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Oslo, 31. august (2011)
Oslo, August 31st
Anders Danielsen Lie offers a really quite intense performance here as the recovering drug addict "Anders". His physicians think he's sufficiently improved to be able to spend a day, unsupervised, in Oslo, with family and friends and to have an interview for a job. Initially it all goes well. He drops in on "Thomas" (Hans Olav Brenner) and his family and is geared up (not literally) for his interview. That's where the wheels come off and we spend the rest of his day as he reminisces about the past, encounters some of those important to that past and gradually appears to be coming to terms with what he considers best for his future. Joachim Trier uses the gentle pacing of this drama to allow Lie to slowly demonstrate his character's sense of introspection and considered self-destruction. This isn't an ill-educated man who grew up in squalor or depravity, this is an erudite and engaging "Anders" who comes from a decent, loving, home that's not without it's ups and downs, but ought to have provided him with more of an emotional robustness that we are presented with here. There is a solid cast of supporting actors - Malin Crépin ("Malin") strong amongst them, as his brain appears to be putting his house in order. It's not an easy film to sit through. It's traumatic in a delicate and measured sort of way, and Lie delivers us a persona with whom it's easy enough to empathise and want to give a good shake to, too.
28 Days Later... (2002)
28 Days Later...
Despite being warned that a group of monkeys about to be released from a lab by some anti-vivisectionists are laced with disease, they let one of them out anyway and next thing it's a month later and "Jim" (Cillian Murphy) wakes up in hospital all by himself. There's not a soul to be seen, anywhere. He can't spend the entire film wandering about naked, so finds some scrubs and goes exploring - gradually gleaning information about the plague that led to the evacuation of the cities and to his current isolation. It's not as if he had anything to do with the release of this virus, but he now has to deal with it's consequences. Luckily he encounters "Selena" (Naomie Harris) and "Mark" (Noah Huntley) who save him from a marauding mob (think "Omega Man" from 1971) and their risky adventures begin trying to find what's left of humanity and hopefully safety. A wind-up radio broadcast gives them some hope, and off they travel with newfound friends "Frank" (Brendan Gleeson) and his daughter "Hannah" (Megan Burns) in their black taxi (so of course, it takes a circuitous route) to Manchester. Their arrival visits tragedy on the small group but also introduces them to the last bastions of military security - under the command of "Maj. West" (Christopher Eccleston). Pretty swiftly they realise that very little of this new scenario is much safer for them and their thoughts turn to leaving...! This is quite an effective apocalyptic tale of corrupted science and morals and uses, for most of the first section of the film, dialogue sparingly allowing the eerie photography and soundtrack of a largely abandoned London to set the scene for us. Thereafter the writing isn't the best, but the benign sense of menace exuded by Eccleston and the confidence of both Harris and the young Burns work well at giving us an almost claustrophobic sense of peril, especially as we drift to a denouement that is cleverly constructed to make us think. It's bleak and threatening at times, not without the odd dark humour and in the end presents us with quite an intriguing look at humanity in many of it's less attractive, more visceral, guises. Danny Boyle and Alex Garland keep a few twists for the tale at the end, too, and Murphy holds it all together in an understatedly potent fashion.
The Revolving Door (1969)
The Revolving Door
There are some quite startling statistics used to underpin the thread of the narration here. The routine dispensation of justice onto minor offenders who's defence has had about five minutes to prepare, who's prosecutors have had just about the same amount of time to proceed and the judge (probably with repetitive strain injury) who can deal with over 25,000 of these misdemeanours in one calendar year. It's an hand-held camera job for the most part exposing the audience to a wide variety of people who have fallen foul of the law. Some for the first time, some who are clearly hoping for a place to sleep and a decent meal as it's conceivably safer (and warmer) for them inside one of the basic, and ageing, correctional facilities. The writing is pretty cynical about the relative merits of this production-line process and after about ten minutes, it's not hard to see why. Resources are relentlessly tied up in a vicious circle that offers little hope to anyone. It's an aptly named documentary that is dry as a bone, but worth a watch.
A Space to Grow (1968)
A Space to Grow
Henry Fonda narrated this really quite dry documentary looking at the state of opportunity for young people from less privileged backgrounds in the American Mid-West. Centred around a group of curious and aware students in their late teens, it follows their educational processes, their debates with each other, their politics - inducing reason and anger in equal measure, before rounding off with some well-intentioned, if a little earnest, commentary from educators about how education can and will improve the lot of just about everyone in an American society that is still rife with segregation. Time has really left this behind, and it is now little better than a group of opinionated kids performing to camera offering - as we all did - the gospel according to me.
