Film Reviews by GI

A gentle British comedy from the classic period of British film and comedy in particular. It also boasts Alastair Sim, one of the greatest of British actors and a comic genius. Here he is one of four relatives who are set to inherit a large amount of money from a recently deceased uncle. But the old fella was a notorious practical joker in life and in his will he sets each of the four a task they much complete to get the cash. Sim's character is a writer of trashy novels who has to get himself imprisoned for 28 days, which will risk his engagement to his fiancé (Joyce Grenfell). Another has to rob his own bank; the cad and shameless womaniser of the bunch has to marry the first woman he meets and the fourth, a nasty snob, has to get a job as a chambermaid. Their attempts to complete these tasks sets up the films basic story arc. Whilst the various storylines are sometimes not as funny as perhaps you'd expect they do highlight different aspects of British society in the 50s, aspects of which may make the film seem very dated today. This is one of those films you'll have a nostalgia for or it will seem a bit limp. It boasts John Laurie of Dad's Army fame and an early bit part for Audrey Hepburn.

A great, gutsy adventure film. It's a really entertaining historical action adventure film with a 'clash-of-cultures theme'. There's plenty of great sword fighting and a great climactic battle. In between there's a blossoming romance that is nicely understated and some wonderful scenes of rural Japan. Tom Cruise plays a PTSD suffering Army Captain in the late 1870s who is haunted by the massacres he participated in against the Indians. Despite being a drunk he's recruited by the Japanese Government to train their virgin army who are being prepared to suppress rebels who are against the modernisation of the country. But captured at the first battle he soon learns he may be on the wrong side. Ken Watanabe, in his first American film, is the samurai leader who teaches Cruise's drunk soldier the meaning of life. The narrative has been told oft times before, Dances With Wolves (1990) for instance, but this film goes for pure entertainment with some neat Kurosawa and John Ford homages thrown in for good measure (Billy Connolly in a small role channels his Victor McLaglen Irish Sergeant Major homage rather nicely). A story of heroism and honour and well worth a rewatch if you haven't seen it in sometime.

This is an atmospheric pagan horror film that excels at creating a tense, doom laden feel but lacks a little narrative focus. This is made up for by the creative use of sound and a first class performance from Tom Hughes as a lonely, guilt driven man who maybe descending into madness. He plays Eric, who along with his dog, takes a job as a shepherd on an isolated storm tossed Scottish island. He's grieving for the death of his wife, whose death maybe more convoluted than at first thought. Taken to the island by a one-eyed local played by Kate Dickie, who represents the voice of his fears and conscience as he soon begins to have visions of a strange ghoulish shadow and strange things happen in the run down cottage he inhabits. The slow build tension builds to an unravelling of the shepherd's past with a mix of great visuals of the island and the use of sudden strange sounds. There's some good effects too in what is a decent ghost story that keeps you hooked.

I suppose you could argue this is Scream 5. It's an interesting debate as to whether this is a further sequel that stretched back to the 1996 original or is it a reboot for a further franchise? It has been referred to as a "requel" or in other words a sort of hybrid between the two. Really though it's a new Scream film for a new generation and unlike the rebooted Halloween series this one is surprisingly playful and entertaining and continues the theme of a movie within a movie type of story where the killer kills according to the rules of slasher/horror films. This film really does have fun with the audience utilising all the tropes of the genre in a very unsubtle and obvious way but by doing so makes the film tongue in cheek and quite a joy at times. Combining all this with the gory scenes just makes for a fun viewing experience. The two directors, Matt Bettinelli-Olpin and Tyler Gillett, go out of their way to homage Wes Craven's legacy of the first four films whilst enjoying a new vision for the film. The story is simple enough. The 'GhostFace' killer is back in the small town of Woodsboro. His first attack on a young girl brings her sister and boyfriend to help her which cues more killings and the inevitable mystery as to who it is. Neve Campbell, Courteney Cox and David Arquette return to create a neat link to the original and despite myself I found this to be enjoyable and good fun.

This is another classic 1970s melodrama that formed part of the New Wave in Hollywood and looked with a condemning eye at the 'American Dream' and found it wanting. It's an outstanding film that can be viewed as a true auteur film under the directorship of Peter Bogdanovich, a director from the film school generation that spawned Martin Scorsese, Steven Spielberg, George Lucas and others. This is the story of a dying town in Texas and a lost way of life. It sets up the time honoured confrontation between a generation contented with their lot and a newer one who are not. The sexual awakening and coming of age narrative identifies that despite the conflicts of society the emotions and passions of people remains the same. Set in 1951 in the dusty town of Anarene Sonny (Timothy Bottoms) and Duane (Jeff Bridges) live a bored life centred on the local cinema and pool hall run by Sam (Ben Johnson). The boys all boast and yet fret about sex and girlfriends while the local girls especially Jacy (Cybill Shepherd) worry about pregnancy, being virgins and their reputations. In this mix is played out a heady cocktail of human passions of guilt, obsession and love. This is a remarkable film that garnered Academy Awards for Hollywood stalwart Johnson and for Cloris Leachman as the wife of the school sports coach with whom Sonny has a complicated affair; both well deserved. This is a key American film of the 70s that resonates into the modern day, it's a must see and one that deserves a modern audience.

