Film Reviews by griggs

Oh, MaXXXine, what have you done? The film, which promised to be the grand finale of the X series, instead delivers a masterclass in mediocrity. With a plot so thin you could see through it, characters more lifeless than mannequins, and dialogue that could put an insomniac to sleep, MaXXXine truly redefines the term "disappointment." It's almost impressive how a series that began with such promise and rose to acclaim with Pearl could nosedive so spectacularly. What a sad end to a trilogy that had the potential to be so much more, leaving us with this sad, sorry excuse for a finale.

Chariots of Fire is a film that is just good enough to keep you awake, offering a moderately paced exploration of early 20th-century British runners. While the iconic Vangelis score might have you feeling like you’ve stumbled upon a vintage synthesizer convention, the story itself plods along like a leisurely jog rather than a sprint. Harold Abrahams’ plotline of overcoming antisemitic prejudice simply because he can run fast is a subtle reminder of how bigotry can be defeated by wealth. The characters are charming in a stiff-upper-lip sort of way, and the period costumes, so authentically drab, will transport you back to the early 20th century. It’s a solid choice if you’re in the mood for some light historical drama that won’t leave you breathless.

Ah, The Blair Witch Project, what a masterpiece of shaky camera work and incoherent mumbling! Who wouldn't want to spend 81 minutes watching a group of 'actors' stumble through the woods, pretending to be scared of stick figures and piles of rocks? The innovative decision to never show the witch was a stroke of genius, leaving audiences with the thrill of using their imagination to conjure something scarier than the film itself. And let's not forget the nausea-inducing cinematography, perfect for those who enjoy feeling seasick in a cinema. Indeed, it is a groundbreaking piece of cinema that redefined the limits of patience.

At 93, June Squibb is basically the Tom Cruise of the senior set, doing her own stunts as Thelma, a spry yet mischievous granny on a mission for justice after being swindled by a phone scammer. While her panicked family squabbles tiresomely in the background, Thelma cruises around town on a stolen mobility scooter amidst massive explosions, proving that age is just a number. The film may be light on laughs, but Squibb's charm makes this otherwise formulaic film somewhat bearable.

Oh, Lisa Frankenstein was just an absolute masterpiece of mediocrity! They took the classic Frankenstein story, wrung out all the horror and drama, and drenched it in painfully awkward teenage angst. The special effects? Stunningly reminiscent of a high school drama club production. And the script, my goodness, who knew you could fit so many clichés into one movie? This film is a must-see if you enjoy cringing for two hours straight and questioning your life choices. Two stars simply because I managed to stay awake till the end.

The Servant is a deliciously twisted film that masterfully blends noir, horror, and dark comedy, reminiscent of Frankenheimer’s "Seconds" (1966). Tony, a wealthy layabout, unwittingly lets his manipulative servant Hugo and Hugo’s "sister" Vera turn his life into a nightmare. From the start, Wendy Craig’s Susan, Tony’s perceptive but snobbish girlfriend, sees through their schemes. The film escalates into a series of manipulative manoeuvres and awkward seductions, with Vera seducing Tony in a humorous and chilling scene. Director Joseph Losey crafts a frightening and funny story, with impeccable performances and a sharp script that makes The Servant a modern classic. It's a lacerating satire wrapped in the guise of a scandalous soap opera. It is a must-watch for anyone who enjoys their drama with a side of dark humour and existential dread.

A masterpiece of sheer subtlety and restraint, the Coen brothers' debut film is a refreshing original take on a seemingly simple story. They have managed to turn a tale of a sleazy bar owner, a cheating wife, and a bumbling private detective into a complex web of unnecessary complications, showcasing their unique ability to add unexpected depth to a plot.

Serpico is just the perfect bedtime story for anyone who’s ever dreamt of becoming a police officer. Who wouldn’t want to dive headfirst into a world where corruption is the norm and the only reward for honesty is a one-way ticket to paranoia and isolation? Al Pacino’s portrayal of Frank Serpico, with his big, soulful eyes and relentless quest for justice, is the heart of the movie, designed to make everyone feel warm and fuzzy about the moral fabric of our society. And let’s not forget the delightful backdrop of gritty 1970s New York City, which adds extra beauty to this uplifting tale. It’s a must-watch for anyone who enjoys a good laugh at the expense of their faith in humanity.

Richard Linklater's Boyhood is a cinematic time machine, condensing 12 years of growing pains into a breezy 2 hours and 45 minutes. Ellar Coltrane goes from an inquisitive kid to a moody teen right before your eyes, reminding you just how awkward puberty is. Patricia Arquette and Ethan Hawke play the parents with such authenticity that you'll wonder if they got trapped in a real-life parenting simulator. By the end, you'll feel like you've survived another childhood—braces, bad haircuts, and all. Five stars for this epic nostalgia trip that proves time flies, especially when someone else is doing the aging.

Julien Temple’s adaptation of Colin McInnes' cult coming-of-age novel Absolute Beginners is a bold and vibrant musical rather than a straight interpretation of its source material. This artistic choice sacrifices some of the novel's most fundamental narrative elements. While visually striking, the film's Disney-esque colourful sets create a jarring contrast with the few scenes shot on location, making the latter seem lacking altogether.

Initially hailed as the saviour of the British film industry, the film's release was met with disappointment and dismay. The high expectations and the film's departure from the novel led to a disjointed narrative, further disrupted by surrealist interruptions. Eddie O’Connell’s performance feels disinterested and wooden, and Patsy Kensit’s acting fails to elevate the film.

However, the film's redemption lies in David Bowie's appearance and his title song, "Absolute Beginners," which has achieved greater success than the film itself. The ensemble cast, a who's who of 1980s British music and light entertainment, essentially feels outdated. However, they contribute to the film's unique charm.

