatment dulls any axe that the film has to grind. Janeane Garofalo has the funniest scene of the film as an awful first date whose rampant feminism amusingly gets in the way of all conversation (and dining), however, her scenes are far removed from the divorce woes at the heart of the film. The film indeed works best when it is not trying to be funny with a memorable scene early on in which one father gets very annoyed at his ex-wife spending her alimony payments on her car rather than the kids. Another great scene has one of the men staring out of the window at his ex-wife's lazy new lover, sunbathing with sunglasses on, moping around and doing nothing. The sense of indignation in this segment is quite heartfelt ("how could she prefer him to me?") without the need for a single word to be uttered. As mentioned though, the movie is mostly comedy and never an especially engaging one at that. The film's heart is certainly in the right place, but a slight change of tone could have done wonders here. -- #46 (of 61) for 1995, between The Pompatus of Love and Roommates. (first viewing, tv broadcast)
The Whole Nine Yards (2000). Deep in debt, a suburban dentist is persuaded to inform on a contract killer (with a bounty on his head) when he moves next door, only to experience a crisis of conscious after befriending the man in this zesty comedy starring Matthew Perry and Bruce Willis. Both leads shine in roles that seem tailor-made for them. Some of Perry's reactions are over-the-top upon realising his neigbour's identity, but they lead to some incredibly funny moments like Willis offering him a tulip at a market (his signature flower for victims). There is something quite magnificent about the deadpan performance that Willis provides too; he comes off so genuine in his conversations where he calls Perry a friend and so relaxed when talking about his business, and yet still possesses a sense of danger when it comes to the sporadic action scenes. Amanda Peet delivers a layered supporting performance too as her character gradually becomes more complex. The plot admittedly does not stack up to close scrutiny. If Willis is hiding out, why do nothing to hide his appearance? And why would he be so confident to casually wander the streets? A side plot with Perry's wife hiring her own hitman to kill him is also amusing, but the coincidences needed to have both plots to overlap stretch credibility. The dialogue sparkles so much here though that any script deficiencies are easy to overlook. The movie is also unafraid to treat murder, deception and infidelity in a very lighthearted way, which in turns makes it more laugh-out-loud funny than the average black comedy out there. -- #36 (of 87) for 2000, between Crouching Tiger, Hidden Dragon and What Planet Are You From?. (first viewing, DVD)
3000 Miles to Graceland (2001). Dressed as Elvis Presley, five criminals rob a casino during an Elvis impersonator convention, however, disagreements over what to do with the money bring about dire consequences in this action comedy starring Kevin Costner and Kurt Russell. The film curiously divides rather evenly into three sections. The first section is the easily the best involving the cleverly planned and rather unique heist with comic relief in plentiful supply; Russell makes such a convincing Elvis that oblivious casino guests constantly compliment him on it and even ask him to sign a record! The second section comes with less zest but is engaging in its own right as Russell bonds with the abandoned son of a woman he had a one-night-stand with. Played by David Kaye, he is a surprisingly sassy and quick-witted lad and his chemistry with Russell feels very real. The film conks out somewhat in the third section though with mindless action in plenty supply and a character who incredulously keeps carrying on despite being wounded, shot and even (literally) stung. The upbeat ending does not quite sit right either. This is a much better film than one would expect though considering its reputation (Razzie nominated for Worst Picture in its day). It may be true that the movie falls apart as it progresses but its treats and delights from early on stick vividly in the mind. The character trajectory of the young boy is especially interesting as goes from impersonating Jesse James and playing outlaw to actually becoming an outlaw, or assistant to one, during the course of the film. -- #68 (of 106) for 2001, between Bandits and Mädchen, Mädchen. (first viewing, tv broadcast)
Runaway Jury (2003). Jury tampering is the subject of this John Grisham adaptation which is best entered into with as few expectations as possible. Suffice it to say, the plot involves the trial of a gun manufacturing company with several twists and turns along the way, including characters who are not like they initially appear to be. Some have dismissed the film as ludicrous and indeed there are bits and pieces that push the boundaries of credibility (the plaintiff's case is very flimsy; jury tampering is made to look incredibly easy), however, it is easy to suspend disbelief with an intriguing, detailed insight into jury processes, some truly fascinating characters and a talented cast all in top form. The film has the novelty of uniting longtime friends Gene Hackman and Dustin Hoffman on screen for the first time, but it is Rachel Weisz who takes top acting honours here with the confidence and rugged persistence she brings to her character who initially seems out of her depth. The film gets especially interesting towards the end as more and more details are revealed about her character, and while the film concludes on an unwelcome sentimental note, it is truly riveting stuff from start to finish. Those expecting the courtroom theatrics of Anatomy of a Murder or intense jury debate of 12 Angry Men will most likely be disappointed. If approached with minimal expectations though, the film is a blast, highlighting just how vulnerable we all are to manipulation and corruption whilst also celebrating the power of a few to make a difference... and isn't that what justice is about? -- #22 (of 96) for 2003, between The Station Agent and Swimming Pool. (first viewing, tv broadcast)
