Film Reviews by GI

A Boys Own Second World War crowd pleaser from Director Guy Ritchie who can never seem to rise quite to the occasion of his early films. This is all played for comic book styling and is very reminiscent of Inglourious Basterds (2009) but without that films panache. This is a fictionalised telling of a commando type mission to destroy German U boats and their supply ships in an African port. It's apparently based on a book by Damien Lewis and is about a real Operation codenamed Postmaster. The characters are all based on real people but the film goes for a fun, romp style that is all gung-ho, exaggerated and perhaps a little silly. Henry Cavill leads the ragtag team of ill disciplined soldiers on the mission who all treat war as a big game and relish in the killing of Nazis which Alan Ritchson as his No. 2 does most of. Henry Golding, Cary Elwes and Eiza González co star and Freddy Fox plays Ian Fleming, it being the case that Cavill's character was an inspiration for James Bond. Like much of Ritchie's output in recent times this has an infectiously entertaining veneer but lacks the zing that is promised. The witty banter is just not quite witty enough. It's good fun and there's a lot of explosions and shooting but it's fairly forgettable.

This surreal horror from Director Ken Russell is a typically off kilter work that doesn't live up to the frightening and depraved image of the film's poster. That scene does occur as a dream sequence but blink and you'll miss it, whereas the rest of the film is a mishmash of dark, haunted house scenes, with sexual tension, much of it with a strong hint of that depravity and body horror. The actual plot surrounds a drug induced night hosted by poet Lord Byron (Gabriel Byrne) with his guests Percy and Mary Shelley (Julian Sands & Natasha Richardson), Dr Polidori (Timothy Spall) and another young woman Claire (Miriam Cyr). It's a fairly plotless film with Russell possibly over indulging in his own reputation to produce a film that is based allegedly on a real event, one which reputedly gave Mary Shelley the idea for her famous novel, Frankenstein. As a horror film it's all rather unfrightening, somewhat tedious and whilst the cast are earnestly giving it their all its a film lost within itself making for a joyless viewing experience.

There's a significant poignancy to this film in not only the story but also in seeing two giants of cinema, Michael Caine and Glenda Jackson, together in their final film performances. Both bring gravitas and utter delight to this true story of D-Day veteran Bernie Jordan who, unable to get onto an official trip to France for the 70 year anniversary of the battle, snuck out of his care home early one morning and made his own way there. Jackson as his wife, Irene, covers for him to make sure he makes it ok. When the staff guess he's missing a media furore begins, unknown to Bernie, where he is dubbed The Great Escaper. Of course he hadn't 'escaped' at all and the film maturely tells the truth that the media embellished the affair for a good story. But the film does give us a heartwarming story of Bernie's trip where he finds the grave of a lost friend and there's a backstory that comes with flashbacks to the war, and these are the weak part of the film and in some ways detract from this story of nostalgia, regret and the pain of memories. Of course there's some comedy in the aged characters coming up against the young but it's Jackson and Caine who exude the charisma and spark for the story of this elderly couple who still love one another deeply and respect each others feelings. They give the film, which some may think a bit overly sentimental, a real sense of true life.

The film that launched Kevin Costner's career as a leading actor and a super smart, cat & mouse thriller it is too. He plays US Navy Intelligence officer Tom Farrell who is appointed as the intel' liaison for Senator Brice (Gene Hackman), the Secretary of Defence. He gets the job through a friendship with Scott Pritchard (Will Patton), Brice's aide-de-camp and who is fiercely loyal to Brice. The trouble is Tom begins a passionate relationship with Susan (Sean Young) who is also Brice's mistress. When she refuses to tell Brice who she is seeing he flies into a rage and kills her. To protect his boss Pritchard begins a cover-up investigation claiming she was murdered by a Russian spy and he puts Tom in charge and he quickly suspects the spy story is false and that Brice is the killer. This is a twist and turn plot with espionage aspects and some fantastic chase sequences. It's a really good gem of a film with a surprise ending and even if you've seen this and know the ending it's definitely worth checking out again. If you've not seen it then it's a real treat.

