Film Reviews by GI

This offbeat romantic comedy from director Paul Thomas Anderson is a strange film that is difficult to nail down. It has a sweet charm to it, mostly due to the performance of Adam Sandler, but it also has an almost enigmatic narrative trajectory that makes you wander between enjoyment and frustration. Sandler plays Barry. He's a moderately successful businessman with acute social anxiety causing him to act bizarrely and worst of all results very occasionally in short bursts of very angry violence. He has six sisters and seems to find women to be unfathomable. The film has two simultaneous plots really. The first is after Barry foolishly tries a phone sex experience, an act that identifies his loneliness and sexual frustrations, but inadvertently uses a service controlled by criminals who then try to blackmail him. The second is his hesitant relationship with Lena (Emily Watson), a friend of one of his sisters. She has to do the running but Barry is clearly falling for her. These two plot lines eventually converge as Barry tries to overcome his anxieties and forge a lasting relationship with Lena. His temper plays a key role in resolving everything. An enjoyable, somewhat weird romcom that had me switching from enjoyment to annoyance but ultimately smiling broadly. Philip Seymour Hoffman has a far too small a role but is a joy when on screen.

If you like this sort of thing then it should appeal as it rattles along at a brisk pace, has gory deaths and presents a host of scantily clad teenagers ripe for the slaughter. But we've had sharks, crocodiles, snakes, bears, dogs and goodness knows what else and now we get a chimp on the rampage. This is Ben, the family pet, who was trained to use sign language and has become a media sensation because of his intelligence. But when he gets bitten by a mongoose and contracts rabies he turns into a drooling monster. Set in the luxury house of stone deaf dad (Troy Kotsur) who is away on a business trip eldest daughter Lucy, younger sister and a few friends gather to party when the mayhem kicks off and they have to take on the sly and very strong Ben. It's all rather daft and the humans make some ridiculous decisions along the way. And of course it's not the chimp's fault, he's just poorly! Or is there some message about humans trying to tame wild animals? It matters not as this is a clichéd horror film that doesn't offer much that's new but thankfully it passes by quickly.

In many ways this is a typical Paul Greengrass film delivered with that sense of documentary realism and the use of non actors recreating their roles from the real event on which this is based. So there's the typical big briefing scenes with a stressed boss shouting "Listen up people" at random times for example. Here we have a modern American heroism story of the little man excelling in the face of dire straits in this case the biggest wildfire in American history that killed 85 people and decimated many homes and large swathes of the countryside. It tells the story of Kevin (Matthew McConaughey), an everyman with his own personal issues, who is employed as a School Bus driver for the Californian town of Paradise. When a wildfire breaks out Kevin volunteers to collect 23 school kids whose parents are unable to get to there school to collect them. With the assistance of a teacher, Mary (America Ferrera), Kevin has to navigate through the fire dealing with armed rioters along the way. The fire is the central set piece here as you'd expect with Greengrass recreating the hellish experience and the terror that is experienced by the children. Kevin and Mary are reminiscent of the Katherine Hepburn and Humphrey Bogart relationship in The African Queen (1951) although it doesn't drift into romance just healthy respect. The main issue with this film is that it glosses over the political problems and the corporate responsibility caused by the power company whose failings caused the fire. It simply goes for a straight forward tale of heroism which is fine but it does lead to a film that has a varied pacing, some solid tense scenes but is predictable and ends as you'd expect. McConaughey is solid and nuanced in the role of Kevin and the film is worth watching but it's typical of this sort of story.

An impassioned historical drama that recreates the Arab Uprising in Palestine in 1936 as the ruling British began to establish a Jewish immigration programme and gradually sidelined the population who had been living and thriving there for centuries. It recounts the ridiculous recommendations of the Peel Commission. So there's an interesting history lesson to be had here. There's a big cast of characters used to tell the story from various angles and the film is stolidly told with the incompetence, lack of foresight and brutality of the British colonial system front and centre as the cause of the decades of upheaval in Palestine ever since. Robert Aramayo is clearly enjoying himself as the tyrannical and nasty Captain Orde Wingate and Jeremy Irons is the blasé and complacent British Governor. There's a prestigious cast of Palestinian actors too. It's an interesting film that is epic in structure and looks good too so it's worth a watch.

