nbwritersinbox Reviews

Conan the Barbarian (1982)

Solid Fantasy: A Motion Picture Masterpiece

[10/10 · 16 November 2014]

Like many here, I've watched this celluloid masterpiece more than once. It deserves a 10/10 along with Gandhi and Bladerunner, due in most part to that most elusive of artistic achievements: telling a story well with cinema cameras.

The screenplay for Conan is outstanding, each scene is brimming with spectacle, magic and meaning from Conan's early servitude, through his training as a warrior, culminating in his defeat of Thulsa Doom.

The production values are high, not a CGI pixel in sight, giving the film a solidity from which many modern filmmakers could learn. In fact, its a powerful statement regarding how little film making really needs CGI trickery.

Memorable performances from the cast, my favorite remaining the committed portrayal by Sandahl Bergman as brave brigand, Valeria. She was injured during a fight sequence, but returned, to finish filming. That's true courage, film fans!

Men in Black (1997)

Comedy Sci-fi Doesn't Get Better Than This

[9/10 · 26 July 2014]

The word is Columbia Pictures were in dire need of a hit. Their decision to back a sci-fi action comedy pairing Smith & Jones led to MIB becoming one of the company's highest grossing ventures.

Ed Solomon deserves a mention for writing a sophisticated, urban comedy that will have even the most po-faced smiling. Boosted by Danny Elfman's impressive, jaunty soundtrack, laughs and surprises just keep coming.

Wonderful supporting roles include Tony Shalhoub as crooked shopkeeper Jack Jeebs and Rip Torn as "Zed", transforming MIB 1 from a good comedy into a consistently strong, watchable parody of urban values.

It's well-paced, cleverly directed with inventive makeup and ingenious CGI. Easily one of the best sci-fi comedies since Woody Allen's Sleepers.

Brüno (2009)

Not Always On Target

[5/10 · 22 July 2014]

In this film, Cohen invites controversy but the comedy value that should arise isn't always apparent. Should he be mocking orthodox Jews by adapting their garments into a "gay" style? Probably not. He nearly got stoned for his efforts while filming in Jerusalem.

Should he be turning the bitter conflict between Palestinians and Israelis into a comedy sideshow? I don't think so...

I wasn't sure about some of the (obviously) "photoshopped" images of his "adopted son" OJ, either. That just felt like bad taste.

We're left with another brave venture by Cohen, but not the glorious parody achieved with Borat. Intense homophobia and the desperation of stardom are exposed and ridiculed. I hope mainstream audiences will warm to Bruno. A level of subtle understanding will be required.

Flash Gordon (1980)

A Gorgeous Trashy Flashy Rockfest!

[7/10 · 12 July 2014]

In the 80s, De Laurentis made vibrant, adventurous movies.

Despite a "B Movie" feel, the production values are high throughout 111 minutes of retro-driven, sci-fi packed entertainment, complimented by a rocking soundtrack delivered by chart-topping superband: Queen.

You can either dismiss Flash as juvenile eye-candy, or marvel in its over-the-top glory. Revisiting the movie, I tend towards the latter. The costumes look gorgeous, the settings have a dream-like atmosphere. The production team go that extra mile to emulate the colorful, original comic books, too.

Often criticized for hammy acting: I'll mention Topol, Timothy Dalton and ravishing Ornella Muti who do their best to transform Flash into a classy, trashy tour de force. I think they succeed.

Borat (2006)

Borat: Brave Social Parody But...

[8/10 · 12 July 2014]

Whether you find this movie hilarious or not, may depend on where you are in the world.

From my British perspective, we have a long tradition of comedians sending-up authority figures and the small-minded. Ali G, Borat's precursor, was well-known on late night comedy shows here in the UK for doing just that...

Using the Ali G "interview technique", Borat visits a Feminist Group, a Comedy Training School, an etiquette coach and other organizations ripe for parody. The mistake most of the non-actors make is believing Borat to be a naive, Khazakhi TV journalist, when in fact, he's a Cambridge-educated actor who easily debunks them.

The cameras are rolling, all the time. The ethics of whether or not non-actors should be duped into appearing in a commercial, feature film backed by 20th Century Fox, are what stop me from laughing all the time, but often Cohen's comic improvisation, timing and retorts are achingly funny.

The Rodeo sequence for example, highlights the dangers of excessive American patriotism, but these are real people, unaware "Borat" will be adapting their beloved anthem. Their anger and confusion seemed justified to a point, although Borat is, in fact, displaying the same patriotism they hold dear.

