Film Reviews by HW

I enjoyed the twisted concept of this story, and Nicholas Hoult was utterly captivating as the tortured family man torn between saving his own life or the life of the man whose guilt he’s supposed to be deciding. Yes, there were many scenes that felt like a remake of ‘12 Angry Men’, but this time the one juror standing against the others has ulterior motives. I’m impressed Eastwood can still direct such gripping thrillers in his 90s. As well as being entertaining (watching a man stuck in a completely unenvious position is morbidly fascinating), this complex drama also asks some probing questions about the integrity of the US justice system. Every character who’s supposed to have an unbiased judgment during the trial has their own agenda going on. 

This movie could have been made this century and still be relevant. As a western fan, I loved the Mexican landscapes, the shootouts and the horses. However this film offers more than your average shoot ‘em up. This dark anti-materialistic morality fable is actually hard to classify, which makes it all the more impressive that it was made and released in the restrictive environment of 1940s Hollywood. Bogart of course rules the roost with his genuinely unpleasant and frightening depiction of a drifter becoming more and more overcome by greed and paranoia on a gold-dig with some well-acted acquaintances. The director’s father playing the old gold prospector was the most charming performance. A well-acted, well-scripted action-adventure with deeper, darker themes that’s possibly ahead of its time. Steinbeck could have written this. 

This movie is a freaky, freaky ride all the way through. For most of the runtime, it’s a confusing mystery but also an intriguing satire of rich teen LA life. The teen stuff takes a dark turn when our young hero Billy overhears a super dodgy recording of his family at an exclusive party, made by his sister’s stalker. Suffice to say, it’s not the kind of audio you want to hear your sister and parents partaking in. More weird, unexplainable things happen until Billy winds up at one of these parties. 

The finale or last twenty minutes is all you really need to see, as it’s a triumph of gross, gooey 80s prosthetics and make-up; a body-horror orgy with surreal fleshy distortions bordering on art. Nevertheless, under the outrageous crassness, there is a relevant, chilling subtext of the rich feeding on the poor. Definitely not a family or date movie - if you want the date to go well that is. The theme song will linger. 

To his credit, Ken Russel took a weak horror novella, took out the confusing, tedious and frankly racist aspects, and turned it into a genuinely fun if bizarre piece of horror cinema. With such a flimsy inspiration and a low budget, it’s impressive actually how fun and thrilling this British horror is. While removing the negatives, Russel amped up and added the sexual and monstrous aspects. There are fantastic (if hilarious) serpentine prosthetics and make-up. There are thrilling action scenes and sets as we watch the young British cast run around, chasing and being chased by serpentine monsters and vampires (even if their acting and delivery feels a bit forced). Amanda Donahue gives the best performance by throwing herself into the role of the sinister but sexy Lady Sylvia. The erotic scenes are bold and shocking. Overall this feels like a tounge-in-cheek tribute to Hammer horrors, with a great folk-punk theme song! 

A thoroughly enjoyable, old-fashioned historical epic that you could imagine taking up a lazy weekend afternoon. Richard Harris gives a passionate performance as Cromwell, warring with both King and Parliament with his enraged speeches. Sir Alec Guinness gives a noble, sympathetic if crafty and stubborn Charles I. As with most historical films, there are inaccuracies. Cromwell is depicted here as a reluctant people’s hero, whereas from what I’ve read he seemed more motivated by religion than people’s rights and the Irish atrocities he oversaw are conveniently left out. The depictions of the battles at Edgehill and Naseby, while thrilling, were incorrect. Nevertheless the script has an impressive amount of quotes and references to history and to be honest, tells the overall series of volatile events as they happened mostly correctly and very dramatically. 

A gripping depiction of a fascinating true event. Great British cast, especially Timothy Spall depicting Irving the holocaust denier as a smug, unpleasant man. As well as delivering good plot and tension, this film makes you think about history and people’s different views on history, as well as the impact that horrific atrocities like the Holocaust continue to have on culture. 

For a TV movie, this is such an incredible and original addition to the western genre. For western fans, this is a real treat with all the classic generic elements done well. There’s magnificent natural scenery, beautiful horses, an epic depiction of a horse drive and natural cowboy performances from a rather grim Thomas Haden Church and the loveable Robert Duvall. When the cowpokes come across five Chinese women being taken across the prairie to be sold into prostitution, the films become unique for exploring the plight of both women and Asian immigrants in 1800s America. While the films could be accused of enforcing a white saviour plot line, it’s still sweet to see a group of mixed characters overcoming barriers and differences to work and thrive together on the trail. You’ll like this if you liked ‘Lonesome Dove’, ‘Open Range’ and ‘The Homesman’. 