Flawless, timeless and an absolute classic from the Ealing Studios. A simply wonderful black comedy with Alec Guinness demonstrating his sheer brilliance of comic timing and characterisation. Made at the height of Britains golden film production era and from a studio that produced so many classic comedies as well as other films. Set in London in the aftermath of the Second World War when much of the war damage was very evident there's a great nostalgia to be felt in watching these wonderful films, sadly they are not seen enough nowadays and deserve a modern audience to discover just how great they are. A dotty old lady, Mrs Wilberforce (Katie Johnson), lives alone in a lopsided house near the railway. She takes in a new lodger, Professor Marcus (Guinness), who she believes is a musician along with his four friends. But they are a criminal gang planning an armed robbery and when she rumbles them they decide they'll have to kill her but it turns out to be harder to do than they thought. With a support cast that includes Peter Sellers, Herbert Lom, Cecil Parker and Jack Warner this remains a delight. Funny, dark and simply perfect. If you've never seen this then it's an absolute must.

This prequel to X (2022) is a better film. I was underwhelmed by X and whilst its homage to 70s horror was evident and fun it was a basic slasher film. However Pearl is a far more interesting and entertaining film for one specific reason and that's the performance of Mia Goth as the title character. In a narrative that is fairly average in that it's a 'birth of the killer' story she makes this film highly watchable as she combines a sort of earthy Dorothy from The Wizard of Oz with a Jack Torrance from The Shining. It's 1918 and the First World War is coming to an end. Pearl is an 18 year old girl living and working on her parents farm. Her husband is still overseas in the army and Pearl resents the confines of her life dominated by her German immigrant and very devout mother (Tandi Wright) and she dreams of escape and becoming a dancer. A casual affair followed by rejection of a local man pushes Pearl over the edge into a psychopathic rage. Her descent into this is hinted at from the early stages of the film almost like a fuse is lit and we watch her gradually push away any restraints. There is gore and when it comes it's a shock as the film resists too much for quite awhile. This is a more accomplished and interesting film than its predecessor and Goth's grandiose performance is captivating. She deserves an award for the 8 minute horrific monologue she delivers and the forced facial smile she delivers during the closing credits. An actress that dominates this film and raises it above its otherwise routine narrative. If like me you didn't rate X that highly you maybe surprised by this film, it's rather good.

It might seem strange today to think that the films that Jack Nicholson made from the late 60s to the mid 70s are some of the best of American cinema of that period. He personified a sort of fractured machismo of the American male and The Last Detail is one of the best examples. It's the story of three US Navy sailors, two of them, played by Jack Nicholson and Otis Young, are lifers who have grown cynical as to why they joined the navy and resent the task they are given to take the third, Randy Quaid, across the country to jail. Their plan is to drop him off as quickly as possible and then use the remaining time getting drunk before reporting back. But they soon bond with the naïve youngster who has been given a harsh sentence for a petty crime and decide to show him a good time before prison. The film has a bleak sense of humour and shines a dark light on masculinity and American values. The perpetual cold of winter signifies the bleakness of the 'American Dream' revealing an America that is cynical, depraved and dominated by a class structured 'establishment'. The two main characters hate it but embrace whatever it can provide. It's a very sharp condemnation of a society. Ahead of its time it holds up very well today and is arguably one of the great American films of the 70s. It most certainly is a film that every film fan must see.

A film that stirs the blood. A beautiful, powerful historical adventure story set against the back drop of the 18th Century war between France and England for control of the American colonies. Daniel Day-Lewis in his usual totally immersed role as Nathaniel, is the adopted son and brother to the Mohican Chief and his son, the last of a vanishing tribe. They become embroiled in a blood feud between Wes Studi's vengeful Indian and the beautiful daughters of an English Colonel. Madeleine Stowe, a highly underrated actor and with a stunning natural beauty, plays Cora the eldest. It's Cora and Nathaniel's passionate love that drives the narrative with gritty battle scenes, fights, a rousing soundtrack and absolutely glorious cinematography. This is one of director Michael Mann's great films, it's pure cinema and a film of passion to savour time and time again.

A documentary about the life and legacy of fashion icon Mary Quant. Directed by Sadie Frost it's a typical documentary of this type with archive footage and some talking head interviews of famous people from the fashion world all praising the contribution of Quant. If you're interested in fashion or indeed nostalgic for Swinging London of the 60s then you'll enjoy this. Certainly the clouds of the 60s is bought vividly to the screen in a film that reminisces those times of the mini skirt, The Beatles and the cultural challenges to the 'establishment'. There's no doubt the film draws out some great moments of Quant's life and career especially her lovely relationship with her husband and she is revealed as a sharp, creative genius. It's an interesting film that I actually enjoyed despite having little interest in Mary Quant per se.