A Way Out of the Wilderness (1968)
A Way Out of the Wilderness
Some of the language here is a bit on the pejorative side, but the underlying message contained in this documentary is quite effective at illustrating the problems of the profoundly handicapped people for whom society really only has one solution. Institutionalising them. A single camera follows the daily trials and tribulations of people struggling with disabilities that affect everything from their brain function to their mobility. What's a little more distinctive here is that the focus is more on able-bodied people learning to adapt to their world, not the other way round. Can we find common ground, but more on terms easily accessible and acceptable to people who cannot (or will not) understand? Belligerence is rife and the skills of the professionals here is to peacefully mitigate tha,t keeping tempers down, options open and allowing for all to retain their dignity. The production is basic, but that's fine - it allows the focus to fall squarely on the "patients" and the patience. It's dated, but it's still an useful retrospective on just how scared we were of stigma and the unknown.
La maison de Jean-Jacques (1967)
The House That Jack Built
This has a cumulative narration a little like the "12 Days of Christmas" as each sentence evolves then repeats the preceding one. That makes for quite an entertaining appraisal of the life of "Jack" as he lives in an house just like everyone else's and goes to work to pay the bills day in, day out. Then his car blows up and he trades in the wreck for some beans! His wife goes potty and he's relegated to the floor that night. In the morning, yep, there's a beanstalk that "Jack" climbs and his encounter with the "giant" sends him scurrying back down with a mirror that he's pinched. This gives him self confidence, a belief that he can achieve anything and next thing, well his house is a bit different from his neighbours - but is he fulfilled? The animation is a bit limited, I felt, but the pace of the thing; the fun narration and the underlying story of grass always being greener and the futile search for perfection is quite well delivered.
Rise (2014)
Rise
Will (Nathan Wilson) is a young nurse imprisoned for rape after a drunken one night stand. Protesting his innocence, he must adapt to the harsh realities of prison life while his barristers try to organise an appeal. Fortunately, he falls in with Jimmy (Martin Sacks) who, after a bit of hostility, becomes his pal and protector. He also discovers God, or the Christian faith at any rate, whilst incarcerated and we watch his personality and maturity develop over the next 1¾ hours. Somehow it doesn't quite work, though. It is oddly sterile. Why do the pair bond? The religious undertones are so subtle as to be almost irrelevant and though it does deal with serious issues - bullying, mental health and suicide, it does so with an almost soap-style of storytelling. The acting is fine, the drama is fine, the writing is fine - but that's about the height of it, really as it builds predictably to an ending that is hardly a ringing endorsement of the Australian justice system. It's a decent debut effort from director Mack Lindon, but in itself, nothing very remarkable.
Gran Torino (2008)
Gran Torino
It's curious that the main English language awards largely ignored this, yet it won both a David and a César in Europe and is definately one of Clint Eastwood's more characterful efforts. He is the curmudgeonly "Walt" who has recently lost his wife, has an arms-length relationship with his son and looks disapprovingly as his neighbourhood ceases to be the home of "Americans"! His prize possession is his Gran Tornino car and he doesn't take to kindly to Bee Vang's "Thao" (or "Toad") trying to pinch it. Quickly, though, he sees that this young man and his sister "Sue" (Ahney Her) are being bullied by their thuggish extended family - a gang of obnoxious would-be gangsters who drive the streets picking fights and taunting people. He decides to intervene and the rest of the story sees a bond develop between him and his new "family" based on a degree of mutual understanding, trust, and "Toad" becoming his slave for a fortnight by way of penance! We are given some clues along the way as to the grand designs of "Walt" as he sets up a denouement, after a brutal assault on "Sue", that will satisfy not just himself, but keep his neighbours safe too. It's not the most naturally written dialogue, indeed at times it's quite forced but the underlying premiss of bigotry and the attitudes of intolerance and bullying are well addressed. The characterisation of the distant and prejudiced "Walt" is delivered engagingly, and with some dark humour, by a star/director who has a point to make. There's also quite a gently potent effort from Christopher Carley as the local priest. He is trying to offer the perfunctory words of hope and comfort to this veteran and he perseveres despite the dog's abuse he receives from a man who no longer feels it necessary to commit to the niceties of society. Clearly, 'Walt" cares little for what is left of his life nor for any of his sins to be forgiven. It's about grief, relevance, community and I think it works. Give it a go.