On balance, I don't believe Borat is an anti-American film. Instead, Cohen delivers a hilarious exposé of both Western and Eastern Bloc small-minded values that are not shared by all. Laughing at these attitudes is the best medicine, changing them is far more difficult.

The Passion of the Christ (2004)

Stunning Cinema: But I'll Continue To Worry About Historical Accuracy

[10/10 · 2 May 2013]

In the hands of Mel Gibson, The Crucifixion Story is retold with solid flare, historical detail and an outstanding caste. (The casting itself is superb for a modern, Hollywood movie). Convincing, believable performances are coaxed from nearly all the players. We can also feast our eyes on outstanding cinematography, while enjoying a compelling soundtrack.

My big problems with exploring one of the most significant religious figures in history are these: How accurate can an account of Jesus' last painful twelve hours on Earth be? And - How much artistic license is being used instead of historically researched fact? Most historians and philosophers appear to agree, what Jesus said was profound (and sometimes difficult to interpret). If this film promotes a genuine study of the New Testament and it's deep meanings, then cinema has a point after all, rather than just for dramatic spectacle.

Mel Gibson understands the language of cinema well, and how players interact within scenes to provide an audience with satisfying connections. That said, did the crowd really chant for Jesus' blood after he is condemned by a Jewish Court of Sanhedrin? Did the Roman Abenader really act with compassion, arguing directly against crucifixion of a man who had committed no recognizable offense under Roman Law?

"Abenader" is, in fact, a name ascribed to an unknown centurion reporting to Pilate, the Fifth Prefect of Judaea assigned by Rome to that province. During Jesus' life, Judaea was an occupied territory, Pompey The Great having sacked the Temple Of Jerusalem some years earlier. Judeae was important to Rome due to trade routes through to Egypt, beyond that it had little benefit to the treasury.

In most accounts, it is Pilate that orders Jesus' execution, manipulated by the Sanhedrin to a lesser or greater degree. Pilate was recalled to Rome due to harsh treatment against the local Jewish population of Judaea.

Abenader arises from Anne Catherine Emmerich's visionary work: The Dolorous Passion of Our Lord Jesus Christ (published in 1862). Anne Catherine was a devout German Catholic and stigmatic (someone displaying the same types of wounds as Christ Himself suffered). Although no expert in this field, stigmatics tend to be Catholic and tend to feel a deep and passionate connection with Jesus Christ. Many Catholic Saints displayed stigmata, these being recorded as early as 1200 AD (during the life of Francis Of Assisi). Anne Catherine herself was canonized (bestowed sainthood) by the Catholic Church.

"The Passion" itself is a cumulative suffering of Christ, ending with his crucifixion on Golgotha (according to The Catholic Encyclopedia).

So, although I admire Mel Gibson's beautifully rendered account of The Passion, I will continue to worry that his screenplay was based on a visionary work of the 19th Century, not a detailed study of the Gospels. (The latter study, one must emphasize, amounting to a lifetime's work few scholars achieve easily).

Schindler's List (1993)

He Who Saves One Life Saves The World Entire

[10/10 · 25 March 2013]

I notice Schindler's List is a patchwork of stories retold through the eyes of Holocaust Survivors. This felt entirely appropriate and gives the film a unique perspective. Many outstanding WWII dramas have been made, but so few will equal this detailed, historically revealing one about those so directly affected.

Anecdotal encounters with German soldiers are re-enacted here: The young man who clears suitcases from a ghetto street, only surviving due to approaching Nazi Soldiers finding this amusing. A factory worker who survives only due to Commandant Goeth's pistol failing. The young boy stepping forward and pointing to an inmate the Commandant has just shot, informing him this was the chicken thief.

Only a Jewish film director should have made this film, and I wonder if it was a painful experience for Spielberg at some points? He deals sensitively with a plethora of barbaric scenes including German soldiers stripping inmates, or pushing them in frustration onto the mangled bodies of less fortune kin.

Spielberg does not veil the horror here. We see how heads explode when a 9mm Luger is discharged at point blank range. Not a fan of violence, I found myself forgiving the director here, because the destruction by Nazi Soldiers against unarmed civilians is evidential. The Nazis also tried hard to cover-up the extent of their War Crimes.

