Body Heat

Posted on May 20, 2012 by jaycluitt

In a balmy summer heatwave in the American Deep South, the not-terribly-good defense lawyer Ned Racine (William Hurt with a 70s pornstar moustache) makes a random encounter with wealthy, sultry Matty Walker (Kathleen Turner), who is unhappily married to Edmund (Richard Crenna), a good man who is always away on business. Ned and Matty begin an illicit and steamy affair, and both decide that they’d be better off financially and romantically if Edmund were no longer around, so Ned, with the help of Mickey Rourke’s criminal consultant, sets out to murder him.

What sets this apart from the rest of the noir genre it draws obvious inspiration from is the copious nudity and sex scenes between the two leads, which are excessive even by today’s standards, as well as several shots of Richard Crenna in his underwear that I could have done without.

I was surprised that the plot didn’t contain more twists and turns, as in the end it was all fairly straightforward. For instance, I assumed early on that Matty’s husband Edmund would be in cahoots with either Ned or Matty, but in fact Edmund has very little to do in the story. In fact, his character arc is completed so early on that I was intrigued as to where the plot would go next. Also, some elements are set up with no eventual payoff – Matty’s niece catching Ned doing something he shouldn’t be doesn’t end up with her identifying him to the police – which led me to think that either we were deliberately fed loose threads to keep us guessing, or it’s just sloppy writing, though seeing as writer/director Lawrence Kasdan also wrote Star Wars Episodes V and VI, as well as Raiders of the Lost Ark and The Big Chill, it’s probably the former.

I was surprised to see just how attractive Kathleen Turner used to be, as other than her vocals in Who Framed Roger Rabbit, I’ve only ever known her as the dog trainer in Marley & Me (I have never willingly watched the film, it’s a favourite of the girlfriend) and as Chandler Bing’s drag-queen father in Friends, so I was rather confused that someone with such nice legs and skin could go on to be, well, Kathleen Turner.

There have been better noirs made before this (Double Indemnity) and after (Coen brothers’ debut Blood Simple), and if it weren’t for the aforementioned raunchiness there’s little chance of it being remembered today. The film isn’t necessarily bad, but its not revolutionary either.

Choose life 6/10

The Conformist

Posted on May 18, 2012 by jaycluitt

It’s probably not much of a recommendation to say that, only a month after having watched it and having read the notes I took at the time, I cannot remember much about this film. The plot was incomprehensible, mainly because the narrative was chopped up and flitted between with little to no acknowledgement, and if I hadn’t read that it was about a hitman I’d probably never have known.

Our protagonist is Clerici (Jean-Louis Trintignant), a fascism-supporting, recently engaged man with a sordid past, who desperately wants to fit in with society. So jumbled up is the structure of the film that I’m reluctant to say anything that happens, as I can’t be sure of the order shown during the runtime, so if there are spoilers within this review then I apologise.

We discover details of Clerici’s past from a forced confession he must make before his marriage, in which we are told that, as a lonely young schoolboy, his family driver molested him, until one day Clerici shot him in a scene where the squibs in the walls are distractingly visible long before they are used. His bride has similar stories of being raped in her youth, but the scene in which she describes the experience to Clerici is genuinely disturbing, as it seems to excite him, and he attempts to turn her on by almost enacting the molestation out upon her as she describes it.

You probably won’t be surprised to find out that this film is Italian, so whilst interestingly shot – lots of angled cameras, leaves blowing at foot level and rays of sunlight through a forest of trees – there’s also a great deal of sporadic nudity and spontaneous sex scenes.

The impenetrable, David Lynch-like plot sees Clerici diverting from his Parisian honeymoon to assassinate his anti-fascist former lecturer, and also visit the man’s wife Anna, with whom Clerici probably used to know on a carnal level, but along the way many of the scenes have elements of strangeness – when Clerici buys a bouquet of flowers, the seller and her singing children proceed to follow him around, another time he manages to lead a decreasing conga spiral out from the inside. I found it incredibly difficult to commit to a film so nonsensical, as I always felt I was being left out of something.