Greyfriars Bobby: The True Story of a Dog (1961)
Greyfriars Bobby: The True Story of a Dog
There's a statue of this wee Skye terrier in Edinburgh as testament to the loyalty and tenaciousness of this dog that couldn't care less about the civic rules that banned him from the graveyards of the city. It's the shepherd "Old Jock" (Alex Mackenzie) who has passed away and it's his grave that "Bobby" sleeps on each evening, doing a bit of useful ratting at the same time! Quickly he befriends the local tea-room owning "Traill" (Laurence Naismith) who knew his late master, but he has a harder task convincing the caretaker of the cemetery. "Brown" (Donald Crisp) is a bit of a stickler for (his own) rules, but the intervention of the police (Duncan Macrae) over who owns the dog soon sees a court hearing in front of none other than the Lord Provost (Andrew Cruickshank). It is he who must decide the fate of "Bobby" in the face of these two bickering old men whose initial stubbornness about not owning the dog has completely reversed itself! It does take a little while to get going; there are a few too many scenes of the dog running about the place, but once we get into gear this is a charmingly scored and depicted story that puts together a solid cast of familiar faces to support the on form Crisp, Naismith and the young Jameson Clark who's "Tammy" was a little like Dickens' "Tiny Tim" only not quite so earnest! It's a simple family story of loyalty, devotion and curmudgeonliness that's held up well.
The Adventures of Greyfriars Bobby (2005)
The Adventures of Greyfriars Bobby
Though this isn't a great dramatisation of the famous tale of Edinburgh lore, there's no getting way from the charm of the true story it's based on. "Bobby" is a scruffy looking terrier who steadfastly refuses to leave the graveside of his late master. Despite the best efforts of the cemetery keeper "James" (James Cosmo) to evict him, the dog persists, and gradually becomes quite a useful tool for vermin control. This doesn't convince the nasty "Johnson" (Ronald Pickup) who is determined to see the back of the little yapper. Eventually, he seeks recourse to the law of the land - and with doom looming, it falls to the children of the city to appeal to the Lord Provost (Christopher Lee). He's the Queen's representative and perhaps he can help? What really put me off here was the light. It's clearly been done on a budget, but it's not been done very well and with the rain showers clearly emanating from hoses the whole thing has a sort of yellowy hue that's oddly sterile to watch. Director John Henderson has assembled a decent enough cast of British regulars, though, and there's an engaging effort from newcomer Oliver Golding as his would-be saviour "Ewan" who must undergo the strains of oakum picking and his own tragedy, but still determines to keep the wee dog safe. There's a nice score from Mark Thomas to accompany it and though not really very memorable, it's still a decent rendition to watch on the television.
Shi mian mai fu (2004)
House of Flying Daggers
Though the story isn't really very strong here the combination of beautiful visual effects and precision martial arts makes for an enjoyable depiction of Chinese mystical intrigue. "Mei" (Ziyi Zhang) is a mute dancer who attracts the attention of police captain "Jin" (Takeshi Kaneshiro) after she is very nearly raped at the "Peony Palace". She is also arrested but he helps her escape and into the dense forest they head, pursued by the police and fearful of the eponymous freedom fighters who are rumoured to dwell deep amongst the tall bamboo. Of course, as they travel they begin to fall in love but he's not quite ready for the surprise she delivers nor for his response as he must make a choice between his heart and his loyalty. Meantime, there's the jealous "Leo" (Andy Lau) on the scene who is determined to see his love stays with him or nobody! It's the stylish and vibrant look of this adventure that helps it stand out. The perfect choreography of the dances and the combat scenes couples well with some impressive imagery that tests and provokes just about all of our senses as the mystery unravels as easily as the folds in her intricately woven gown. I was slightly disappointed by the denouement which I think might be testament to the performances from the two travellers who managed to ensure I cared what happened to them as they twisted and twirled their way through the imaginatively photographed trees. It certainly benefits from a big screen and from it's big audio, too.
