The Sum of All Fears is a strange little beast. By changing the nature of the movie’s threat from Middle Eastern terrorists to a secret cult of Nazis, the film seems to want to avoid seeming “heavy” or “relevent.”However, any form of entertainment that depicts a nuclear attack on a US city on the same scale as that depicted here, seems to carry a lot of weight with it anyway. I think that’s really the core problem with an otherwise reasonable solid film, the fact that it has difficulty balancing what should be an uncomfortable viewing experience with an attempt not to upset anyone.
Tinker Tailor Soldier Spy is a movie that can be measured against the very best of John la Carré adaptations, and among the very best that the espionage subgenre has to offer. I make that assertion based upon a single viewing, convinced that revisiting the movie will be something of a wonderful experience, an attempt to decode and sift through the film seeking what Control cynically describes as “treasure.” Tomas Alfredson, who established himself with Let the Right One In makes one hell of an English-language debut, providing a film that embodies the culture as much as the language, an elegant and stately affair, never feeling forced or rushed or dumbed down. I think that, with its intriguing structure and manner of suggesting ideas (rather than stating plot points), Tinker Tailor Soldier Spy might represent that mythical ideal: the perfect film for grown-ups.
Next week, George Lucas will release his complete six Star Wars movies on blu ray. Truth be told, I’m not sure that I’ll buy them. This isn’t a note of protest against the director’s seemingly incessant tinkering with the movies that helped define a generation, but just one of indifference. The franchise doesn’t feel essential any more, even though I can’t exactly put my finger on why, but I can’t help but feel that – were I to buy the complete set – I wouldn’t be getting the iconic films that marked a collective cultural experience, but George Lucas’ heavily revised notes on those films, which is something quite different. That said, I can’t bring myself to spew the type of vitriol at Lucas that most on-line fans seem to enjoy producing, if only because I can almost respect what Lucas is attempting to do.
A Lonely Place to Die is a well-made little film. Barring a few minor (and one major) faults, it’s an innovative little film that makes the most of a beautiful setting and a wonderfully quirky supporting cast to offer a thriller that feels genuinely original. It’s a movie that takes a rather clever high concept, and does as much with it as it as it can, without ever stretching itself too thin. As far as autumn thrillers go, it’s worth a look for those who like something just a bit outside the norm.
I have a confession to make. I am actually kinda looking forward to Ghost Rider: Spirit of Vengeance. The trailer looks like it could be either off-the-wall over-the-top brilliant, or mind-numbingly terrifying, but promises to be interesting either way. Still, the taint of the original Ghost Rider, perhaps the weakest comic book adaptation of the past decade (and there have been some weak adaptations), hangs around the title, and I can’t help but wonder if my dislike of the original film should somehow mute my anticipation for the sequel. After all, I’ve seen the concept fail on screen before, so why should I feel even a hint of excitement for a follow-up to a ridiculously crap film? Appropriately enough, with sequels, is it once burnt and twice shy?
Ronan from Swear I’m Not Paul (he’s not) sent on the final instalment in the Relentless Short Films competition, and I’ve enjoyed the other entries so far, so I thought I’d share this last video with you. It’s an interesting look at the world of crowd surfing, and you can see it below.
For more details of the Relentless Short Films competition, click here.
It feels like something of a backhanded compliment to describe Shaft as John Singleton’s best movie since Boyz n the Hood. Singleton has been one of those directors who has found himself living in the shadow a tremendously influential and successful debut, struggling to find a way to match or surpass it. I think that his take on the most famous blaxploitation hero of all time, while deeply flawed, works so well because it seems intentionally light. It’s not attempting to be big or epic, or even especially socially conscious, it’s just trying to be a decently entertaining – if slightly cheesy – little thriller.
Who's the cat who won't cop out when there's danger all about?
Phone Booth is proof that the high-concept thriller isn’t quite dead yet. A concept that had been floating around Hollywood for decades (with the master of suspense himself, Alfred Hitchcock, lined up to direct at one point), it seemed that – with the decline of the phone booth and the rise of mobile phones – perhaps the window in which to tell the tale might be closing. Of all the directors to bring the tale to the screen, I don’t think I ever would have expected Joel Schumacher to make one of the most intense and superbly intimate little thrillers ever written to the screen.
Uncle Buck doesn’t represent a career high for any of the major players involved, with John Hughes have any number of more iconic films behind him, and more enjoyable family comedies ahead of him, and John Candy enjoying the space the movie affords him, but somewhat restricted by the material. That said, the film represents an enjoyable little comedy with a strong cast, a good central performance and marks an interesting transition point for Hughes, who had cut his teeth on teenage comedy dramas before transitioning to write more mainstream comedic fare.
I caught The King of Kong at the weekend and I really enjoyed. It’s a fantastic underdog tale set in a fascinating subculture that really deserves to be seen. However, the movie was beset by claims after the fact that it had been somewhat unfair to Billy Mitchell, the reigning Donkey Kong champion who found himself cast in the role of villain. While fictional movies take liberties with their characters all the time, I can’t help but wonder what sort of standard should apply to documentaries. They obviously require some basis in fact, but to what extent is possible to be entirely fair and objective in bringing any subject to screen?
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