Choose life 3/10

Top 5… Movies I Should Like Less

Posted on May 18, 2012 by jaycluitt

Last week I took a look at some of the movies of which the general consensus is they are classics, but I don’t necessarily agree. As promised, this week here’s the flip side to that coin, the films that I love, but others may think I’m a little stupid for doing so. These are basically guilty pleasures that I really should know better than to enjoy, but that doesn’t mean watching them can’t stick a goofy grin on my face and make me forget whatever other crap is invading my life.

5. Con Air
I’d argue with many people that this isn’t actually a bad film, it’s just highly implausible and tremendous fun, when a band of some of the most dangerous criminals in the world, led by John Malkovich’s Cyrus ‘The Virus’ Grissom, take over the plane transporting them to a new prison. Nic Cage is our justifiably law-breaking Navy seal hero catching a ride home with his ridiculous hair, and John Cusack the only man on the ground who believes in him. The cast is as impressively diverse as the film (Ving Rhames, Danny Trejo, Mykelti Williamson, Dave Chapelle, M. C. Gainey, Colm Meaney) and Steve Buscemi plays a cannibalistic paedophile. Who (SPOILER) gets away. As in, he’s free. In a casino, gambling, in public. We’re told he once drove around wearing a young girl’s head as a hat. Earlier in the film, he has tea with a little girl playing with a doll, and later we see a smashed tea cup, the girl nowhere to be found. So, presumably he killed her, possibly eating her? This is the oddest scene to put into an action film, especially when you consider Buscemi’s Garland Greene isn’t in the top 3 antagonists! And did I mention he gets away? And no-one seems to be looking for him?
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Seven

Posted on May 17, 2012 by jaycluitt

A buddy cop movie with a seasoned old hand so close to retirement they’re already scraping his name off the door and his hotshot, firebrand young replacement, this couldn’t be further from another Lethal Weapon. Yes, one’s a family man and the other’s a loner, one is prone to anger and the other a methodical, careful detective clearly too old for this shit, but where Richard Donner’s 80’s staple is an entertaining, action-packed romp, this is something much darker.After a disturbingly evocative opening credits sequence enriched with depth and meaning on repeated viewings, we meet Morgan Freeman’s detective Somerset, picking up his last case, a sickeningly masterful serial killer with a penchant for the seven deadly sins, the same day as Brad Pitt’s Detective Mills arrives to replace him. That’s as much setup as there is, as we follow the mismatched detectives from crime scene to crime scene, via their headquarters and areas of research, with Somerset whiling a night away poring over books in the library, whilst Mills take a brief glance at the Cliff notes.

The script is dotted with well balanced moments of humour – Somerset having dinner with Mills and his wife Tracey (Gwyneth Paltrow) – and some deep black humour: “this guy’s sat in his own piss and shit; if he wasn’t dead he’d’ve stood up by now,” plus R. Lee Ermey’s belligerent, furious Police Captain (“This is not even my desk” is one of my favourite film quotes, ever).

Crucially, we see none of the killer’s murders onscreen, merely their gruesome aftermaths. It’s not as gory as you might remember, but it evokes imagery and feelings that some may find disturbing, not least what happens to Leland Orser’s character, who probably has the worst memories of those who survive. It could be argues that this is a precursor to the Saw franchise, punishing those that seem to deserve it in creative, torturous ways, but at least here we are saved the nightmarish spectacles of witnessing the deaths.

At times the film feels a bit predictable, like a police procedural itself, but whenever this is about to happen the plot shifts direction, taking an unexpected twist to shake things up again. The colour palette of muted greys and browns, interspersed with deep reds amongst the incessant torrential downpour of the nameless city only adds to the feelings of despair.

