Film Reviews by GI

With two stunning lead performances from Annette Bening and Bill Nighy this is definitely worth watching. It is though a dour story of a marriage breakdown. Grace and Edward have been married for 29 years with one adult son, Jamie (Josh O'Connor). She is a critical, uncompromising woman who holds the view that challenge and rigour are the means to have a loving marriage, but Edward, a demure, gentle man, feels constantly harassed by her and one weekend announces he's leaving having met another woman. This sends Grace into a tailspin of anger, despair and stubborn resistance to Edward's request for a divorce, which forces Jamie, a young man with his own emotional problems, into the position of mediator. Bening is really excellent here and she plays Grace as almost a monster to whom any compromise is a weakness to be resisted. Nighy is cleverly restrained in opposition and the relationship dynamic is exceptionally well done. This is though a depressing story and whilst clearly a character piece it left me a little empty by the end. Worth seeing for the performances though.

A poor sequel to the surprisingly fun and interesting 2014 original. The fairy tale roots have largely been discarded here in favour of a Marvel Universe type battle narrative, a sword & sorcery fighting film with the predictable storyline throughout. Angelina Jolie reprises her role in the title character but we see rather too little of her and when we do it's only in CGI mode. This time around we are given Michelle Pfieffer as the villainous mother of Prince Philip (Harris Dickinson) who loves Aurora (Elle Fanning), proposes to her, is accepted and the union designed to unite their two lands. But nasty ol' Michelle has other ideas! Then Maleficent discovers there's a whole race of flying people, like her, but without the magical abilities. Ultimately they all pull together to foil the evil plans of the Queen. This is fine for the kids on a rainy afternoon, but really a big disappointment and somewhat formulaic. The cast are great but ill used including Chiwetel Ejiofor, Ed Skrein, Robert Lindsay and Sam Riley amongst many so if you liked the first then don't bother with this one it'll spoil it.

A bit of an oddity in director John Ford's work especially his westerns, indeed he described it as a 'piece of crap' but it's a film worthy of a re-evaluation where it yields some interesting delights. As a western made at a time when the genre was at it's height but arguably beginning to wane this is narratively an unusual film. James Stewart (in his first film with Ford) plays against type as a cynical and corrupt town Marshall who is pressurised by his army friend, Jim (Richard Widmark), to help recover white captives from the Comanches. In this story thread their are obvious links to Ford's The Searchers (1956) and the racism is there but here roundly condemned by Ford in his portrayal of the bigoted white settlers desperate to recover their lost children but unprepared for the changes captivity has brought. It's the reintegration of these young people that forms the central theme of the film and the usual genre tropes are mostly absent, in fact there's only one real scene of gunplay and it's over in a flash and hardly registers. This is mostly a character study about male camaraderie and Ford's comedy prowess is riddled throughout the film. But it's because it's such an unusual western that makes it worth checking out today. The cinematography reveals a brow beaten west with subdued colours that gives the film a deliberate melancholy feel and the cynicism of the characters to their lives and futures reflects the slow drift into a new age for America. If you are a western fan and/or committed to cinema as art then this is a film that will be of interest and it's worth comparing it to Ford's next film The Man Who Shot Liberty Valance (1962), where Ford effectively closed the door on the traditional western mythology.

A spin off and/or addition to a franchise that offers nothing new other than more zany special effects and funny aliens with working class accents. Fun if you are a fan of the comics or even the previous films but since the 1997 original they have become more tired and clichéd. Here Chris Hemsworth, channeling his Thor persona, is hero Agent H, who once saved the world from an aggressive alien species but is now a laid back has been and Tessa Thompson is the newly recruited Agent M who teams up with him to stop a dangerous weapon falling into the same alien's hands. This cues lots of fights, ray gun shooting etc etc. The cast are impressive including Rafe Spall, Rebecca Ferguson, Liam Neeson and Emma Thompson who I can only guess did it for the money!