Cloverfield (2008)
Cloverfield
I suppose the first thing to warn of is - it is shot entirely POV, and for many (including me) that can prove to be really quite annoying at times (and particularly difficult to light effectively). The premiss is that "Jason" (Mike Vogel) and girlfriend "Lily" (Jessica Lucas) are living the happy lives of a young couple. When one night they set off to attend a leaving do for their pal "Rob" (Michael Stahl-David) their party is shattered by what seems like an earthquake, followed by a desperate hunt for his girlfriend "Beth" (Odette Annable) as something ginormous is stalking the streets of New York. The camera passes from person to person, so that does give us a different perspective of the ensuing mania - but actually I didn't find them a particularly engaging bunch of panic-stricken folks so I can't say I was very concerned for their safety. Some of the decisions they make - admittedly under a fair degree of duress - seem staggeringly risky and/or stupid; the sound editing overdoes the screeching and wailing to such an extent that the dialogue can be barely audible at times, and though well paced eventually, it still takes just a bit too long to actually get going. It is certainly an interesting concept, and if the style of cinematography doesn't drive you mad after twenty minutes, then I reckon you will quite enjoy the intimacy of the thing - at times, it is actually quite scary.
Cidade de Deus (2002)
Cidade de Deus
Told by way of an occasionally narrated retrospective, "Rocket" (Alexandre Rodrigues) tells us a story of his childhood in the outskirts of Rio de Janeiro. Growing up in a community of newly built boxes, without power or plumbing, that reminded me of a row of concrete beach huts, the community is pretty lawless. The crime is largely to confined to pettier crimes, but as aspirations grow so does the scale of the criminality. A raid on a motel-cum-brothel is supposed to make everyone extra cash, but their inventive young watchman "Li'l Dice" (Douglas Silva) hates being left out and so does a little augmenting of his own. Brutal and attention grabbing. Next the cops crack down, bodies pile up and the societal order starts to change. It's this young man who grows up into the leading drug-peddling hoodlum amongst a now much more developed township where, tempered only by his more diplomatic childhood friend "Bené" (Phellipe Haagensen), the newly named "Li'l Zé" (Leandro Firmino) is ruling the roost. Curiously, his own form of government proves more stable for the residents, and although many are addicts there is a certain degree of law-and-order. Then the runts start to intervene. These are the young children with no hope, no families and only the dream of becoming their own version of "Li'l Zé" one day too. Gradually, the empire expands until it's only "Carrot" (Matheus Nachtergaele) who stands against him. When tragedy strikes very close to home for the kingpin, though, the easy peace between the two sections breaks out into an open warfare that drags in the sharpshooting army vet "Knockout Ned" (Seu Jorge), arms all the enthusiastic children and creates an environment that isn't safe for anyone and where the police keep their distance in the hope that they will just all just slaughter each other. It's lucky that "Rocket" can use a camera. His boss wants publicity to illustrate how dominant and powerful he is. The newspapers want the photographs too. If the young man can walk the tightrope carefully, he might find himself well placed to capitalise on his unique access to a story that by now is gripping their nation. This is a fascinatingly well put together depiction of the worst of human nature; a dog eat dog world, where traditional humanity is scarce and the virtues of a not so benign dictatorship are exposed for all to see. The characterisations are mostly brutal and exploitative, yet there is a place for love and loyalty too amidst a poverty stricken population that craves basics like food and running water and is oblivious to death in the streets. The story is well supplemented by some engaging supporting characters like "Steak n' Fries", "Goose", "Shaggy" and "Thiago" (Daniel Zettel or is it really Timothée Chalamet?). The writing delivers powerfully but sparingly. We don't have loads of waffling dialogue, and there's also quite a bit of dark humour contained to not so much lighten the mood as to enhance the perception amongst most of the population that kill or be killed was a perfectly reasonable mama. Firmino, Haagensen and Rodrigues deliver extremely well here in this most impressively photographed and intense look at a society where the top dog was only top by feeding and starving his followers. It's not especially graphic, I found, just a poignant look at survival of the fittest, the shrewdest and the luckiest. There's also a distinct lack of religiosity throughout, too! If you can see this at a cinema, then do - it's based on a true story and isn't an easy watch.
