Steve

Gladiator II

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Paul Mescal looking thoughtful

As if made by the “if you like that you’ll like this” algorithm, Gladiator II takes all the bits you liked in the first film and does them all over again, with a bit more blood, a touch less swagger and far better CGI than Ridley Scott could muster in 2000. Scott is again at the helm, with quite a few members of the same technical team from the first film – DP John Mathieson most notably – a couple of the same actors in the shape of Derek Jacobi and Connie Nielsen, and pretty much the same storyline. The original Gladiator opened with a spectacular battle sequence, and so does this film – flaming fireballs … Read more

The Uninvited

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Roderick holds Stella in his arms while Pamela looks on

Cosy supernatural horror? There is such a thing and here it is in the shape of 1944’s The Uninvited, a strange mix of the jaunty and the spooky, a dialled-down take on the sort of comic horror that Bob Hope and Paulette Goddard had piloted to box-office glory in The Cat and the Canary and The Ghost Breakers. Ray Milland and Ruth Hussey play a brother and sister who happen upon a vast and lovely house on a cliff edge in Cornwall while down from London on holiday. Falling instantly in love with it, they seek out its owner, the starchy Commander Beech, who lets them have it for a song. What’s wrong … Read more

Daddio

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Sean Penn as Clark, the driver, in his cab

The conceit of Daddio is that it’s just two people in a car driving from JFK Airport into New York City. It’s a yellow cab and the driver is played by Sean Penn, the passenger by Dakota Johnson. As the car rolls towards the city they talk. At first Clark makes cab driver smalltalk, kneejerk remarks about the modern world and how everything has gone to the bad. Then he shifts on to giving her the wealth of his wisdom, and eventually, after a cool appraisal, she obviously comes to the conclusion that he’s mostly mouth and starts to respond. This is what the film is about, their wide-ranging conversation, but returning regularly … Read more

Sabotage

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Oscar Homolka as the saboteur

Graham Greene didn’t like the films of Alfred Hitchcock, but he did like Sabotage. The novelist was a film critic in his early years and was regularly on Hitchcock’s case for what he described as “inconsistencies, loose ends, psychological absurdities.” Tough room. But, as I say, Sabotage got the Greene seal of approval. Which is odd because it’s not top-flight Hitchcock, though it is worth staying around for the film’s famous sequence towards the end, when Hitchcock sacrifices a character in scenes audiences in 1936 found shocking and Hitchcock himself was uneasy about. It’s based on the Conrad novel The Secret Agent, but since Hitchcock’s previous film had been Secret Agent, the original … Read more

Cottontail

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Akiko standing in shallow water in a lake

Whoosh, Patrick Dickinson’s film Cottontail rushes into the territory generally occupied by Hirokazu Kore-eda. That is, the deceptively simple, beautifully crafted, sensitively acted, tender human drama. He’s even given it a Japanese top coat, since it’s the story of an emotionally inert Tokyo dad whose wife has just died heading to Lake Windermere in the the UK’s Lake District to scatter his wife’s ashes, as per her dying wish. Along for the journey is the son Kenzaburo can barely communicate with, plus son Toshi’s wife and daughter. Kenzaburo didn’t want any of them to come, but those were Toshi’s mother’s dying wishes. Toshi is there for her sake not dad’s. It’s clearly a … Read more

An Actor’s Revenge

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Kazuo Hasegawa as Yukinojo

“Stagey” is not usually a compliment when it comes to screen works. But it is in the case of 1963’s An Actor’s Revenge, a Japanese film combining the the dynamism of cinema with the intensity of the theatre experience. Before the action kicks off, a little on-screen note tells us that this was the 300th film performance of its star, Kazuo Hasegawa. Remarkably Hasegawa played exactly the same role when this film was first made in 1935. Housekeeping out of the way, enter the plot, which immerses us straight away in the film’s opening shot. Hasegawa plays an onnagato – a male kabuki actor who specialises in female roles – who is mid-performance … Read more

The 100 Candles Game

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Alicia Gerrard in the segment Blight

Compendium horror – who’s it for? That question formed in my mind as The 100 Candles Game told its seven different stories, plus another one that links them all together, Arabian Nights style. Are audiences hungry for this sort of thing? I don’t think so. Film-makers love the portmanteau horror film, though, because it gives directors a chance to hawk their wares, in affordable chunks, often supported by a producer who knows his way around the business. But on the whole they are patchy affairs, usually a mix of the OK, the pretty skanky and, rarely, a magnificent outlier. There is no true magnificence here, though the film-makers on display are a lot … Read more

Brute Force

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Captain Munsey and Joe Collins

Time has diluted the impact of Brute Force, but this prison drama from 1947 remains a good film, largely because it doesn’t live up to the title. There is brutishness, but not too much. For much of its length, in fact, it’s a study of character, of how men who are all packed together in an overcrowded prison get along together, or don’t. Richard Brooks wrote the screenplay and Jules Dassin directs. This was the first of Dassin’s run of great movies – The Naked City, Thieves’ Highway, Night and the City and Rififi would follow. Burt Lancaster is the star, in his first film since his breakout in The Killers, and slots … Read more

Limbo

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Travis and Emma sitting in a car

Old wine in new bottles, Limbo is a case – a jeroboam? – of the familiar served up in a starkly different way. A desert noir, an Outback noir more specifically, it’s the latest from Ivan Sen, whose Mystery Road about ten years ago opened up this territory. Now he exploits it, with a savage, scorched-earth aesthetic, in a story about a troubled cop – wrecked marriage, bit of a drug problem – rocking up in a remote Outback town to open the books on the unsolved murder of a local aborigine girl, though the nearest you get to the word “aborigine” in this film is “black fella”. Mystery Road had more or less … Read more

Possessed

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Louise in bed in the hospital

Superb and quite mad, Possessed gives us Joan Crawford at full hatstand, eyes boggling, jaw tight, fists clenched, a portrait of an unhinged woman, a stalker before the term was coined. This melodrama from 1947 comes from a time when they knew how to do this sort of thing unapologetically. It opens calmly but oddly enough. After big, blaring, noirish opening credits we’re on city streets at dawn, where a discombobulated lone woman (Crawford) is stumbling about looking for someone called David. She’s clearly in the midst of some kind of breakdown and winds up in hospital, in the Psychopathic Ward, in a catatonic state. The doctor, after opining that there’s a lot … Read more