Loud, long and action packed this is another of those history lesson war films that used to be very popular back in the 60s & 70s, e.g. Tora Tora Tora (1970), The Longest Day (1962) but with the benefit of modern digital CGI which renders the aerial combat sequences particularly impressive. It's all gung-ho back slapping heroics with the usual stereotypical characters many based on real persons and some are vaguely annoying not least Ed Skrein as cocky, ultra brave pilot Dick Best. Equally though there are some interesting aspects to be enjoyed in particular Patrick Wilson as the Intelligence expert Edwin Layton. Director Roland Emmerich , a past master at the big, effects laden epic, tones down the flag waving and does give almost equal balance to the Japanese side in this recreation of the huge 1942 naval battle for the island of Midway, a turning point in the pacific war. There's a prologue recounting the Pearl Harbour attack and the Doolittle raid which is an improvement on the dire Pearl Harbor (2001) and like all these films there's the token female character waiting at home looking anxious that could have been removed entirely. Support cast is ok including Woody Harrelson, Luke Evans, Dennis Quaid and Aaron Eckhart. Anyway, this is all a bit similar to other war films of this type, it lacks depth and meaning but it looks impressive and keeps you watching.

Woefully misunderstood on its initial release this has now been heralded as a minor masterpiece from director David Lynch. In a cinema format Lynch had the freedom to really expose the themes he opened in the first TV series but couldn't fully exploit. He does not hold back here this is a powerful, disturbing and thoroughly enthralling film that manages to display fear in all its horrid manifestations. This is a harrowing, phantasmagorical tragedy about sexual abuse and loneliness portrayed through the visual representations of a nightmarish world where emotion and thought are displayed as reality. Lynch is a master of recreating dream like narratives that are surreal and frightening. This film is one of his cleverest that delves into the dark underbelly of small-town America and doesn't shy away from what is revealed. After a woman is gruesomely murdered the FBI agent in charge of the case disappears in strange circumstances. Agent Dale Cooper (Kyle MacLachlan) who has a gift for understanding the subconscious realm, predicts the killer will strike again. A year later in the small Oregon town of Twin Peaks college student Laura Palmer (Sheryl Lee) is tortured by the regular sexual abuse she suffers at the hands of a man she has named Bob. She understands her life is spiralling towards a violent end. Sheryl Lee's performance here is nothing short of amazing, its some of the finest screen acting you'll ever see and it's a shame she was never recognised for what she achieved here. The support cast are also superb including Ray Wise, David Bowie, Chris Izaak, Kiefer Sutherland and Harry Dean Stanton. If you are unfamiliar with the films of Lynch then you might find this highly unusual stylistically and narratively and Lynch famously refuses to explain his films but this is cinema that highlights the extent of the medium as an art form. Yes this is one of the most impressive suspense horror films you'll ever see, it's original, scary and highly impressive.

This fits into the tail end of the 70s American conspiracy film cycle and was a favourite of its director Robert Aldrich but it failed to gain an audience even after receiving an edited, more action focused cut. Now restored (although some scenes remain lost) this has garnered a favourable re-evaluation as a bold film that questioned the heart of America's political establishment and its cold, inhumane foreign policies especially regarding the Vietnam War. Burt Lancaster plays disgraced Air Force General Dell framed for murder by the authorities who has escaped from prison and with two criminal associates managed to break into a nuclear missile silo, taken control of it and threatens to launch the missiles unless the President (Charles Durning) reveals to the public the contents of a secret document that shows the Vietnam War was a lost cause. It's a very talk orientated narrative with much of it taking place around a table in the Oval Office and whilst it does a good job of condemning the US foreign policies and it's failure to properly legislate the use of nuclear weapons, the plot is utterly preposterous with some gaping holes mostly around the action in the silo with Lancaster. There's also a frustration caused by the apparent naïveté of the President who sort of learns his own countries policies and plans as he goes along. This makes the film seem a rather scrappy affair although there are some stand out moments mostly in speeches delivered by Lancaster and Durning. The downbeat ending all seems rather daft too but the performances are mostly sound especially the two leads but also including Paul Winfield, Richard Widmark and Melvyn Douglas amongst others. This was filmed in Germany and whilst it is a brisk and bright picture it feels more like a 70s TV programme. This is a film that will have interest if you are looking at the work of Aldrich but, despite his own view, this is not his best film by a long stretch.