Hoard (2023)
Hoard
The young "Maria" (Lily-Beau Leach) lives with her loving mum (Hayley Squires) in an home full to the brim of junk. Some of it just bric-a-brac, some of it more distasteful and unhealthy, but the pair rub along well enough scavenging their way through skips and bins. "Maria" has a tough time at school and doesn't really fit in, so when an accident at home sees her put into foster care, she has quite a bit of adjusting to do under the care of the savvy "Michelle" (Samantha Spiro). Now we scoot forward to her late teens where she (now Saura Lightfoot-Leon) is still living with "Michelle" and seemingly quite a content. One morning it's announced that "Michael" (Joseph Quinn), who was a former charge, is coming to stay for a while whilst his housing is sorted out. He's a decent cove with a girlfriend expecting a baby. Almost immediately he arrives, the two click. Not quite in any conventional sense, but there does seem to be something between them, and understanding. It's this that starts "Maria" thinking of her past, pining for it even - especially when a delivery man presents her with something entirely unexpected in a small package! With the two of them living increasingly closely, how might their relationship develop? Now this isn't for the squeamish. Right from the start we experience the rather sticky downsides of their quite grubby way of life, and as the story moves to it's second phase it becomes a potent, if shallow, character study of two people that just don't conform. The problem for me here is that the drama goes nowhere. It's a sequence of observations of the life of a woman that I didn't feel I knew on any level at all. Her behaviour is unsettling but it seemed to me that was so that the audience could feel unsettled, squirm in our chairs a bit, rather than because the character of "Maria" was evolving in any way. Indeed she seems to retrogress as the film just becomes increasingly tasteless and contrived. It's rare to see people leave an arthouse cinema mid-film, but they did during this. I didn't, but I am not at all sure what the point was, or to whom this is aimed. It has it's moments and at times is really visceral, but sorry - by the end I found it all just a bit too introspective and dull.
IF (2024)
IF
"Bea" (Cailey Fleming) arrives to stay with her grandmother (Fiona Shaw) so she can be near her father (John Krasinski) who is having cancer treatment at a nearby hospital. It's a fairly traumatic time for everyone, but it also becomes quite puzzling for the youngster when she encounters "Blosson", "Blue" (who's actually purple) and their handler "Cal" (Ryan Reynolds) living in the apartment upstairs. She quickly discovers what an "IF" is, and is introduced to loads of them, now adrift in a world where their original partners have grown up and forgotten them. "Cal" and his friends are trying to re-home these friendly and creative critters, and so "Bea" takes an hand helping out. Their first target for a new friend is the friendly "Benjamin". He's a patient in the same hospital as her dad, prone to breaking his bones and though outwardly cheery and good-natured, cuts a rather lonely sight in his room. As the story continues we begin to suspect that it's not just him that needs an "IF". Sure, it's derivative at times, but there's an engaging effort from the young Fleming and the sparing use of the colourful and well integrated visual effects along with some cheery scripting and a few amiable supporting characters that could easily inhabit any toy-box (I liked the bear and the tasting marshmallow) wired well. Also, Reynolds takes enough of a back seat not to impose his presence too firmly on the proceedings. It's an amiable story about family, loneliness and growing up that encourages folks to use and enjoy their imagination. I wasn't really expecting to, but I did quite enjoy this.
The Garfield Movie (2024)
The Garfield Movie
Seemingly abandoned by his dad in an alleyway in the rain, poor little "Garfield" espies the unsuspecting and lonely looking "Jon" having a pizza across the road. In a shot he's looking all sad and bedraggled at the windows, next he's demolished the man's dinner and finally coaxed him from his comfortable flat to a new house that they share with the dog "Odie". His life is just one idyllic round of snoozing, eating and watching "Catflix" until he and "Odie" are kidnapped. Why? Well it's only when they are rescued by a caped hero - who turns out to be his dad "Vic", and we then are introduced to the criminal mastermind that is "Jinx" who has an axe to grind, that we start to get to the bottom things. She spent ages in the pound and is looking for her pint of milk! Now "Garfield", "Odie" and "Vic" have to come up with plan to rob a well defended dairy to settle scores. Even if they succeed, can they trust the duplicitous "Jinx" and her two sinister hench-creatures? It's an amiable enough adventure movie, this, with plenty of daft escapades for the cats, a menacing security officer and even an old lovelorn bull ("Otto") who's seen better days. I found the story reminded me a bit of the "Wallace and Gromit" kind of mishap-ridden narrative and though it's probably twenty minutes too long to sustain a film that doesn't seem to ever want to end, it's got the usual messages to team-playing, family and loyalty and has some quite witty one-liners now and again.