The screenplay tends towards the sentimental, but right at it's heart is a fascinating dichotomy of personality. The unprejudiced approach of Schindler in contrast to Commandant Amon Goethe's hate-driven, psychopathic one. Unfortunately, psychopaths thrived in Nazi Germany and it's evident Goeth (pronounced "Gort" in German) was responsible for thousands of deaths.

Personally, I believe Nazis hated the Jews because of the desperate poverty many Germans experienced after World War One. The building of the Extermination Camps (Auschwitz being one of them) was a twisted, yet banally logical step in the process of Nazis ensuring everything was taken from their chosen scapegoats... A defenseless, civilian population.

The Holocaust will remain one of humanity's deepest tragedies. We need to understand why it happened and Schindler's List helps us all do this. Those sacrificed for the sake of economic expediency was a hateful, unnecessary war crime.

I sobbed uncontrollably for the last 15 minutes of this film...

Favorite Film Moment:

Has to be when Schindler questions the use of a one-armed machinist. The superb Ben Kingsley as sober plant manager, Stern simply raises his hands saying: "Very useful... Success!" As Schindler drives away. Black comedy at its finest.

Favorite Performance:

Embeth Davidtz as victimized housemaid "Helene Hirsch" (who had to deal daily with the violent and unpredictable Goeth) is outstanding in her scenes. I cannot believe she did not receive an Oscar in this role. She deserved one - Despite being part of an impressive, solid cast.

Most Haunting Scene:

The now famous Girl In Red Coat Scene is one of the best pieces of film direction I have ever seen. That little girl wandering amid the bullets, confusion and murder is cinematic symbolism at its finest. The soundtrack changes to children singing during this part of the film. Spielberg shows us the affects of evil on the innocent with remarkable skill here. No corny dialogue, no over-acting. Just undiluted representation of the consequences of hatred.

Men in Black³ (2012)

Did Columbia Make This Film Just For Me?

[8/10 · 29 January 2013]

I am gonna say it... This film is as good as the first one.

It's a roller coaster ride from frame one. The production and writing teams don't make the mistake of being complacent, as can so often happen in a third installment. No-one messed too much with Elfman's engaging and original soundtrack, either.

Old themes are revisited, but some clever plot twists, Sixties references (which I loved being a child of that Era) combined with fresh and interesting characters put MIB 3 on a par with the now classic MIB 1.

The comedy dialogue is snappy too. I found myself chuckling through most of the scenes where Smith plays off Tommy Lee's deadpan style that worked so well in previous MIBs.

Josh Brolin is superb as Young Agent K, adopting Tommy Lee Jones mannerisms and inflections with spooky skill. Jermaine Clement is a convincingly psychotic Super Baddie, assisted by outstanding CGI that the Special Effects Team have perfected on MIB films.

The plot races along but I won't mind watching this film a few times to try and understand everything that passes. Right at its centre is a feel good story that ties up a few loose threads. I won't spoil the ending for those yet to see it, but I did shed a tear.

School of Rock (2003)

Feel Good Movie With Attitude

[9/10 · 18 January 2013]

Pleased to see IMDbers award School Of Rock a worthy seven on the "watchability scale".

The film's a well-cast, entertaining journey. It features some hilarious plotting and writing sequences. It's one of the best kids movies I've seen. But calling it a "kids movie" does it a disservice. It's really a good, old-fashioned family flick with a few surprise twists.

The cast here are obviously having fun, fuelled no doubt, by the boundless energy of Jack Black Himself. This casting decision to hire Jack to play Dewey, an unappreciated musician with a deep-seated desire to perform, elevates this film into a joyous occasion in which we can all share.

The young actors are worthy of mention. Fortunately, the film's an almost perfect vehicle for their talents. I'll also give credit where its due to Joan Cusack. Playing opposite Jack here as a repressed, but lovably human head mistress, she seems to be having as much fun as everyone else.

So we get laughs, good acting and a rocking soundtrack. I don't think we could ask for more.

The Room (2003)

I Finally Sat Through The Room !!! (But Only Just... )

[1/10 · 29 December 2012]

How has "The Room" managed a three star rating on IMDb? Contributors here are generous souls.

Reading audience and critical reaction about "The Room" is more entertaining than watching its 99 minutes of jaw-dropping, mind-melting celluloid lunacy. Although, I must warn you, "The Room" can be addictive (for all the wrong reasons).