An astounding, powerful and at times very moving thriller with some fantastic performances and a very clever edited construction. This is a film put together like a puzzle but with all the pieces in random order so the timelines jump about allowing the viewer to see events before knowing their significance. This works really well and doesn't feel like a gimmick but gives the story added twists and depth. It's the story of three characters whose lives become intertwined following a tragic event. Jack (Benicio Del Toro) is an ex con and recovering alcoholic who has turned to devout Christianity in order to change his life but when he accidentally kills a man and two daughters in a car crash the tragic event sends his world crashing down. Cristina (Naomi Watts) is the wife and mother who loses her family as a consequence and struggles with the immense grief and finds solace in the arms of Paul (Sean Penn), a man who has a secret that will affect all their lives. This is a superb film, it's a cause and effect narrative that looks at the effect of sudden death on life and tries to offer some meaning to tragedy and the depth of human feelings in the brief period we call life. At times it's a really emotional experience and the three main performances are award nominated and the cast also has Melissa Leo, Danny Huston, Eddie Marsan and Charlotte Gainsbourg making for some powerhouse acting. This is a top class film and one I highly recommend if you've not seen it.

A comedy, social docu-drama that tells the story of the creation of Factory Records and the infamous Hacienda Club by Granada TV journalist Tony Wilson (Steve Coogan) who narrates the story, breaking the fourth wall in doing so, and documents the innovative music scene centred around Manchester from the late 70s to the early 90s. The film is also a stark look at a decrepit city beleaguered by drugs, violence and poverty. Above all this has a wonderful style and at times it's hilariously funny as well as shocking with its depictions of drug misuse and violence. Coogan plays Wilson as a naïve egotist, cowardly and hopeless as a businessman more obsessed with his own image. The film intermixes actual footage of the key bands of the time including The Sex Pistols, The Clash, The Stranglers, Joy Division, New Order and The Happy Mondays as well as having actors play key members of the bands. All the key characters are present and some of the real people pop up in cameos. The cast are impressive and include Paddy Considine, Peter Kay, Lennie James and Andy Serkis. You don't have to like the music or even remember the times to enjoy the zany style and clever structure of this film and it is entertaining throughout and the film acknowledges that some of the 'facts' may not be true. If you are a fan of these bands then this is a must see film.

Whilst this is a sequel to 28 Days later (2002) it doesn't follow any of the characters from that film and has a plot focused on a complete set of new ones. Danny Boyle didn't return to direct this due to other commitments but he did direct some of the scenes including an early one of an attack on a barn. This is set, as the title suggests, twenty eight weeks after the 'rage' virus has swept through the United Kingdom. Believing the infected are now all dead Nato, under the American military commanded by General Stone (Idris Elba), have begun a clear up operation and begin repatriating people who were abroad at the time the infection started. These include brother & sister Andy (Mackintosh Muggleton) and Tammy (Imogen Poots) who are reunited with their father (Robert Carlyle) who managed to survive the outbreak. But when their mother (Catherine McCormack), believed dead, is found hiding in London the military are confused how she has managed to survive and believe she holds the key to finding a cure. Unfortunately army doctor Scarlet (Rose Byrne) is fearful the virus is not over and may return. And of course return it does. This is then a full on action horror thriller and very bloody it is too. But it's also really entertaining and a real rollercoaster ride. It lacks the originality of the first film and opts for some stunning set piece action sequences instead and some are very impressive especially the firebombing of London. There's a sub plot involving Carlyle and his two children that feels too contrived and doesn't fully fit the set up with the infected but overall this is worth seeing if you enjoyed the first one.

There's little doubt this is a highly popular musical and loosely based on a true story, with some very well known songs and a story that is a delightful romance in a time that requires a battle with oppression it really couldn't go wrong from release to this very day. In a rather funny aside star Christopher Plummer hates the film to this day and really despised the whole experience often referring to it in interviews as The Sound of Mucus. He plays the strict Austrian naval Captain Von Trapp, a wealthy widow with seven children. When the young Maria (Julie Andrews) is hired from the local convent to be the new governess she transforms the family from a morose disciplined one to a happy and bright one especially as they can all sing in harmony. Soon they become locally established as a singing troupe and Maria and the Captain start to have feelings for each other. But all this is threatened by the political take over by the Nazis who the Captain despises. A rather lovely family film and an important musical. It's all starry eyed and dreamy but it does warm the heart somewhat and the children aren't as annoying as they often can be in such films.