The Good Shepherd (2006)
The Good Shepherd
So rather than spend a fortune on special disguises, plastic surgery and prosthetics, the secret of being a successful counter-intelligence agent is loads of Bryclream, a pair of thick-set spectacles and a fawn, knee-length, mac. That's what puts the c into overt! That theory sort works for Matt Damon here with this lacklustre drama set around the time in world history when the American government realised they needed to gather intelligence about whom their potential 20th century foes might be. He is "Edward Wilson", who after being sworn into some top secret masonic style of society at school finds himself learning the arts of espionage in a wartorn London, then to Berlin, the back to Uncle Sam where his accrued skills leave him well placed to root out Nazi sympathisers and Soviet agents and defectors. Initially he is full of the joys of spring, his task a patriotic duty. Increasingly, though, as his hastily arranged marriage to "Margaret" (the sparingly used Angelina Jolie) starts to suffer, cynicism creeps in and what semblance of decency he had begins to become subsumed into a determination to get results - regardless of the methods frequently employed by his sidekick "Ray" (John Turturro). Robert De Niro clearly has pulling power with his directorial promise, but most of the supporting cast add little to this muddling drama that trips over it's own cloak way too often looking for the dagger. Quite where Billy Crudup's accent came from is anyone's guess and the plodding nature of this rather wearisome, if stylishly filmed, drama makes it quite a slog to sit through. It's all just a bit too self-indulgent and presents us with a rather ungracious and arrogant side to an American superiority complex that I found a bit dull.
Goodbye, Mr. Chips (1939)
Goodbye, Mr. Chips
What a gorgeous, gentle, film about the end of empire and of an era that showed a culture of respect and deference that has now long since vanished. Robert Donat always managed to portray the quintessential Englishman well - if, at times, in a little overly stilted fashion; and with Greer Garson's beautiful representation of a lady of the times this leaves us with a slightly warm feeling. Certainly, it doesn't not promote any equality amongst the sexes, but the "Blue Danube" scene has to be amongst the most romantic ever committed to film and it brings home the horrors of two wars poignantly, too.
Green Lantern (2011)
Green Lantern
It's an whole twenty year old, this - and I still like it. OK, perhaps it is Ryan Reynolds wandering about in his tiny whities, and he is most certainly at his most easy on the eye for just shy of two hours. He is "Hal" a pretty flaky test pilot who manages to cost his employer - mainly the equally gorgeous "Carol" (Blake Lively) a lucrative government contract. Meantime, this shapeless baddie to end all baddies - who feeds on fear - has escaped from his remote prison at the far end of the universe, and the eponymous "Corps" must mobilise to defeat him. One of their best falls foul of this menace and his ring - the symbol of the power of the Order - passes to the unlikely "Hal". What now ensues involves our Ryan in spray on leather clothing and wearing goggles that wouldn't conceal his identity from a blind person in some fun adventures as he learns all about willpower, discipline and the power of green! Meantime, there are some shenanigans going on with "Hector" (Peter Sarsgaard), the hapless son of the powerful "Sen. Hammond" (Tim Robbins) that sees "Hal" and "Carol" with just a little more on their plates than they need. The special effects are fine; Mark Strong hams up perfectly as "Sinestro" and the wise guys in the impractically long capes add a bit of fun too. No, it's not "Star Wars" and the script is pretty diabolical, but, still - what's not to like...?
Drive (2011)
Drive
If it's got wheels, then Ryan Gosling's nameless character can use it. When he is not doing triple rolls as a movie stunt-man, he is being the freelance getaway driver for criminals who need a reliable man to get them out of trouble. His friend "Shannon" (Bryan Cranston) fancies himself as a bit of a motor sport aficionado and suggests to his wealthy (and pretty crooked) pal "Bernie" (Albert Brooks) that he chip in $300k so they can start a team. Just as that's all getting on track, the driver starts to get the hots for a neighbour "Irene" (Carey Mulligan) and so engineers a meeting with her and her young son. She's not without her own baggage - but he (Oscar Isaac) is incarcerated for the moment and so their relationship burgeons. When he gets out of jail her boyfriend needs help with a petty robbery at a pawn shop. That goes pear-shaped and next he knows he has a corpse, a bag of mob money and just about everyone on his tail. He needs to keep her safe and stay on his toes for quite an exciting and action packed last half hour that sees this meticulous man fighting for survival. It's all about Gosling this film, and he owns the screen. His charismatic effort as the wheels works well throughout and as the thing stealthily gathers pace, he delivers confidently. Mulligan doesn't really feature so often to make that much of a difference, but essentially it's a one-man show and that weaves the threads of greed, corruption and romance entertainingly.