There’s small roles for John C. McGinley and Richard Schiff in there as well, a nice surprise for me in the opening credits, but unfortunately at times the acting, especially Pitt during the final scenes, leaves something to be desired. The ending has become the stuff of legend, but I won’t reveal it just in case, save that Pitt’s gurning and crying are a bit over the top and take you out of the scene. This is another one of those films where knowing your actors may ruin the film too, as recognising a voice could cause annoyances later on, but not too badly.

Overall this is director David Fincher’s defining film (better than Fight Club in my opinion, though it’s been a while). The gritty tone is perfectly realised through every medium possible, the plot is gripping, the twists hold up and, though far from an enjoyable experience, it remains worthwhile.

Choose film 10/10

Avengers Assemble

Posted on May 14, 2012 by jaycluitt

Ugh, typing that name made me feel so dirty. Avengers Assemble. Ugh. There was nothing wrong with just The Avengers, no-one was going to go in expecting umbrellas, bowler hats and catsuits, and even if they had been, they’d have got something better anyway. Plus, ‘Assemble’ is possibly the least exciting word to ever appear in a movie title since The Adjustment Bureau.

Now chances are this isn’t the first Avengers review you’ve read, hell chances are this isn’t even the first Avengers review you’ve read that starts off by telling you it’s not the first Avengers review you’ve read, seeing as this is one of those movies (let’s not kid ourselves by calling it a film, this is for entertainment purposes only) seemingly designed to be discussed at length on the Internet. We’ve sat through 4 years of 5 prequels, and for literally years the Internet has been lying in wait to rip apart this inevitable car crash of a movie. Which makes it something of a surprise that not only is it not bad, it’s bloody good.

No-one saw this coming. They said it couldn’t be done. I agreed. The last few Avengers prequels hadn’t been great, especially Iron Man 2 and Captain America (I don’t know what everyone has against Thor, I thought Kenneth Branagh did a good job with a lesser-known character) and I firmly believed that throwing six superheroes at one another in the same film was going to look like something Hulk had sat on. The only things it had going for it were a stellar cast and a solid director in Joss Whedon, of whom I’m unashamedly a fanboy (other than I’ve never seen an episode of Buffy or Angel). Whedon is known for handling rambling, ensemble casts (Firefly) and has always managed to balance action with snappy dialogue, drama with romance and a hefty dollop of comedy, but I didn’t think there was a great enough female presence here to draw his attention, with Black Widow as the only main girl. So, going in, my hopes were high but my expectations primed for mediocrity, so it’s a pleasure to say that I honestly can’t think of many ways the film could have been handled better.

Essentially, this is an origin movie. What’s unusual is that most of the main characters have already had at least one movie of their own, mostly origin stories, so what we have here is the beginnings of a culmination of pre-established characters. You don’t necessarily need to have seen all of the other films before watching this one, but I think it’d help, as the plot is partially set-up within Iron Man 2, Thor and Captain America, in terms of the basis of the Avengers, the bad guy and the maguffin. I saw this with my girlfriend, who hadn’t seen Thor but had all the rest, and she didn’t need much explaining to her other than that Thor’s devious brother Loki isn’t played by Michael Fassbender, but is instead the brilliant Tom Hiddleston, who performs ably as the primarily sole lead bad guy against an entire team of heroes.

It would have been very easy, and very foolish, to have made this Iron Man & Co, seeing as Robert Downey Jr.’s Tony Stark is undoubtedly the most enigmatic and entertaining character on screen, yet wisely Whedon scaled down the potential for the Stark Show into giving him just as much time on screen as everyone else. There is no lead character here, everyone gets their moments, no-one is our entry point into the team and there appears to be no jostling for the limelight. In fact, the first people we meet are the agents of S.H.I.E.L.D., Samuel L. Jackson’s Nick Fury, Cobie Smulders’ Maria Hill and the ever dependable Clark Gregg’s Coulson (“Phil? His first name is Agent.”). These guys, along with existing Avengers members Black Widow (Scarlet Johansson) and Hawkeye (Jeremy Renner) then set about recruiting the rest of the team from across the world (and a little bit further, in Thor’s case).