A true story crime drama with a central narrative core of a dysfunctional father/son relationship. Matthew McConaughey gives a committed and nuanced performance as Rick Snr, the father with two teenage children, daughter Dawn (Bel Powley), a heroin addict and Rick Jr (Richie Merritt), an aimless 15 year old who helps his dad with his dodgy gun sale business. Rick Snr also informs for the FBI who realise that Rick Jr has some street information and despite his age get him to inform on a gang of black drug dealers. But young Rick is seduced by the money he sees in crime and becomes a very successful drug cocaine dealer aided by his dad who sees that the money maybe their ticket to a better life! Inevitably White Boy Rick, as he becomes known on the street, gets busted and effectively dumped by the FBI. There's a strange looseness around the film's trajectory that makes it feel a little superficial. It's an interesting story in many ways but the focus of the narrative drifts around and key characters are poorly written, for example Jennifer Jason Leigh's FBI agent. Leigh gives the role her all but it just isn't scripted well. McConaughey and Merritt are particularly good together and McConaughey as the ill equipped but emotionally charged father is excellent. The film boasts Bruce Dern and Piper Laurie in small roles as Rick's grandparents. In many ways this is a sad indictment of America's society and the film highlights the shabbiness of 80s Detroit and that crime is the only route through or out of the decline. A film that isn't bad by any stretch and it does have an intriguing story but it misses opportunities.

Another rather pointless addition to the Predator franchise and the one where, inevitably I suppose, the Universe's most efficient and ruthless alien is given a human side. All this does is give you a visually expensive and impressive load of alien monsters but a story that isn't really a Predator film at all. The Predator in question here is Dek (even giving him a name seems ludicrous), a young and pint sized member of his clan, who is to be killed by his father but escapes intending to prove his worth by killing the unkillable beast from another planet. He eventually needs help and it comes from a damaged android he finds abandoned. This is Thia (Elle Fanning) who is part of a failed mission by the Weyland-Yutani company trying to catch the same creature Dek wants to kill. And here we have the next issue, for me at least, and that's the pointless attempt of mixing the Alien franchise with the Predator franchise once again. Here we have a narrative link with the TV series Alien Earth and there's even a set piece scene of a battle between Dek and a load loader as in the climax of Aliens (1986). I would have thought this franchise link idea has already been proven to be flawed. Director Dan Trachtenberg did a fine job with his earlier Predator film, Prey (2022) which did make a lot of sense and kept its feet on the floor. This one goes off in a direction unnecessary and it just doesn't feel like a Predator film.

A solid, entertaining courtroom/mystery thriller that sometimes feels a little clichéd but on the whole delivers a neat twist and turn plot and some good performances. Richard Gere plays publicity loving and cocksure defence attorney Marty Vail, who decides to defend a case because of its high profile and the kudos he knows it will bring him. The defendant is Aaron (Edward Norton), a Catholic alter boy, who is accused of brutally murdering the Archbishop but who claims he's innocent. Marty with his team decide to structure their case around Aaron's claim that a mysterious third man did the crime even though all the evidence points to Aaron. The prosecutor is Marty's former lover played brilliantly by Laura Linney. The trial reveals more sinister goings on than at first was evident. It's a well written film, capably directed and you have to wait patiently for the final reveal which is a little predictable mainly due to the standard plot devices typical of film's in this genre. Some of the side plots involving corruption aren't adequately finalised but on the whole this is a watchable drama with a star on top form.