I'm interested in both film-making and writing, so Tommy Wiseau's disasterpiece plays out like a kind of crazy text book on "How Not To Make A Movie" - But as an advert for Independent Film Making it feels similar to selling tickets for the Titanic.

The serious point here is that Independent Films are so important for the industry. And, its with independent productions that new talent in all areas of Entertainment can shine and even prosper.

Tommy Wiseau is a far better business man than he is an actor/director/writer. His genius lay in raising $2 million dollars to fund this self-indulgent, grandiose folly. If you're going to rip up the rule book on movie-making, at least care enough about your audience to make something worth watching.

The Room does not feel like a black comedy. The treatment of women (the central female character is both unscrupulous and amoral) and theme of sexual betrayal explored in the script are just not comedic. Almost by accident, Tommy shows us how vacuous modern life and relationships can be.

Top Reviewer Comments:

Linkara: "It sucks out your mind and replaces it with stupid!"

Scott Foundas- Variety Magazine: The film prompted "most of its viewers to ask for their money back... Before 30 minutes had passed!"

Nostalgia Critic: "You can basically make trading cards out of how many pointless sequences there are in this movie!"

Questions About The Room:

Why is the director obsessed with San Francisco and its trams? Did any of the cast read the script before signing up to the production? If the film was edited, was the editor asleep, fired or did Tommy do the editing too? Did Tommy mean to direct the fight and romantic scenes in such a way as to make them as awkward and wooden as possible?

The Flight of the Phoenix (1965)

142 Minutes Of Solid Engaging Cinema

[8/10 · 13 August 2012]

This is a wonderful movie...

You'll be drawn into the claustrophobic struggles of a group of men facing a desperate challenge. The psychology of personality, ego and sheer human determination are all examined here. As an audience, we are treated to some wonderful performances from Hardy Kruger, Richard Attenborough and Peter Finch. The cast is solid as they come with notable American actors; George Kennedy and James Stewart contributing.

Since I happen to know an aircraft enthusiast, I can assure you the passion and knowledge displayed by Heinrich (The model-maker) could get any tin can off the ground. I guess it boils down to the magic of conquering the skies. Men (and these days women) must take to the air... Resulting in the Space Race that is one of mankind's greatest achievements.

Oh, and yes - This original 1965 offering outshines the worthy remake due, in most part, to outstanding character acting.

The Great Escape (1963)

A Masterclass Of A War Movie: Probably A "Boys Own" Tale

[9/10 · 31 July 2012]

Men like this film - I know - A (male) friend mentioned it to me and I found myself immediately singing "that theme tune" ... You know the one.

Heck.. I'm a huge fan of Bronson and Richard Attenborough - Here, I think both men turn in some of their best performances. They don't have to work too hard - The script is well-paced, believable and engaging. A strong supporting cast does no harm either... It amounts to a roll-call of some of our finest European and American actors.

If there are weaknesses in this movie, I'm hard-pressed to find any. You'll be glued to the screen as we're drawn into the strangely claustrophobic world of capable soldiers dealing with enforced incarceration.

Each man is assigned a function and that function gives him something to live for. It's a deeply psychological piece, often moving and portrays the courageous spirit of men determined not to endure the fascist "jack boot".

These Nazi camps really did exist and (at their worst) became the monstrosities of Auschwitz, Birkenau and the like. This film only hints at that... Since many escapees are (finally) executed in cold blood.

But overall, I think, Great Escape is not about the Holocaust. It's about men who found ways to survive it. I think that's important and its a powerful message underpinning a fabulous film.

Conan the Destroyer (1984)

Conan Goes Hollywood

[6/10 · 20 January 2012]

For fantasy-geeks like myself, this 1984 outing of the legendary swordsman is an interesting mix of highs and lows. The cinematography, costumes and settings are a high-point, remaining loyal to Frazetta's incredible illustrations.

Gone, unfortunately, is the first film's solid, adult screenplay. Howard's original, "Nietzschean" Conan is watered-down here, the director deciding to play for laughs (but Conan and his world just is'nt comedic).

Like the dialogue, the casting is sometimes hit and miss. Although Grace Jones (as the wild warrioress Zula) has been criticized as "over the top", she puts in a solid, believable performance. Sarah Douglas also shines as Queen Taramis, although we don't see enough of her! Arnie is adequate, as is Mako (who reprises his role here as a helpful wizard).

The film suffers most from poor special effects (an unforgivable crime for fantasy lovers)! It looks like they spent most of the budget on actors and settings, but even by 1980s standards, the monsters Conan faces were absurd.

