Popular Reviews
The Assignment
Hardboiled graphic-novel pastiche is the big idea behind The Assignment, which stars Michelle Rodriguez as Frank Kitchen, a hitman who becomes a hitwoman after his enemies perform some non-elective gender re-assignment (Re-Assignment was a working title, as was Tomboy) on him/her. As you might expect, revenge is served hot and cold, warm and wet. Walter Hill directs. Yes, the same Walter Hill of 1980s hits like Southern Comfort, 48 Hrs and Brewster’s Millions, still in the game, still knocking out remarkably varied movies, still happy to get down and slum it, as he’s doing here – the film was made for very little money and Hill was well into his 70s when it … Read more
Bad Times at the El Royale
The “who’s zooming who” thriller of the 1990s rides again in 2018’s Bad Times at the El Royale, one of those epics where, by the end, almost everyone is dead and the building is in flames yet barely a spark of emotion has been generated. That is probably the intention. Instead writer/director Drew Goddard wants us to admire the spectacle, and gasp as he piles dialogue on top of plot on top of wayward characters and vainglorious allegory, switching timelines, digressing, flashing back, hopping from one “lead” protagonist to another as he goes – oh no, he’s dead – and generally having a fun old time in a big, kitsch, faintly ridiculous but very enjoyable … Read more
Pitfall
A good example of a flat, stoic, buttoned-up film noir, Pitfall is as minimal and undemonstrative as they come, depending on how you view sex and death. The stars are Dick Powell, deadpan Dick as usual, while Lizabeth Scott is the femme fatale, a model (and so an independent woman) who’s not so much bad as just plain elementally disruptive. There are three key men in this film – Powell as the everyday happily married insurance man John Forbes, Raymond Burr as “Mac” MacDonald, the shifty private investigator Forbes sometimes uses in murky cases, and Byron Barr as Smiley, a crook now doing time for a bent insurance claim. All have lost or … Read more
Pygmalion
Pygmalion was the name of a mythological sculptor who made a statue so beautiful that he begged the gods to bring it to life. Which they did. He called it Galatea. The myth has been worked and reworked over the millennia and still has purchase – Trading Places is a version of the basic idea, so is Damien Chazelle’s breakthrough film Whiplash. In all the best updates there’s a conversation going on in the subtext about appropriate behaviour. When does tough love become abuse? When should the sculptor accept that “his” creation now has a life of its own? It’s all here in this film version from 1938, an adaptation of George Bernard … Read more
100 Years of… The Four Horsemen of the Apocalypse
The Four Horsemen of the Apocalypse was the first of five films Rudolph Valentino made in 1921 and though it’s the film that made him a star he’s not the star of the film, which is an ensemble piece. The star is the film itself, an epic so complete and fine-tuned that it’s a reference point today whenever producers and directors are aiming to tell tender human stories against a background of raging conflict. It’s a big film too – two and a half hours long, which isn’t gargantuan compared to, say, Birth of a Nation (three and a quarter hours) or Greed (originally four and a half hours) – but surprises people who … Read more
Young and Innocent
Minor Hitchcock but a major surprise (to me at least), 1937’s Young and Innocent is terribly, terribly British and also terribly, terribly entertaining, a near-comedy that’s bright, sunny, fast, brilliantly made and very grin-inducing. Made two years after The 39 Steps it is basically the same film all over again, but with more comedy and less jeopardy and English rural locations standing in for the wilds of Scotland. Its stars don’t look too unlike Robert Donat and Madeleine Carroll either. Derrick De Marney plays Robert, the square-headed decent chap accused of a murder he didn’t commit and Nova Pilbeam is Erica, the pretty blonde who helps him out. She’s not shackled to him, … Read more
Light Sleeper
Of the three “loner” films that Paul Schrader wrote, Light Sleeper gets the least love. Taxi Driver is always number one, of course, and American Gigolo is often mentioned in despatches. But ask people if they’ve seen Schrader’s 1992 drama and the answer is often an open mouth and a tilted head. It’s a pity because it’s a superb film in which Schrader gets it right both as a writer and as a director (something he doesn’t always manage). These “loners” are all night workers too – Taxi Driver’s Travis (Robert De Niro), American Gigolo’s Julian (Richard Gere) and now, in Light Sleeper, Willem Dafoe’s John, a drug dealer who works the high … Read more
Licorice Pizza
Paul Thomas Anderson’s quest to make the perfect 1970s movie continues with Licorice Pizza, a living, breathing simulacrum of the sort of film that stalked the landscape before George Lucas came along with changed/ruined (according to taste) everything with Star Wars. Ironically, another Lucas film, American Graffiti, might have served as a moodboard for his attempt to outdo 2014’s Inherent Vice – itself an attempt to outdo 1999’s Magnolia – along with Robert Altman’s rambling, discursive Nashville, though the storyline deep down is actually A Star Is Born – guy on the way down meets gal on the way up – with a scrappy side order of What’s Up, Doc. The guy is … Read more
Drive-Away Dolls
Drive-Away Dolls is the first feature film that Ethan Coen has directed without brother Joel’s involvement at some stage. Playing it safe, he’s decided to go for a homage to the films he first made with Joel back in those Blood Simple/Raising Arizona years. While this isn’t a bad thing in itself, it does mean what’s on offer is familiar – fruits, nuts and flakes, pantomime death, cartoonish visuals, a lot of the verbals, low shots down corridors, villains falling out with each other and what have you. It’s, you know, OK, though neither Blood Simple nor Raising Arizona need worry and it raises again a question that’s always hovered in my mind, as … Read more
Blithe Spirit (1945)
“How the hell did you fuck up the best thing I ever did?” Noel Coward famously asked director David Lean when he first saw the film version of Blithe Spirit, a play that had wowed London in 1941 and went on to do the same on Broadway. We’re now often told the film – a relative flop on its first release – is a classic. It isn’t, but certain elements of it remain quite special, most obviously Margaret Rutherford, who steals the film with a performance of batshit comic gurning so dazzling that the film flags whenever she’s not on stage… set, whatever. “Just photograph it, dear boy” was Coward’s instruction to Lean, … Read more
Wild Strawberries
Ingmar Bergman released both Wild Strawberries and The Seventh Seal in 1957. So not one but two classics for the ages in one year from the same guy, who wasn’t very well at the time and in fact wrote the screenplay for this film in his hospital bed. Not bad going. Perhaps it’s not surprising that decay and death are the big idea, the story of a lonely old doctor on the way to pick up an honour whose ardently held and rather severe ideas about the way to live his life are challenged, even as he sits in the waiting room to Death. As he travels by car, and prompted by a … Read more
Europa
Europe is finished! Lars Von Trier’s finale to his Europa trilogy – Europa – makes summaries and predictions about life on a continent dragging a long, dark history behind it. All three films – The Element of Crime, Epidemic and now Europa – work in the same way, as grim anti-pantomimes of studied awfulness, presented in arthouse genuflection before Tarkovsky, Kafka and Brecht. Into a shattered post-War Germany in ruins Von Trier inserts his hero, a new arrival from America, full of idealism and signing up to work on the railways as a sleeping car guard. It’s not long before Leopold Kessler (Jean-Marc Barr) has been compromised, restrained, tied down and discredited after involving … Read more