Despite its flaws, Absolute Beginners has a redeeming quality, mainly if one can separate the film from its literary origins. While it may not be a great film, it serves as a time capsule, capturing the spirit of the 1980s rather than the 1950s story setting.

If you were expecting a deep dive into moon landing conspiracies, Fly Me to the Moon will surprise you—in the best way possible. Despite the misleading trailers, this film is not a conspiracy thriller but an endearing romantic comedy that delivers plenty of laughs and clever period jokes.

Scarlett Johansson shines, bringing a delightful charm to her role that adds layers to the film. Her performance is the movie's heartbeat, making the romantic and humorous moments equally compelling.

Woody Harrelson gives a chillingly sinister performance, leaving viewers on edge. But what might be even more unsettling is Channing Tatum’s wardrobe choice—a vest under a knitted shirt—that will surely stick in your memory.

However, it’s disappointing to see Ray Romano relegated to a minor role that feels more like his character from Everybody Loves Raymond rather than showcasing the depth he displayed in The Irishman. His talent seems underutilised in a part that doesn’t match the film’s overall tone.

Overall, Fly Me to the Moon is an enjoyable romp filled with good humour and fun.

The Bikeriders is a visually stunning film that serves as a testament to the craft of movie-making, making it a film reviewer’s delight. Director Jeff Nichols takes an interesting approach to storytelling, drawing inspiration from visual source material and weaving it into a narrative that is both engaging and visually captivating.

Jodie Comer stands out with her exceptional performance, showcasing her remarkable talent for accents and bringing depth to her character. Austin Butler delivers a solid performance, further proving his versatility as an actor. Tom Hardy, channelling his inner Marlon Brando, brings a raw intensity to his role that is both compelling and memorable.

The film looks superb on the big screen, with stunning cinematography that captures the gritty yet beautiful essence of biker culture. Every frame is meticulously crafted, creating a visual feast that enhances the overall experience.

However, despite these strengths, The Bikeriders somehow lacks something. The narrative, while interesting, occasionally feels disjointed, preventing it from achieving its full potential and leaving viewers wanting more substance beneath the stylish exterior.

While it may not fully achieve narrative depth, it remains a commendable effort that will be appreciated by those who love the art of filmmaking.

When I first watched Chinatown, I found it slow, with a feeling of a melodrama rather than film noir. However, after giving it a second chance, I can confidently say it is a cinematic masterpiece that deserves every bit of its acclaim.

Jack Nicholson’s portrayal of Jake Gittes is iconic. Faye Dunaway delivers a haunting performance that lingers long after the credits roll. The complex narrative, woven with themes of corruption, power, and betrayal, reveals itself in layers, making the second viewing even more rewarding.

The film’s deliberate pacing, which I initially found challenging, now feels like a masterstroke in building tension and depth. Every scene and every line of dialogue has a purpose, contributing to a rich and immersive experience. Roman Polanski’s direction is meticulous, creating an authentic and gripping portrayal of 1930s Los Angeles.

Chinatown is a film that genuinely benefits from multiple viewings. If you, like me, found it slow on the first watch, I urge you to revisit it. You may find yourself, as I did, enthralled by its brilliance and artistry. This is a timeless classic that only gets better with age and understanding.

I decided to rewatch Inside Out in anticipation of seeing the sequel, Inside Out 2. My initial viewing impressed me, earning the film four and a half stars out of five. However, this second viewing was a different experience, prompting me to revise my rating downward.

On re-watching, the jeopardy and stakes in the film felt significantly more contrived. The tension and plot twists that initially thoroughly engaged me now seemed forced and predictable. Additionally, the characters, both human and emotional, were much less likeable this time around. Some, like Joy and Sadness, which I once found endearing, came across as annoying.

Overall, while Inside Out remains a beautifully animated film with a creative concept, its charm diminished significantly on a second viewing. My excitement for the sequel is now more tempered, hoping it can recapture the magic that seems to have faded from the original.

O Lucky Man! is an absurdist film that presents a biting satire of 1970s UK society. Seen through 21st-century eyes, it becomes a grim reflection of its time, critiquing the socio-political landscape with a dark, almost prophetic tone.

Malcolm McDowell’s character, Mick Travis, is at the centre of the film, a proto-Thatcherite figure whose ruthless ambition makes him neither likeable nor sympathetic. His journey through various absurd scenarios serves as a vehicle for the film’s critique. Still, his lack of redeeming qualities leaves the audience detached, observing rather than engaging.

The ensemble cast, composed mainly of actors from 1970s UK sitcoms, adds an intriguing layer to the film. Their multiple roles create a tapestry of interconnected vignettes that enhance the absurdity. However, the appearance of Arthur Lowe in blackface (following a similar appearance by McDowell) is a stark reminder of the era’s problematic attitudes, leaving a bitter taste in the mouth. This unfortunate choice overshadows some of the film’s more compelling elements and mars its legacy.

Helen Mirren’s early role is a beacon of compassion in a sea of cynicism. Her performance adds a much-needed emotional depth to the narrative, offering a glimpse of humanity amidst the chaos. Mirren’s character is one of the few that evokes genuine empathy, highlighting her remarkable talent even at this early stage of her career. Alan Price and his band provide the film’s musical backbone, their songs interweaving with the narrative to underscore its themes. While their music is a highlight, the repetition of certain tracks suggests a fatigue with the story itself, reflecting perhaps the audience’s own weariness as the film progresses.

O Lucky Man! is a complex film oscillating between brilliance and discomfort. Its absurdist approach, ensemble cast, and poignant music are offset by dated and offensive elements. It offers insight and challenge for those interested in a satirical exploration of 1970s Britain.