Once recruited, the plot revolves around a Transformers-esque power cube known as the Tesseract that Loki has obtained, and intends to use to rule the Earth. Yadda-yadda-ya, it’s not all that important, and isn’t what you’re here to see. No, we’re here to watch some superheroes fight, bicker, argue and smash. I’ve heard arguments that there isn’t quite enough action in this 142-minute movie to satisfy, but I found the dialogue scenes to be just as entertaining. As expected, the superheroes, all previously alphas in their own movies, don’t initially gel together all that easily, and Iron Man keeps the insults flying at his comrades (Thor is referred to as “Shakespeare in the park,” Captain America is ribbed for being an old man). It’s clear this isn’t just friendly banter.

When the action scenes do come along, including one mid-way through worthy of any summer tentpole finale, they will have you marvelling at everything. And the actual finale, involving a mass brawl around New York City, features an incredible tracking shot that finds all the Avengers showing off the only way they know how, that I can only fault by being not long enough. Granted, with such a large cast there are occasional incidents of characters appearing to be forgotten or sidelined temporarily whilst the others are front and centre, but this isn’t too noticeable at the time, and doesn’t distract from the action.

Unlike his previous films, here the Hulk is neither under nor overused, and is easily one of the best aspects of the movie. Mark Ruffalo, taking the giant green reins from Edward Norton, delivers possibly the greatest Hulk yet, portraying Dr. Bruce Banner as an amiable everyman only too aware of the situation he’s in. He’s rewarded with some of the best, and funniest moments from the film, not least his one-on-one meeting with Loki.

Whedon seems unable to let a few trademarks go, though discussing them could be delving a little too deep into spoiler territory, but look out for a couple of cameos from his other projects, as well as appearances from Gwyneth Paltrow, Paul Bettany and Stellan Skarsgard all reprising roles from the prequels. Natalie Portman, however, is conspicuous only by her absence. Bizarrely, the likes of Powers Boothe, Harry Dean Stanton and Jenny Agutter also crop up in tiny roles.

Some moments seem entirely shot for trailers, and I was a bit annoyed that my knowledge of Marvel’s upcoming slate and a couple of shots from the trailers ensured that some of the would-be tense moments were obviously going to be resolved (albeit awesomely), but that’s my fault for watching trailers. There is a scene to wait for after the credits, but unless you’re a fan of the comic books there’s really no point, as I had no idea what the scene was about when it appeared until I delved around the web once home. All-in-all, I’ve very little to fault about the film, other than the incessant use of ass-level shots as characters walks away from the camera. I’m genuinely tempted to go and watch it again at the cinema, something to this day I’ve never done before, and I’m not the least bit annoyed that talks are already being made about an Avengers sequel.

Choose film 9/10

20,000!

Posted on May 13, 2012 by jaycluitt

I’ve just reached 20,000 page views! I’m sure you don’t care, but to me this is a moment I’d like to share with you. Let’s all just take a second to bask in what this milestone truly means.

Finished? OK. The part about this that perplexes me is that, at present, over 10% of those page views have been for Billy Elliot, a review that up until recently had spelling mistakes in it. Why is it so popular? well mainly because when you do a Google image search, the picture I’ve used comes up pretty early on, but hey, a view is a view.

Thanks to everyone that’s been visiting my site, I appreciate you taking the time to read my opinions and ramblings on films. Here’s to the next 20,000 views!

Time Regained

Posted on May 13, 2012 by jaycluitt

As much as I’d like the title of this post to actually be in reference to a blog update, whereby I’d allowed myself more time to watch these films than the allotted five years, alas it is in fact the title of a 1999 French film about the life of novelist Marcel Proust. The film is as thrilling as that sounds, and holds the position of the biography I’ve seen that, after having watched it, I know roughly the same amount about it’s subject as I did before watching, and all I knew beforehand was that at some point or other he’d written something.