An assured directorial debut from John Patton Ford, a crime drama with a solid central performance from Aubrey Plaza. She plays Emily, a talented artist who its trapped in low paid jobs due to a stifling student debt and some criminal convictions which prevent her getting the jobs she yearns for. In desperation she turns to credit card fraud under the tutelage of Youcef (Theo Rossi). As she is lured by the ease and increased money she dives deeper down the rabbit hole of crime despite a couple of tense encounters. In deed Emily begins to gain greater confidence in her life. This drama pokes a stick, with admittedly some pretty broad strokes, at the American problem with getting out of debt and living with youthful misdemeanours that continually are used to prevent people realising their proper potential. The film doesn't excuse the path that Emily takes but attempts to explain her. The film rattles along at a good pace and even when this causes big leaps in how Emily progresses to clever criminal it's Plaza who keeps the whole thing grounded and believable. A good solid crime drama that is well worth checking out.

A revenge thriller set during the 'Troubles' and a gritty recreation of a grimy 70s London where most of the film is set. It begins, however, in Northern Ireland where IRA terrorist Michael (Colin Morgan) is ambushed by the British army while taking his heavily pregnant wife to hospital. She is killed in a moment of poor judgement by soldier Henry and Michael escapes. Facing a possible murder charge Henry agrees to join a shady unit run by Holland (Mark Strong) whose team are engaged in hunting IRA operatives in London. Both sides are fighting a dirty war where the issues of right/wrong and lawful/unlawful are totally blurred. Michael makes his way to London to join a bomb team but he has plans for revenge. This is a solidly made, well directed thriller that some may find a hard watch especially as there's no good guy to root for as everyone is equally as bad. In many ways this gives the film more strength as it tries to evoke the essence of the ruthlessness employed by both sides. Felicity Jones co-stars. It's a gripping film and well worth checking out.

This is a fairly typical British social drama, with doses of comedy mainly from the depiction of the local yokel, that is based on a true story and with the inevitable lean towards schmaltz. It tells the story of Jan (Toni Collette), a bartender in a small welsh village, who convinces friends and relatives to chip in to buy and breed a racehorse. With no experience and some financial guidance from racing fanatic Howard (Damien Lewis) and the expertise of trainer Hobbs (Nicholas Farrell) they take their horse, named Dream Alliance, and go onto win the Welsh Grand National. The narrative has the usual highs and lows, including one especially difficult event, but its all done with that heartwarming feel that films like this provide. There was a documentary about this released in 2015, entitled Dark Horse, a better title methinks than Dream Horse, but what you have is a warm, utterly watchable little film that entertains throughout even as it follows the predicted path you'd expect.

Most definitely a film of its time, a clumsily scripted, poorly edited and exploitation film that strives for as many breasts as it can squeeze into a scene. Set in the strip clubs of 80s New York I suppose there might be some underlining theme of the exploitation of women and the voyeurism and deep rooted sexual violence inherent in men, if so it's even more nonsense than it is on the surface. It's basically a serial killer narrative, albeit a weak one, where a martial arts crazed killer stalks and slashes strippers. The victims are in the 'stable' of Tom Berenger's ex boxer with a guilt complex who is under the control of the mob and must find the killer before business suffers too much! There's a racist and shouty cop on the case too played by Billy Dee Williams and Melanie Griffiths plays a stripper and Berenger's lover who, of course ends up targeted by the killer. Griffiths role seems limited to her prancing about half naked or sprawled on the floor in a heroin daze. The acting is at times really wooden and the narrative is clichéd and silly. It's a glitzy production but endless scenes of bright neon lit and wet streets don't make for an interesting or entertaining film.