Excellent performances from Joaquin Phoenix and Jonah Hill lift this addiction drama and story of redemption but the pacing is random and some scenes are somewhat tedious and a bit lame although interspersed with some really impressive ones. This is the true story of John Callahan, who in his twenties is a drop out and alcoholic with few if any redeeming features. He's rather pathetic and early scenes of his desperation for an early morning drink show the depths to which he has sunk. A binge night with a guy (Jack Black) he meets at a party ends in a car accident and John paralysed and seriously injured. The film charts his recovery, his continued alcoholism and mistreatment under the guidance of Donny (Hill), a wealthy gay former alcoholic, who turns out to be rather kind and wise despite his challenging personality. Eventually John, struggling to stay sober, finds redemption in art, drawing funny cartoons that are adult and controversial but gain a following. Director Gus Van Sant tries various mechanisms to tell this story including some jarring flashbacks which are difficult to follow at times, indeed you have to watch Phoenix's hairstyle to ensure you know which period of his life you're watching. Once this is abandoned the film settles into an interesting story with some engaging scenes of Callahan's struggle exemplified with Phoenix' performance but there are long gaps where the film feels drawn out and a little dull. The romance with Rooney mara's character seems a little too contrived and unconvincing too. Overall though a drama worth checking out.

An interesting science fiction film from the 1970s that oozes originality but fails in pacing and has an anticlimactic conclusion. An anomaly in space results in ants beginning to communicate across their different species and gain advanced intelligence. This goes unnoticed except by a British scientist who, assisted by a communications expert, sets up a laboratory in the Arizona desert to study the ants who have built strange towering structures there. They are forced to rescue a local girl after her parents are killed and they are soon faced with subtle yet effective attacks as the ants infiltrate their supposedly secure unit. Nigel Davenport is the committed scientist, obsessive and prepared to take risks, Michael Murphy his assistant and Lynne Frederick as the beautiful girl who finds she has a role to play in the ants' plans. This has some exceptional cinematography in the insect sequences and all completed with real ants. To that extent this is an impressive idea but it fails to adequately fulfil a narrative story leaving you feeling underwhelmed but it's a film that has some good ideas so it's worth checking out if you've never seen it.

Director Wes Anderson's visual and storytelling style is so familiar from his previous films it hardly resonates when watching his latest which is contrived, elegant and and delightfully eccentric but seems a little lacklustre when compared with some of his previous films. This has some really funny moments and the stellar cast, many in one dimensional cameos, highlights the esteem in which Anderson is held as actors queue up to work with him. The likes of Tom Hanks, Bryan Cranston, Scarlett Johansson, Bill Murray and others all make appearances here. But the heart of this film is Mia Threapleton who plays novice nun, Liesl. She is the daughter of über wealthy Zsa Zsa Korda (Benicio del Toro), who has a nasty plan to control food and agriculture in fictitious country Phoenicia by using slave labour and he wants Liesl to be the heir to his empire. She's reluctant but seems destined to inherit this poison chalice. Behind the scenes there are attempts to assassinate Korda and sabotage his plans. There's a screwball vibe to this film and it pushes its absurdity throughout as it all rattles along amiably enough in it's rectilinear visual style with some funny performances including Michael Cera as a spy hopelessly in love with Liesl. Daft, strange, funny and yet vaguely less than some of Anderson's more celebrated films.

A compelling true story enhanced by a committed performance from Helena Bonham Carter aided by Hilary Swank. This tells the story of a landmark case in American medical law history involving Eleanor Reise (Bonham Carter), a woman who had suffered from schizophrenia for most of her life and spent various times in psychiatric hospitals. She decided to challenge the administration of antipsychotic drugs without her consent, drugs with significant side effects that sometimes caused more harm than good. She hires workaholic lawyer, and former psychiatric nurse, Colette (Swank) who aided by a colleague, takes on the powerhouse medical profession to fight the case. An interesting story but also one about dedication, love and friendship as Colette and Eleanor bond despite their profoundly different personalities. A moving film too and well worth checking out.