One of a cycle of Boys Own war adventure films that were popular family entertainment in the 1960s. This one is clearly influenced by the James Bond films and incorporates espionage and the evil baddies, in this case the Nazis, in their underground lair. With an all star cast this had great appeal and being British made and on location in the UK it remains popular as it pushes the myth of the Second World War as a contest between the plucky English and the nasty Hun. It's historically all over the place but never intended to be a realistic depiction of events but a roustabout adventure film with plenty of action. In this case handsome American star (so as to appeal to the US market) George Peppard is Curtis, a cocky American pilot recruited by British intelligence because of his engineering qualifications to infiltrate the German installation making experimentation rockets. Assisted by John Mills, Anthony Quayle, Sophia Loren (her husband Carlo Ponti produced the film!), Trevor Howard, Tom Courtney, Richard Todd, Sylvia Sims et al this will be a favourite of many although there are far better films to be found of this type of war drama. Viewed today it's more likely to raise a smile at the clumsy script and stereotypical characters.

This is one of director Danny Boyle's best films. A very clever British post- apocalyptic horror film that takes the somewhat tired and clichéd zombie sub genre and injects it with an aesthetic visual imagery that is very impressive, and has a story, written by Alex Garland, that taps into the modern day fear of disease rather than the old fears of nuclear war, radiation etc. A group of animal rights activists break into a laboratory intent on releasing the chimps being used for experimentation but they unwittingly unleash a deadly virus. Twenty eight days later Jim (Cillian Murphy) wakes from a coma in a deserted hospital to find himself alone in London, not knowing that the entire country has become a desolate place inhabited only by raging infected persons. He meets up with Selena (Naomie Harris) who has managed to survive. They later meet Frank (Brendan Gleeson) and his daughter Hannah (Megan Burns) and decide to head north where the believe the army has established some sanctuary. There's some exciting action set pieces, fast paced and at times bloody and shocking but it's the overall images of the country devoid of people whereas nature continues that really impress (the shots of a blazing Manchester are powerful). With scenes reminiscent of the horror of war and highly impactive recreated scenes of news footage that look so real this is at times a scary horror, but also one that makes you think that this is what it could be like should anything as terrible happen and like many horror films it's more about the evils of the survivors than the actual monsters. A remarkable film, definitely one to check out even if horror isn't usually your thing.

This is probably director Terry Gilliam's most accessible film although his trademarks are all there to be seen especially his use of ambiguity to construct a story that requires attention and results in a film of real intensity and imagination. Bruce Willis, in a superb and original performance, plays James Cole who is arrested in 1990 and sent to an asylum where he is treated by Dr Kathryn Railly (Madeleine Stowe), a renowned psychiatrist. Cole has delusions that he is from the future where most of humanity has been killed by a virus. He claims he is a convict and has volunteered to be sent back to discover the origin of the virus in the hope the information can be used to find a cure in the future. Obviously believing Cole is seriously mentally ill Kathryn is worried when Cole escapes from the hospital in strange circumstances. Then six years later he reappears and kidnaps her. With some excellent visual ideas of a steampunk future and a very clever plot this is one of those narratives where you are constantly questioning whether Cole is insane or is he telling the truth. Gilliam leads you in each direction several times and keeps you hooked throughout. The support cast that has a fantastic Brad Pitt as a fellow lunatic and Christopher Plummer as a top scientist adds to the appeal of this great film. It has mystery, thrills and a science fiction edge that is really engrossing. A very clever and intriguing film that is a definite one to try if you've never seen it.

A gruesome crime story based on an infamous real case that remains unsolved although this film offers a theory as to what happened and why. Chloë Sevigny plays Lizzie, the second daughter of an abusive, tyrannical father (Jamey Sheridan) now married to a hated step mother (Fiona Shaw). When both of them are brutally murdered with an axe Lizzie falls under suspicion. The build up to the killings involves a forbidden romance with Bridget (Kristen Stewart), the family maid, and the shenanigans of an uncle trying to get his hands on the family fortune. Set in 1892 this is a quite interesting and a mostly compelling drama, it drags a little in the middle but that can be forgiven because the finale is well worth the wait. Worth checking out.