A trashy futuristic film noir that is all rather lame and rips from the Philip K. Dick adaptations especially Blade Runner and Total Recall and clearly influenced or an attempt at a Christopher Nolan style (Director and writer Lisa Joy is his sister in law!!). The trouble here is this just coasts along making it seem endless with it's boring narration and a wooden romance driving a mediocre mystery. Hugh Jackman plays Nick, who in a world now damaged by climate change (cue lots of flooded city shots) and a recent war, makes a living with a machine that allows customers to relive their favourite memories. When sultry femme fatale, Mae (Rebecca Ferguson) turns up, he falls in love and gets embroiled in a conspiracy. Jackman plays this as a hard boiled detective type but he's an inconsistent mix of tough guy and cry baby perpetually confused. The fight scenes, when action does finally occur, are dull and the 'machine' amounts to nothing more than a bath really and is there solely to allow various characters memories to be accessed in order to drive the plot. In other words it's a lot of flashbacks! A boring and uninspiring film.

This remains a marvellous family film full of magic, strange creatures and some average songs by star David Bowie. Directed by Jim Henson who created The Muppets this has all the hallmarks of that iconic TV show and written by Terry Jones there is the added dark edge that makes it a great children's film, as it's funny but slightly scary too. Teenager Sarah (Jennifer Connolly) is ordered to babysit her baby brother and resents the job so she casually wishes he be taken away by the Goblin King and whadda yer know? Yep he does just that. Played perfectly by David Bowie he takes the baby to his castle and Sarah is given 13 hours to navigate a labyrinth and reach the castle or the baby gets turned into a goblin. Inside the maze she meets creatures that either help or hinder her journey and she has to cross the Bog of Eternal Stench. Henson's use of puppetry mixed with actors still works wonderfully even in these days of CGI (indeed this film boasts an early experiment with CGI in the form of an owl). The film is littered with clues from the outset and it's a lovely film for modern children who love Harry Potter etc to discover and adults, like me, can still secretly enjoy it too.

Brilliantly scripted and sharply directed by Curtis Hanson this is modern crime thriller is reminiscent of a Hollywood 1950s film noir. A brave decision to cast two relatively unknown Australian actors, Guy Pearce and Russell Crowe, in what is essentially a very American film and they are both superb aided by the stellar cast including Kevin Spacey, James Cromwell, Kim Basinger and Danny DeVito. A tale of corruption and violence in the 1950s Los Angeles police. With superb plot twists, a mystery element and a distorted romance. Pearce plays Ed Exley, a highly ambitious and straight laced LA cop who is hated by his colleagues for his righteous attitudes and Crowe is Bud White, another officer, and the antithesis of Exley, a cop ready to use deadly violence when required. They hate each other but are forced to join forces when a massacre at a night time cafe leads to a web of corruption and murder. This is a thoroughly satisfying film that keeps you hooked throughout and with twists and counter twists in a cleverly scripted story. It's arguably one of the best cop thrillers of modern times.

This is an engrossing suspense thriller, very much Hitchcockian in style and influence, and with a great central performance from Mark Rylance. He plays Burling, a quiet, refined, well spoken English tailor who has a small shop in 1950s Chicago where his clientele consists of the local mobsters. The Mob use his shop as a money drop and Burling carries on with his trade ignoring the activities of the gangsters around him. Indeed he has a sort of respect and likeness for the local mob boss, Boyle (Simon Russell Beale). But matters take a nasty turn when his shop becomes the centre for the hunt for a tape recording the mob, the FBI and Boyle's rivals are all after. With plot twist and counter twist you can sense that Burling is cleverer than he appears but the story keeps you hooked throughout even when it slows down a little too much. But Rylance gives a coolly composed and refined performance with a hint of something sinister underlining it and he is the film's centre and highly watchable. In some ways this film has similarities to Bound (1996) and even Reservoir Dogs (1992) and whilst the entirety of the narrative takes place in the small tailor's shop it never feels confined or limited. A film well worth checking out.

Another example of director M. Night Shyamalan setting up a big mystery and then spending two hours effectively letting the audience down. This is a bit of a clunker mainly because he fails to take to story in a suitable direction leading here to a silly and ridiculous ending. It's all high concept and little substance. A pity too because star Dave Bautista is really good here and shows how his sensitive side can shine through a character. He plays Leonard, who along with three others, arrives at the holiday cottage where a gay couple and their 8 year old daughter are having a holiday. Forcing their way in the set up is for a home invasion narrative but they quickly explain they are ordinary people joined by strange visions of an impending apocalypse of humanity. They explain that one of the family must be chosen and sacrificed to prevent this. Hereafter we have a drawn out story that tests the patience with flashbacks that seem to make the film drag even more. For a horror film it is light on anything bloody or scary with the camera tracking away to avoid anything unsightly. The pay off at the end is annoyingly ambiguous leaving a film where you groan in exasperation at a wasted opportunity.