This Oscar winning crime thriller is about as flawless a film as you will ever see. Like all the Coen brothers films it takes basic genre conventions and utterly subverts them so the narrative and plot go in unforeseen directions and the film is a constant surprise. There's a lot of classic Sam Peckinpah to be found here, this is the sort of film he would have made in his heyday, and consequently it's a work of genius. Set in Texas in 1980 humble working man Llewelyn Moss (Josh Brolin) is out poaching one morning in the desert when he comes across a drug cartel massacre. He makes off with the stash of money he finds but an act of mercy results in the bad guys on his tail trying to get it back. The baddie here is frighteningly original in the form of Javier Bardem, a psychopathic hitman with a bizarre haircut who relentlessly pursues Moss throughout the film. Overseeing these events is Tommy Lee Jones as a tired and cynical local sheriff trying to put everything right but always finding himself always a step behind. To that end this is actually a film about a passing time, it's a reflective lyric about 'the old days' and the events are presented as a sign that Jones' character is no longer effective or indeed relevant. In any event if you've never seen this then I urge you to watch it as this is a masterpiece of modern cinema, you'll struggle to find a modern film as good as this one.

Allegedly Bruce Willis filmed all his scenes in one day on this awful film. That fact sort of epitomises what a derivative load of tosh this is and gives grounds to the allegation that he's the laziest actor in Hollywood. He can't take all the blame here though because the script is so bad it's cringeworthy and the entire plot makes little, if any, senes. It's clearly a 'Die Hard' type narrative, the irony of that not being lost, with Willis playing some psycho or other who with a band of mercenaries takes over a power plant and dam and begins to flood the local area threatening the lives of the population.....and all because his son was killed by the police. It's anyone guess what his gang are in it for as there seems to be no mention of ransom or riches or even a cause for which they are fighting. Of course in amongst the intrepid employees is an ex special forces soldier (Patrick Muldoon) who despatches just about everyone with his pistol that seems to have unlimited ammo while the bad guys can't hit him with there massive array of automatic weapons. Just to add insult to injury after spending a good hour trying to shoot him when they do get the drop they opt for a punch up instead!! This is really an example of shoddy filmmaking and a waste of money.

This hi-octane action adventure film is fun filled, full on adrenaline with the two main stars exhibiting a great screen chemistry making this a blast and, for me, the best in the fFst and Furious franchise. There is, of course, an irony to that as this is not really a Fast & Furious type narrative and merely a spin-off giving two popular characters from the series their own film (much to Vin Diesel's chagrin apparently). This is basically a Mission Impossible/James Bond type narrative although even more daft and with more laughs. The action set pieces are certainly fast and furious though, with elaborate chases, plenty of shooting and oodles of fighting. Pure entertainment really and definitely good enough to warrant a sequel. If you love the Fast and Furious films then be advised this is not about street racing or the usual team getting hired to steal some thing or other. There's none of that and no mention of the series main characters. Here you have top cop Hobbs (Dwayne Johnson) and disgraced British special forces soldier Shaw (Jason Statham) hired to find Shaw's sister (Vanessa Kirby), a hunted MI6 officer who is accused of killing her colleagues and stealing a deadly virus. The big baddie behind everything is Idris Elba as some sort of cyborg warrior who is controlled by an unseen über villain (all very 007). The story is rather incidental as this is just about big, loud, bold action and everyone is obviously having loads of fun. Helen Mirren and Ryan Reynolds have cameos. Nothing to think about, just sit back and enjoy.

A well grounded survival drama set in Britain as unprecedented rainfall floods London and forces a young mother on a quest for survival. This film is marked by two main things, firstly it doesn't focus on the bigger picture and so there's not huge expansive visuals of the land ruined under the disaster this narrative focuses on the human spirit for survival and it's chiefly about the characters; and secondly the central performance of Jodie Comer as the mother is nothing short of magnificent. The film's characters are mostly unnamed and we meet Comer's woman as she gives birth during the storm that begins an environmental crisis. With her loving and amiable partner played by Joel Fry they take their newborn son and head northwards to his parents (Mark Strong & Nina Sosanya) who live in the country. But as food supplies run short the inevitable threat starts from others intent on their own survival at any cost and there's the ever present tension as the family is torn apart and the woman is forced onto the road with her baby. Comer plays the main role as a smart, intelligent woman with the inevitable doubts caused by the frightening events she navigates through. She dominates the film and it's hard to fault her in any way here. There's a cracking support cast including Katherine Waterston who is another survivor and Benedict Cumberbatch (who is also a producer here). I admit I found the various flashback sequences to be distracting and I'm not sure of there benefit to the narrative but overall this is a fresh take on the post apocalyptic road/survival film and it's absorbing and realistic.