Lessons were not learned, ending with the debacle of "Red Sonja" a year later. Arnie admitted that film to be "the worst he ever made". "Destroyer" amounts to harmless entertainment, lacking conviction, but watchable all the same.

The Spiderwick Chronicles (2008)

Fantasy With Finesse (And A Few Borrowed Ideas)

[8/10 · 28 November 2011]

Benefiting from Deschanel's superb cinematography, this fantasy adventure has moments of elegant finesse that make it unusual in terms of modern (often brutal) cinema. The gentler "faerie" sequences and closing credits were like a lullaby for the eyes. Helped considerably by Horner's enchanting score.

A well-constructed screenplay keeps the action flowing, while there's enough common-sense in the script to establish the main characters. There's even humorous asides, but these were too few to lift my spirits, as Jared and other family members deal with the emotional destruction of divorce.

The writing takes a different approach to JK Rowling's since, here, Jared has to assume the role of a missing father, while Harry Potter is tasked with rebuilding a sense of family from scratch. Although, divorce as a topic is well-worth exploring, since it haunts modern society. JK Rowling tends to ignore that difficult issue entirely.

Parallels with Harry Potter are unavoidable. Spiderwick's "Griffin" sequences were far too reminiscent of those seen at Hogworts. Nil points for originality there. Paramount obviously decided to compete with Warner Brothers for a highly lucrative "fantasy film" audience. Hijacking an idea wholesale didn't impress.

Goblin sequences relied too heavily on CGI, although Thimbletack limited the damage by being a new CGI "take" on the "house-elf". Plowright (as Lucinda) and Highmore (in a dual-role) acted their socks off, not helped much by mediocre support. I can imagine Emma Watson or Natalia Tena, for example, making much more of swashbuckling "Mallory".

Some poignant moments - due in most part to a thoughtful script and Highmore's considerable acting abilities. Keep the tissues handy.

Bowfinger (1999)

Wicked Satire - Feel Good Finale

[9/10 · 25 November 2011]

With an IMDb rating of only 6.3, I'd like to address the deficit.

Comedy character acting isn't easy. Legends like Peter Sellers could do it, Sir Alec Guiness could do it. Here, we get to enjoy another master of that Art, Eddie Murphy. In this movie, he's at the top of his game.

The sequence when Nerdy Burger Boy "Jiff" (played by Murphy) has to run across a freeway is one of the best-engineered comedy routines on film. I literally find myself aching with laughter as "Jiff" courageously negotiates highspeed cars, bikes and trucks, contorting his body in an afford to remain in one piece! (In fact, I wonder how they managed to film this sequence, since it looks so realistic!) The essence of great comedy is, unfortunately, other people suffering. (Not real suffering - acted suffering - due to comically-engineered situations). Laurel & Hardy knew this. Keaton and Chaplin knew this. Murphy and Martin know this. Without missing a beat, Bowfinger (played with aplomb by Martin) asks Jiff for one more "take". The real director (Oz) decides on just a few seconds of close-up as Jiff dashes across the lethal freeway oncemore. Looking at Murphy's tortured face is an achingly funny moment.

But the laughs don't stop. Bowfinger amounts to a deliciously wicked satire of Hollywood's many shortcomings. Unhinged superstars, Mexican film crews and desperate starlets are all ruthlessly parodied for our entertainment. This is intelligent comedy and I appreciated its subtlety in every chuckle-inducing frame.

If you feel down, I'm certain Bowfinger will supply the antidote.

Marathon Man (1976)

Powerful Tense Cinema

[10/10 · 14 November 2011]

Recently, I found myself discussing this seventies gem with my father (a director of theatre productions for many years). We focused on the two central performances of Szell (played with convincing menace by Olivier) and Levy (energetically delivered by Hoffman). We're both big admirers of these actors, so this film's worth a viewing on that basis alone.

A strong cast complete an often tense, moving drama. Political thrillers need tension. Here, we're drawn into a taunt world that's rooted in truth. There's tension between the two brothers (who are dealing with the death of their father in different ways). Political tension is also examined, since the McCarthyism that led to Levy Senior's death is similar to another form of lingering tyranny, Nazism.

The writing is subtle and powerful. Film companies don't often make films as clever as Marathon Man. But I doubt the issues examined here have really gone away.