A fun, heartfelt tribute to the Sherlock Homes stories, with a surprising amount of references and a great Victorian atmosphere. Of course, most of the loveable characters are now mice. Even the monstrous Professor Ratigan (voiced with glee by horror legend Vincent Price) claims to be a ‘mouse’. A bit patriotic at times, as Basil ends up trying to save the ‘Mouse’ empire, while reuniting a lost girl with her father. There are however some nice messages here of not giving up, appreciating the people around you and not getting too arrogant! One objection though: it’s not really a musical adventure if there’s just one song from the villain! 

I couldn’t believe that you could make the classic adventure ‘Treasure Island’ even better, but you can! With songs, gags and muppets! I can’t believe it’s taken me so long to see this film. You are not a true fan of cinema until you’ve seen this. Tim Curry and Billy Connolly naturally shine as nautical rogues amongst the hilarious casting of the Muppets as Stevenson’s classic characters. Most uproariously, the fabulous Miss Piggy as the marooned Ben Gunn! Sorry Benjamina, Kermit’s (sorry, Captain Smolly’s) jilted and enraged fiancé. Could this be even more enjoyable than Muppets Christmas Carol? Maybe… 

Decent and faithful adaptation of the novel, with some interesting changes: for example, turning Barlow from the smooth, charming Dracula-ripoff to the hissing Nosferatu rat-man. The performances are surprisingly good, there’s dread suspense and the vampires are genuinely creepy: maybe even creepier than I imagined. The vampire boy materialising at his friend’s fog-wreathed window will haunt me. The movie did make me afraid to look out of my windows at night. 

Proof that you can make an absolutely gnarly, nasty horror film without resorting to buckets of gore. This film gets under your skin immediately. The farmhouse sets, with its low-budget decorations of bones and other gruesome trophies, looks like a genuine serial killer’s den. I can’t think of a horror climax either that’s more of a nerve-shredding, emotionally exhausting terror than the one here. It’s hard to imagine the shock and impact this movie had in the early 70s: like ‘Psycho’ on acid. This film must have raised the bar on horror more than any other. The American dream literally being chain-sawed apart. Probably didn’t do a lot for the Texas tourism board though.  

There are few films I’ve seen that engulf the audience in the pain and grief of those left behind during wartime. Through Vikander’s raw performance, we feel every loss that piles up in this WW1 epic drama. We also experience a woman’s viewpoint of war in the typical role of a nurse, along with the physical and emotional exhaustion that went along with it. A very effective anti-war argument that challenges any notion that war can be a good idea without having to show graphic scenes of combat, while also challenging the blaming games that take place after a conflict. In this film, everyone is humanised and everyone suffers. 

Personally, this might be my favourite ghost story film. Although films like ‘The Haunting’ show how much you can scare an audience with subtle effects and cinematic skills, ‘Poltergeist’ deserves recognition for its impressive -  nay, mind-boggling - array of practical effects and bonkers imagery. I like how it’s both a sentimental Spielberg-produced drama about an average, loving American family (yuck) and also a relentless terror trip from director-horror veteran ‘Texas Chainsaw’ Tobe Hooper, taking full advantage of the film’s big budget. For instance, a touching discussion of life after death is followed by a character pulling his own face off in a bathroom mirror. Just a real ride that shows up a lot of the repetitive, over-serious ghost horrors from the last few years and a reminder that ghostly horror can be found in the most unlikely, modern and average of homes. Although this is not strictly a movie about poltergeists, I like the back-story with its message of respecting the dead. 

A very close adaptation of the book. In fact, I feel like they streamlined the plot in a more satisfactory way, although you do lose more of the humorous brotherly bickering. Cool cast as well (John C. Reilly is great), and the messages of the book (family over greed and violence) are not lost. Within the western genre, this is definitely an oddball and an acquired taste. As a western lover, I’m still scratching my head about it but that’s what makes it original. Decent shootouts too and a striking score. 

Decent adaptation of the novel, with great performances (especially from Jeff and Hailee). Grateful to watch it with subtitles as I couldn’t follow all the dialogue in the cinema! Scenery, action and costumes all good for a western. Still not sure if I prefer John Wayne’s fun performance, but this is a closer adaptation of the novel, including its darker scenes. I liked seeing the Coen brothers doing a proper period western, but I think I prefer their more imaginative work on ‘Ballad of Buster Scruggs’.