Director Luc Besson's highly stylised thriller is a real treat and it's been much imitated and spawned a TV series. It's a gritty adult thriller with rock video distorted imagery and some interesting themes about redemption and feminism. Former dancer Anne Parillaud plays the title role, she's a violent, sociopathic junkie convicted of murdering a policeman. The Government fakes her suicide and takes her to be trained as a covert Government assassin. But as she begins anew including rediscovering herself as a woman she yearns for a normal life. But trapped by her past and forced to carry out state sponsored murder she risks returning to her old ways and it's only her love for Marco (Jean Hugues Anglade) that keeps her sane. Her handler Bob (Tchéky Karyo) needs one final mission from her before he'll release her. This is a genre piece but with all the trademarks of European arthouse and the end result is a fantastically entertaining film. It's violent but never slips into gratuitousness and the appearance of Jean Reno as Victor The Cleaner is highly memorable. This is a great film and if you love a good adult thriller then check this out as soon as you can.

Director Michael Winner's films are often quite brutal and blunt with an obsession about death and this quite unusual thriller is no exception although it has some subtlety and a very compelling story. On the surface this is a period drama romance set in England at the beginning of the twentieth century in a large country house. Recently orphaned brother & sister, Miles and Flora, are under the guardianship of their uncaring uncle who sees them as a burden. He leaves them in the care of a governess, the beautiful Miss Jessel (Stephanie Beacham) and the stern housekeeper Mrs Groce (Thora Hird). The children become obsessed with understanding death following the sudden loss of their parents and they form a bond with Quint, the estate gardener (Marlon Brando). Soon the children slyly begin spying on Quint and Miss Jessel as they are having an obsessive and passionate affair which is tinged with sad-masochism. As this illicit relationship spirals out of control the children hatch a plan to keep the pair together. There are elements of a horror narrative here and as this story is a prequel to Henry James' ghost novella The Turn of The Screw you will understand why (That was filmed in 1961 as The Innocents - an excellent film in its own right). This is one of Winner's best films, it's eerie and tense and thoroughly well acted especially by Brando as you'd expect and Beacham is excellent in what must have been a tough role, indeed its hard to understand why she didn't become a significant star based on this. This is a really great film, highly recommended and one to seek out if you've never seen it.

A drama that charts the lives of members of a 60s motorcycle 'club' called The Vandals who operate out of Chicago. The film is narrated by Kathy (Jodie Comer), who is a young girl from a normal background who inadvertently falls into the world of the biker gang when she falls for the moody member, Benny (Austin Butler). In that sense she's very like Lorraine Branco's character in Goodfellas (1990). They marry and the film is then basically a tussle narrative as she and the gang's boss, Johnny (Tom Hardy) vie for Benny's affections. So intertwined in this three way love triangle is a father/son relationship as Johnny sees Benny as his heir apparent. Is this a poignant ode to the freedom of the biker gang who strive for a life free of many of the restrictions of American society? Or is it a look at the immaturity of men who have little future and so portray a sort of puerile masculinity to get their kicks? Either way the narrative shows that this gang basically spend their time picnicking or sitting around in a bar occasionally fighting other biker gangs. The film shows a transition as a new wave of younger members step in with a more violent and criminal agenda which begins the downfall of Johnny and forces Kathy and Benny to make some serious life changes. There is violence on show here and yet it's all somewhat restrained and the overall impact of the gang is muted in the narrative other than through the occasional monologue (Michael Shannon bringing the best of those). This is a film that left me underwhelmed. Comer is the best thing here and she delivers her mid western accent with confidence. Butler's Benny is just sulky and occasionally unpredictable but his dilemma of choosing Kathy over the gang isn't effectively played out. Hardy is his usual taciturn heavy a little like his bootlegger in Lawless (2012). The smaller characters have much more impact especially Michael Shannon and Norman Reedus as the more deranged members. An interesting film but I still think TVs Sons Of Anarchy is the more interesting and involved biker gang narrative.