Underpinning the story is the haunting reality of Jewish Holocaust, one of the darkest moments in 20th century history. The film is formidable in this respect, because even back in 1976, the Holocaust of the 1940s had already happened decades ago. Through a 21st century lens, the story still has a powerful message.

Characters like the "Weis Engel" really did exist, they really did perform unnecessary "operations" on their victims and it was always about the money. So, ask yourselves guys: "Is it safe?"

Watchmen (2009)

New Direction For An Aging Genre!

[8/10 · 19 October 2011]

Bland this film ain't! The tired and bloated "superhero" genre is turned inside out, while over a thousand reviews indicate this movie got us all thinking. (A rare accolade for movies in these de-intellectualized times).

But, sorry, nil points to the Hollywood Studios for not awarding Alan Moore a writing credit... Poor form. His literary genius made "Watchmen" possible.

Okay: the movie. Well, this isn't family entertainment. It's disturbing in parts, often violent, even brutal. Watchmen takes us to dark parts of the human psyche, then stands back with us amid the chaos as if to say: Judge for yourself! An extraordinary performance by Jackie Earle Haley (as Rorschach) made for compelling viewing. Smooth, seamless direction by Synder delivers absorbing cinema, despite a 2 hour journey. It's unlikely you'll check your watch.

I can see why reviewers mention Watchmen and Bladerunner in the same breath. A few stock characters ("Nite Owl" is a little too much like Superman, lets face it) and a few all-too-familiar fight sequences in alley and prison yard mean I cannot attribute "masterpiece" to this brave, mainstream offering. Bladerunner remains more original.

It's a good film, working hard to take a bland genre in a new direction. Just don't let the kids watch it until they're at college! Favorite Quote: Nite Owl: "Adrian wouldn't kill anyone, he's even a vegetarian.." Rorschach: "So was Hitler. You're squeamish. Leave him to me."

The Emerald Forest (1985)

A Rich Tapestry Of A Film: Boorman's Best

[9/10 · 4 September 2011]

Remember the 80s? For some of us, that's now along time ago. I recall "green" issues becoming a hot topic, at least among the Intelligensia. With only 47 reviews, there's little evidence to suggest this film appeals to wider audiences. A sad indictment that green issues are still overlooked.

One of the better cinema releases made during that decade (when politics took a sharp turn right) was this technically masterful production. So, I'm surprised Emerald Forest only limps in with a 6.8 rating. I doubt films this well-made would get past the accountants in 2011.

Boorman's wonderful films include Excalibur and Deliverance. Here, deep in the Amazonian Jungle, he's at the top of his game. We have beautiful cinematography, gritty and memorable acting, a thundering plot that keeps us entertained throughout the movie.

Okay, there's the typical "Noble Savage" motif and a rather convenient conflict between two tribes (the Fierce People seemed over-simplistic). But it's a mainstream movie, so we cannot expect too much. At least Boorman attempted to research Amazonian Tribal Life, so this film does not suffer too much from ignorant stereotyping.

A feature of many Boorman Films is the focus on touching relationships. Here, we have two different kinds of "father-son" interaction, Tomme's real determined father and Tomme's wise, tribal one. There's also the Romeo & Juliet style interaction between Tomme and Kachiri (handled sensitively by Boorman). Other more complex relationships are also explored, such as interactions between different tribes, or the exploitative practices of some "western" visitors, whose treatment of the natives is less than fair.

The film's a rich tapestry. I still find it breathtaking viewing.

The Name of the Rose (1986)

Powerful Historical Drama - With An International Flavor

[8/10 · 27 July 2011]

On the face of it, the bleak setting of an abbey mired by poverty and corruption in the 12th century does not have much going for it.

A combination of strong cast and Umberto Eco saves the day. Writing of this quality and depth is rarely translated with such skill to film. The clash of competing ideologies, a fanatical brand of religious superstition on one hand, in direct conflict with rational logic on the other, makes for compelling cinema.

Whether or not, such a progressive rationalist as William Of Baskerville could have existed in the early Dark Ages is open to question. Since the story hinges on this supposition, one has to be forgiving, because the result is riveting drama.

Many strong performances make the film highly entertaining, not least, Ron Perlman's outstanding portrayal of the rat-catching, heretical hunchback. Connery is convincingly solid, as is Murray Abraham as a fearsome "Inquisitor".

Due to a graphic "kitchen scene", one would have to class Name Of The Rose as adult historical drama, rather than an atypical Hollywood movie. Of its type, its one of the best I've seen.