Goldfinger (1964)
Goldfinger
This has got to be my favourite "007" outing. Shirley Bassey gets the ball rolling as our secret agent enters the murky world of bullion smuggling. It's end-to-end stuff with Sean Connery crossing swords with the best Bond baddie of all - "Auric Goldfinger" stylishly portrayed by Gert Fröbe. Honor Blackman has got to be the best Bond girl, she has oodles of sex appeal and panache, but is also much more sophisticated than the pretty "bimbo" character usually associated with this role. Harold Sakata must have done wonders for the sale of bowler hats and I'm sure we all wanted an Aston Martin (ideally with a passenger ejector seat) by the end of this cracking adventure film.
Godzilla (2014)
Godzilla
"Godzilla" is the sort of cinematic gift that keeps on giving, and the hunkily beefed-up Aaron Taylor-Johnson is always worth looking at - but sadly, neither of these features do enough to rescue this from a sort of disappointingly derivative mediocrity. This iteration of the plot picks up the story many years after a nuclear disaster in Japan. "Ford" (ATJ) is the son of the plant supervisor "Joe" (Bryan Cranston). They are not exactly close, but when they discover evidence near the ruins that the destruction was not accidental - and that a giant trapped, flying, "MUTO" - which feeds on radiation - might well be coming for more lunch, they can only hope that "Godzilla" might become aware and come to the rescue of a totally out-gunned mankind. It's a bit of a sprawler, this film. It takes far too long to get going, with characterisations that offer little of substance and a dialogue that borders on the inane - especially when the military are involved. The supporting cast features a sparingly used Juliette Binoche and Elisabeth Olsen, but they aren't really on screen long enough to add much value. On the plus side, the photography and visual effects are good - they flow with a realism that is quite convincing, but that's standard fayre nowadays for this kind of adventure. The rest of the photography really could have done with some more wattage. Darkness can add eeriness to a scenario, but after a while I do want to recalibrate my eyes! The ending is certainly effective, but I'm just not sure it was worth the wait - the whole film just needed something to bring it to life more.
Oisin (1970)
Oisín
Aside from a slide at the top of this short documentary, there is no visible contribution from mankind as we watch the wildlife of Ireland thrive. That slide invites us to consider the delights of nature rather than those man made (or reilgious!) and for quarter of an hour or so we see things gambolling, flying, swimming, foraging and nesting whilst all is accompanied by a buzzing and flapping natural soundtrack. The photography just lets the creatures get on with their lives, undisturbed and free to roam. Turn the sound down and it's a remarkably soothing film to watch, ideal to put on the television to fall asleep to whilst reminding us to consider our own place in the grand scheme of things.
Is It Always Right to Be Right? (1970)
Is it Always Right to be Right?
Fifty years on from this admittedly lacklustre animation, it's still worth listening to the words of Warren H. Schmidt's narrative (from Orson Welles) about the repetitive and fruitless nature of human belligerence. All the vested interests convinced that they, and they alone, are correct. No-one prepared to even hint that there might be room for manoeuvre or compromise as chasms begin to exist in society based on things like age, politics, race, sex, faith - and even chasms within chasms. Until, that is, someone somewhere has the courage to say that everything isn't just a case of black and white or right or wrong. Maybe bridges can and should be built if tolerance and understanding can be found amidst the hitherto bloody-minded and opinionated. Social media "influencers" in 2024 take note!
The Further Adventures of Uncle Sam (1971)
The Further Adventures of Uncle Sam
"Uncle Sam" is running a gas station in the middle of nowhere amidst his patriotically sculptured cacti and with his bald eagle for company. Then a mysterious car shows up and he is kidnapped! Perplexed and alone, the bird sets off to investigate - on foot for some reason, whilst we are whisked to a dastardly scenario for "Uncle" as he has been strapped to a barrel of TNT by some ruthless folks bent on stealing a distinctly curvaceous and operatic version of the Statue of Liberty. Can the eagle arrive, set his fellow icon free and then thwart the evil scheme? The animation is drab and not my favourite, and the pace is sluggishly accompanied by a confused soundtrack that complements a story that seems to want to take a ping at pretty much all things American - even to the point of mutually assured self destruction, before a denouement of epically bland proportions in ancient Rome! The socio-political message is clear but it's unoriginal and reminiscent of a 1920s cartoon that I'd no need to recall.