Review

Sudden Fear

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Joan Crawford with her hands to her face

Joan Crawford did not do shading, subtlety or character acting. She did something much more gothic. Sudden Fear plays straight to her strengths, a “woman in peril” movie that starts out in the world of realism but slips gradually into the realm of the histrionic. In early scenes Crawford’s acting looks mummified, as if the light of naturalism had been shone on a museum artefact. Playing a writer whose latest Broadway smash is about to be staged, her Myra Hudson is meant to be a woman born rich who has nevertheless forged her own career away from daddy’s money, and become successful in her own right. And then she meets Jack Palance’s Lester … Read more

The Three Musketeers – Part II: Milady

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Eva Green as Milady

The Three Musketeers – Part II: Milady, for those who didn’t get enough musketeering with director Martin Bourboulon’s first trip out in a plumed hat, Part I: D’Artagnan. Shot back to back with the first movie, the sequel has all the strengths of the original, and all the flaws, but more so. It is static and lacking in drama but it does look fantastic, and the cast – who struggle to deliver because there is not a lot to work with – are exactly as you would want them to be. We pick up the story exactly where we left off, with D’Artagnan knocked unconscious while trying to prevent the abduction of his sweetheart, … Read more

Charley Varrick

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Close up of Charley Varrick

Charley Varrick, a neo-noir from 1973, is much better than its mixed reputation would suggest. Lean and fast, dark and enigmatic, it stars Walter Matthau as a crop sprayer who heists a smalltown bank in the hope of making a fair amount of easy money. Nothing too massive, just a cushion. But when he and his sidekick come to count their haul, it turns out that it’s mostly 50s and 100s, not dollar bills, fives and tens as expected. They have inadvertently heisted a lot more money than they anticipated. This, for Charley, is a problem. It means the police will be particularly keen to get the money back. So will the bank. … Read more

The Count of Monte-Cristo

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Edmond in close-up

So here’s The Count of Monte-Cristo 2024 style, not to be confused with the TV show of the same name from the same year covering the same story. Or the more than 20 film adaptations down the years, the numerous TV and radio versions (including one by Orson Welles). Plays. Musicals. Games. You get the idea. The story has legs. Injustice, the upper orders out of control, a triumph against adversity, Alexandre Dumas’s original story has timeless drivers, plus a dramatic knot at its centre – whether to let revenge boil on or yield to something more gracious. As one tragic character on her death bed says to this story’s hero: “Between vengeance … Read more

Dahomey

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One of the statues is carefully unboxed

Doing very little but saying quite a lot, Mati Diop’s documentary Dahomey tracks the return of a number of artefacts from France to Benin in West Africa, which was known as Dahomey when they were first appropriated – looted, if you prefer. The fairly short film divides up into three distinct chunks. In the first, Diop’s cool, fly-on-the-wall camera follows the action as the items – wooden carvings of deities, thrones and so on – are crated up, watched over by Calixte Biah. An elegant man with a grave expression who assesses the artefacts for damage, Biah notes the condition (cracks, flaking paint etc) of the treasures and supervises as they are carefully … Read more

The Cat and the Canary

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Joyce in bed with a disembodied hand making for her throat

Is there anything as unfashionable right now as a Bob Hope movie? The Cat and the Canary is as good a place to start as any if you want to start understanding the huge appeal Hope once had. Bear in mind that this movie was made in 1939, before he teamed up with Bing Crosby in the Road movies, which propelled the familiar Hope character – quipping and cowardly – to even greater heights. It’s a remake of a 1927 silent movie of the same name by Paul Leni, one of the great directors, largely forgotten these days because he died young, aged 44, a year after he arrived in Hollywood just as … Read more

Alien: Romulus

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Rain and the monster head to head

A reboot and a return to basics in Alien: Romulus, in which Ridley Scott hands over the franchise to Spanish director Fede Alvarez, who returns the favour by handing producer Scott a spectacular sci-fi horror movie up with the best (ie the first two) of the series. We’re on a grungey spaceship on a timeline somewhere between the original Alien and its follow-up, Aliens, where a murderous xenomorph is working its way through Cailee Spaeny’s girlish Sigourney Weaver stand-in Rain, David Jonsson’s “synthetic” Andy, Archie Renaux’s tough, blustering Tyler, Isabela Merced’s hot and vulnerable Kay, Spike Fearn’s callow and peevish Bjorn and Aileen Wu’s practical and sexually ambiguous Navarro. It doesn’t matter why … Read more

Penny and the Pownall Case

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Jonathan menaces Penny with a gun

A Rank Organisation B movie coming in at only 47 minutes, Penny and the Pownall Case is interesting for all sorts of ancillary reasons, but interesting in its own right too. The ancillaries. An early role for Christopher Lee. An early role for Diana Dors, still brunette and not yet in “British Marilyn Monroe” mode (but then in 1948 Monroe herself was still on the starting blocks). The only film directed by the curiously named Slim Hand, who was more usually one of Rank’s production managers. The first British film scored by a woman, Elisabeth Lutyens (daughter of renowned architect Edwin). Lee referred to his time on the film as a “truly grisly … Read more

Blitz

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Rita and George in a bombed London street

A portrait of London in 1940, as the German’s attempted to bomb the city into submission, Steve McQueen’s Blitz is in many ways a very familiar war movie, a subversive ruse by McQueen. Whether his gambit works is another question. Superficially it’s a fine story, about a young lad being evacuated from the East End and sent off to safety out in the countryside, as thousands of children were during the Second World War. Except George never makes it to his billet. Instead, jumping from the train en route, he starts making his way back towards home and his mother, Rita, having adventures and meeting characters who are Dickens characters in a 1940s … Read more

Miller’s Crossing

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Leo and Tom face to face

By the time the Coen brothers made Miller’s Crossing, their third movie, it had become obvious that their films weren’t really set in the real world. Like Blood Simple and Raising Arizona, Miller’s Crossing is set in an adjacent reality constructed entirely from moviescapes and populated with characters we seem to have met before. That it works brilliantly, both as pastiche and as a drama in its own right, is the difference between the Coens and some others who try the same thing. That it also manages to be funny when it should be and tense as hell when necessary, marks them out as something really special. The film is built around askew … Read more