Van Helsing (2004)

Comic Book Horror Lavishly Produced.

[7/10 · 26 June 2011]

Van Helsing's well-known to British audiences, at least audiences of a "certain age". The Vampire Slayer turns-up in many hammer horror productions. In the guise of Jackman he's re-modeled as swash-buckling superhero. Unfortunately, a hero of the most predictable Hollywood kind.

I can't see serious horror fans giving this re-hash of well-known themes kudos. Still, for a mainstream film-goer like myself, I found enjoyment and relaxation in a well-paced adventure.

A thoughtful screenplay keeps the action coming, while there's many an exciting aerial shot. Sumptuous costumes, props and locations complete a satisfying visual experience. Although CGI runs riot in this movie, at some points it works rather well. Dracula's flying brides, for example, look stunning, at least when airborne.

The script, such that it is, veers between cheesy one liners and brisk conversation. Dialogue is mostly confined to moving action forward, so has a "comic book" feel. Inventive plot points get overshadowed due to this approach.

Beckinsale and O' Connor (who played a similar entertaining villain in the Mummy films) do their best to entertain, while David Wenham and Shuler Hensley are pitch perfect and well-cast. Elena Anaya, Silvia Colloca and Josie Maran are memorable as Dracula's brides, sharing the limelight with Miss Beckinsale, rather than stealing it. Candidly, I could watch all four ladies all day long.

Lorenzo's Oil (1992)

Beautiful, Moving And Meaningful

[10/10 · 9 June 2011]

Extraordinary performances from Nolte (Augusto Odone) and Zack O'Malley Greenburg (as the young Lorenzo) are reason enough to view this outstanding medical drama. The script is sensitive and fascinating, the struggles and determination of the Odone Family riveting. It's beautifully directed, moving in every frame and uplifting in it's sheer humanity. Yes, here we see humankind at their best.

Not an easy film to watch, as Lorenzo changes gradually from healthy boy to tortured teenager, the ravages of ALD (Adrenoleukodystrophy) taking its gruesome toll.

Despite this, the film is not lurid or demeaning. Augusto's efforts to understand the complex biochemistry of the brain (cerebral ALD destroys brain nerves) is totally absorbing (even to viewers with only a passing interest in medicine).

Attitudes to health and disease are also thoroughly examined here, as the Odones refuse to accept the established diagnosis that "nothing can be done". The script also doesn't pull any punches when it comes to observing the different reactions and family pressures caused by so-called "incurable diseases".

This film offers us all a powerful message of hope, since Lorenzo begins to show signs of recovery, once the rare and precious oil has been identified, manufactured and administered. As cinema goes, this amounts to a tour de force.

Barbarella (1968)

60s Extravaganza: Viva Italia.

[9/10 · 22 April 2011]

The film-makers made two wise decisions when shooting "Barbarella". The first was to spend as much time as possible filming Jane Fonda. I'd forgotten just how beautiful she was during the 1960s. At the time of shooting, Jane's at the height of her considerable powers, and breathtakingly gorgeous in every frame.

The second wise decision amounts to casting Miss Fonda in the first place. The girl can act. Plenty of ability is required in light comic roles, so Jane's far from just "window-dressing", despite the Italian penchant for stylistic excess.

The production itself is lavish, exploring 60s Cinema's desire to demonstrate artistic originality. By today's standards, the special effects seem quaint, but I personally adored the non-CGI inventiveness of the wacky machines and unlikely objects Barbarella finds herself examining and using throughout 98 minutes of fun-packed enchantment.

Box office takings suggest Barbarella was a commercial flop, but this hardly matters. With the right director and production team, such a wonderful film could be remade as a masterpiece of futuristic splendor. I'm sure modern audiences would agree... (But all film companies beware, you'll need an actress of Jane Fonda's quality to fill Barbarella's boots).

Fabulous costumes, quirky settings and thought-inducing ideas are other features of this retro-delight. The rich contrast between Barbarella herself (as "nice-girl-nextdoor") and The Great Tyrant played by equally stunning Anita Pallenberg (as a kind of leatherclad rock queen) make for unforgettable viewing.

Oh, and remember guys: "Angels have no memory".

Gandhi (1982)

A Sensitive Masterpiece

[10/10 · 20 April 2011]

I'd like to pay tribute to Gandhi himself. Although always a deeply political figure, his writings and philosophy gained considerable moral ascendancy with the terrible onslaught of fascism.