This adventure remake of the far superior 1972 original, The Poseidon Adventure, is visually exciting with impressive CGi, loads more explosions and it rattles along at a heck of a speed but lacks the character development that makes the first film so good. There was reputedly some major cuts to the film which may have enhanced this aspect and it would be interesting to see the film with those cuts reinserted. However here we have a luxury ocean liner hit by a huge 'rogue' wave and turned upside down during the New Year's Eve party. An intrepid group of passengers defy the staff and decide to try and get to the propeller shaft and hopefully outside. The journey is through a labyrinth of mangled corridors and rooms, flooded passageways littered with corpses and with random explosions. It has its exciting and tense moments and Josh Lucas and Kurt Russell are the leaders who take many risks to get the group through. Richard Dreyfuss costars too. It's all perfectly watchable but ultimately goes for effects to deliver it's story.

An interesting study of the American machismo this tragicomedy written, directed and starring Jim Cummings is at times zany, cringy and tense. He plays Jim, a Texas police officer with a porn star moustache as if to advertise his macho image, he works out, does martial arts and has been decorated for bravery yet he's socially and emotionally inept. He thinks he's cool but his family and colleagues see the barely controlled rage lurking inside him. This all erupts when his mother dies with the films opening an unedited scene of Jim's eulogy at her funeral where he loses his thread and acts out an embarrassing dance when the CD player fails to work. With his wife divorcing him and seeing full custody of their daughter on whom he dotes his life gradually falls apart. It's a committed performance from Cummings who made this film on a shoestring budget although you wouldn't notice. It's a clever character study subverting the American idea of the male, it's flawed but certainly an interesting indie film.

Steven Spielberg's latest alien conspiracy thriller is entertaining although a little too earnest at times as it mixes deadly seriousness with a sort of twinkle of the eye mischief vibe. For the most part, once you get settled in, this leaps into a Hitchcockian style chase film, very North By Northwest (1959), as Josh O'Connor's Paul and his girlfriend Jane (Eve Hewson) are being chased by some sinister Government agents over a bag of tapes and a strange artefact (the film's macguffin) that Paul has stolen from a secret Government laboratory, run by a snarly Colin Firth, where he once worked. These chases are quite relentless and Paul and Jane prove very adept at getting away. Meanwhile, TV weather presenter Margaret (Emily Blunt, on fine form) is at home when she becomes entranced after a bird flies into her apartment and suddenly appears to have mind reading capabilities and speaking various languages without realising she's doing it. All these characters eventually unite in the story where it's revealed that they have various forms of evidence of alien visits and cover ups led by Firth & Co who are desperate none of it gets out. Paul and Margaret are determined the world must know! For the most part this is all very Spielberg, extremely well executed set pieces mainly the chases, great special effects as you'd expect, but a story that feels a little laboured and it has the Spielberg themes surrounding childhood experience, a child's imagination and comments on religion. The message that the world will unite in some harmony over the revelations the narrative builds to is a little too saccharin for me as I doubt it would at all. This is a film that fans of Spielberg's earlier, and better, Close Encounters Of The Third Kind (1977) will recognise as similar in story. That's not to say it's a bad thing as here this director proves he is still front and centre of big, entertaining cinema and it's certainly a film that is enjoyable if a little underwhelming.

A moody, enigmatic drama that is very stylish and with it's elements of fantasy attached it is both bewildering and intriguing even though it's narrative ideas mask an horrendous crime and it's not until the final scenes that the shock of it hits you. Luna (Julia Jedlikowska) is a 12 year old girl besotted with her classmate Guiseppe (Gaetano Fernandez). They share a kind of young love nurtured by secret adventures in the nearby forest. But when Guiseppe inexplicably disappears Luna struggles with the wall of silence that is drawn over him by his family, the school and the authorities. In fact the film reveals that Guiseppe has been abducted by the mafia as his father has been informing on them to the police. Luna decides she will find him at all costs but her search is an emotional one as she fantasises about the Guiseppe she remembers but his real self is gradually withering under the confinement conditions. There's a sense of a supernatural connection that Luna is drawn to as she become increasingly obsessed by Guiseppe's location and the need to be with him. A strange film, almost a Sicilian Love Story, with a nice visual style and a sense of mystery that does dissipate as the film runs on a little too long. Interesting though.