Eagle Eye (2008). Told that they have been "activated" by a mysterious female voice on the phone, two strangers find themselves on the run from the authorities, aided and abetted by the voice who seems to be able to control all machinery and electronic devices at will. Powered by such an intriguing premise, the first half of Eagle Eye is utterly encapsulating. Not only are the elusive true motives of the voice subject for thought, so is the extent of her ability to control electronics and the question of whether others are involved. A surprise science fiction twist around halfway in, however, spins the material in a new direction and while the ideas are still interesting, the second section owes so much to earlier films like WarGames and I, Robot that it is sometimes hard to avoid it feeling like a pale imitation. The two halves of the film are not, however, quite as distinctive as they might sound. Throughout there is a running agenda of government surveillance and over-reliance on technology and while the film plays more on fears about this (and less the potential of it), it is food for thought all the same. Regardless of what one thinks of the themes and ideas though, Eagle Eye is undeniably thrilling ride. Whereas director D.J. Caruso's previous film, Disturbia, was essentially an updating of Rear Window, this effort is similarly molded on Hitchcockian wrong man thrillers. The violence is a lot more extreme, but the dynamic remains the same with the everyman protagonists eventually proving themselves capable of everything they are mistaken as trying to do. -- #29 (of 56) for 2008, between Jumper and Appaloosa. (first viewing, tv broadcast)
Closed Circuit (2013). Appointed to defend a foreigner accused of planning an elaborate terrorist attack, two British lawyers become increasingly convinced that a government conspiracy is afoot and that their client is merely a scapegoat. Promising a premise as this might be, things are far more complex and convoluted here - something that renders Closed Circuit more thought-provoking than the average conspiracy thriller but also far less intense and involving. With the past romantic history of the two lawyers, which they have to keep secret while working on the case together (why not admit it straight up?) without communicating with one another since part of the trial is being heard in closed court where only one of them is present, the film gets bogged down in so much exposition that there rarely a chance for any sense of paranoia to develop. Considering the economical runtime (just over 90 minutes), it also often feels like too much time is dedicated to the drama between the lawyers as opposed to the drama that they are meant to be investigating... though the film actually overstays its welcome with an extraneous final scene. Comedy veteran actor Jim Broadbent is also a tad miscast in a role that a more sinister dramatic actor would usually play. Eric Bana and Rebecca Hall are at least solid in the main roles and they manage to carry the film through its less exciting patches. The film also deserves some marks for effectively including CCTV footage at several key points, if not quite as frequently as one might expect based on the very promising promotional posters. -- #54 (of 68) for 2013, between The Selfish Giant and The Conjuring. (first viewing, Blu-ray Disc)
Larry Crowne (2011). Broke and down in spirits after being fired from his retail job of many years, a former navy cook reluctantly enrolls in community college to better himself in this comedy/drama blend written, directed by and starring Tom Hanks. The title character's dilemma is heartfelt after he is let go from his job due to his lack of higher education (as opposed to any misdeed) and much of the film works due to its lead performance. The story is certainly no great shakes with very little in terms of plot complications or adversities. Having bought a motorcycle to ride to college, Hanks fits in with the 'in crowd' with incredible ease; he also manages to very easily become the top student in both his classes whilst enjoying a very active social life with all his younger classmates who are eager to be his friend. If this sounds like it rings false, that is nothing compared to a predictable, convenient love interest that develops with one of his teachers. Played Julia Roberts, she offers a fairly one-note sour, sullen and moody performance. The rest of the supporting cast here are, however, in very good form, with Golden Globe nominated Rami Malek excellent as one of Crowne's lazier classmates, plus fine turns from Bryan Cranston, Pam Grier, Cedric the Entertainer and especially George Takei - with the film even including some amusing Star Trek references. In fact, Larry Crowne is a fairly funny film at the best of times with lots of amusing moments in both college classes. The story might well feel like wishful thinking overdone, but it engages adequately enough. -- #44 (of 52) for 2011, between Tower Heist and The Beaver. (first viewing, Blu-ray Disc)
Most people think I'm mad. At least I know I'm mad.
reply
share