It may be difficult for The Western World to understand the warmth felt by myself, a British Subject, for figures such as Gandhi, and the Indian People themselves. I guess it boils down to respect, because Gandhi and his followers sure earned it!

Richard Attenborough's remarkable skill as an actor translates well to directing. (Many of his films as an actor are outstanding pieces). Here, in the director's chair, he manages to obtain memorable and endearing performances from his cast. There's some delicious humor, too, that could have been lost amid the serious political issues Gandhi faced.

The storyline and tone of the film is sensitive to one of India's most loved and respected national figures. There's sweeping panoramas of India's incredible landscapes, evocative shots of India's legendary Railways and well-orchestrated "crowd scenes" that many a film could never achieve with such grandeur.

The script honestly portrays the problems Gandhi faced both at home and abroad. One also learns much of Gandhi's important philosophy and moral character that secured him a special place in the hearts of many, not just his national following.

I can only hope anyone who bothers to watch this masterpiece, will also find inspiration to investigate Gandhi further. There are far less valuable things one could do with one's time.

Blade Runner (1982)

Fiery The Angels Fell

[10/10 · 7 April 2011]

Blade Runner is a masterpiece, both in terms of visual realization and screenplay. The direction is superb, the lighting atmospheric, many performances sublime. Rutger Hauer as lethal replicant Roy, and delicious Sean Young, as the vulnerable Rachael are particularly memorable.

Neither should we overlook a highly original score, delivered by musical genius Vangelis. His association with Jon Anderson, on the album "Short Stories", took synthesized orchestration in new directions during the 1980s. As for Bladerunner, we receive a unique soundtrack few other sci-fi films can equal.

For those with a taste for science fiction, Blade Runner is a nod to those richly drawn, intellectual films that audiences were lucky enough to experience in the late 60s and 70s. (I'm thinking of such incredible cinema as Silent Running, 2001 A Space Odyssey and Barbarella). Alas, Hollywood has opted for more predictable and violent fodder in recent years, leading me to suspect films of Blade Runner's quality will remain rare.

Blade Runner's beauty lies in a commitment to present the audience with a panoramic future, yet still rooted in a world dominated by the fragility of human experience. The characters that inhabit this world are flawed, tragic and meaningful. There's no two-dimensional superheroes here. We're presented with the realities of cruel commerce and technocratic supremacy. However, the technocrats receive their comeuppance. In this way, Blade Runner is also a moral parable, though never preaches.

The replicants seek "more life", although it's Rachael and Deckard that illicit our sympathy. Rachael is deceived by the Corporation, while Deckard is a reluctant "fixer", charged with "retiring" that same organization's mistakes. This is very clever writing. Hampton Fancher's screenplay interweaves plotting and sub-plot with ingenious skill. Such literary craftsmanship is rarely translated so successfully to film.

The script itself is one of the best I can remember in a sci-fi film, including wonderful quotes from such luminaries as William Blake. (I can't remember the last occasion an English Poet was quoted in a Hollywood Movie, though such references add unforgettable texture to an already deeply symbolic piece).

With this in mind, I'll leave you with Roy's moving epilogue: "I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhauser Gate. All those moments will be lost in time... like tears in rain. Time to die."

Lethal Weapon (1987)

Well Crafted Action Yarn

[7/10 · 5 April 2011]

As 80s action films go, this one surprised me. (When I came across an old VHS Tape of the movie and gave it a spin - Yes, I admit to still owning a VCR).

I recall Lethal Weapon was an entertaining film, when I first watched it years ago. On a new viewing, it remains notable due to the fine performances turned-in by Glover and Gibson.

Although prone to the all-American desire for gratuitous violence, a well-crafted screenplay, dramatic performances and worthy supporting cast lift proceedings. Director, Richard Donner, is possibly under-rated too, as many scenes crackle with action and excitement.

Either by accident, or design, we're also given a heart-warming exploration of a man's battle to regain his sanity - after coping with the loss of his wife. These scenes are well-handled by Donner, while Gibson (as Riggs) provides a moving portrayal.

Danny Glover, who's been watchable in many movies, as the steady and careful Murtough contrasts well with his manic, though talented colleague, Riggs. I'd even suggest there's rare, though welcome "screen chemistry" occurring between Mel and Danny in this film. Chemistry so often missing in the cinema today.