Beginning with Proust (Marcello Mazzarella) on his death bed, dictating to an underling and going over old photographs with a magnifying glass, he then proceeds to remember his life, in whatever order he damn well pleases. Scenes are shown more than once, overlapping with similar yet different details, characters wander in and out freely, most with no introduction and some with several, and it’s difficult, if not impossible, to tell what is real and what isn’t. How much is memory? Is this his version of events or what really happened? With such little concrete fact to go on, nothing is learnt because nothing can be trusted.

Just as the opening credits show a stream washing over pebbles, so to did the entirety of this film wash over me. I was bored within the first 20 minutes, having nothing to affix my attention to but the sumptuous visuals and interesting uses of lighting, colour, focus and mirrors. At times it takes a meander into Bunuel territory, with rooms of upturned top hats lined on the floor, aristocratic party goers momentarily becoming mannequins and revolving audiences at a musical performance. At one point a woman visibly grows younger, then older, within a scene.

If the film was designed to be impenetrable, as I think is the case, then congratulations should go to director Raoul Ruiz, for this film is alienating if you have no knowledge of it’s central character. If you’re watching to try and discover details of the writer’s life, then flee, run full pelt in the opposite direction and head to the library instead, for there will be no assistance here. When party guests (there’s a lot of soirees in this film) complain at being confused at meeting so many new people, I can truly empathise.

Whilst the film looks astounding, it’s essentially pointless.

Choose life 3/10

Mad Max 2 The Road Warrior

Posted on May 12, 2012 by jaycluitt

If the recent UK petrol strikes had gone on a little longer, chances are we’d have seen something not too dissimilar to the events here, in George Miller’s 1981 sequel to 1979’s Mad Max. Mel Gibson reprises his role of Australian cop Max Rockatansky, but the world he lives in is now a barren, chaotic land left ravaged by a worldwide war, leaving the survivors desperate for any fuel they can find.

Max and his dog roam the landscape looking for gasoline, eventually hearing about an enormous stash not too far away, and so with the guidance of a deranged nutcase with a flying machine (“It’s my snake, I trained it and I’m gonna eat it.”), set out to find it, but alas the compound within which the gasoline is kept is not only heavily guarded, but is also being laid siege to by a ruthless gang of miscreants.

Whilst this is certainly an improvement on the original movie, there are still a lot of things here that don’t make sense. For starters, the motivation for every character is to end up with more fuel, yet all seem to expend an awful lot more than they need to in order to get any. Whole fleets of cars and motorbikes are sent out on scouting missions, showboating and jumping as they go, and even the compound uses a bus as a gate. If fuel is so very precious, why are they all so eager to waste it?

The costume design has progressed from the previous film, and now the rebel gang has an even greater passion for leather, bondage and ass-less chaps than Max himself. The depiction of a lawless, structureless society is well done – one of the gang’s cars is a cop car, suggesting that it’s not just the general population that has lost it’s mind – and Max readily eats cold dog food, straight from the tin. There’s better characters too, including a feral kid with a deadly boomerang (played by the brilliantly named Emil Minty), and there’s some decent action and chase sequences. The epic finale, with the gang attempting to seize a petrol tanker trying to travel 2,000 miles to paradise, does get a little samey after a while, but is impressive nonetheless. The arm-mounted crossbow though is probably the least threatening weapon I’ve ever seen.

Fortunately, Mad Max 3: Beyond Thunderdome isn’t on the list, but this one is deserving of it’s place. It’s by no means the greatest dystopian future survival movie, but it’s still an enjoyable watch, and certainly has it’s moments.

Choose film 7/10

The Eagleman Stag

Posted on May 11, 2012 by jaycluitt

Procrastination can often lead to wonderful discoveries of hidden gems, and so it was today as I put off writing a shorter review of The Avengers for my girlfriend’s online magazine in favour of just generally meandering around the Internet (my full Avengers review will be here on Monday). Browsing on theawesomer.com I found a link to a delightful stop-motion short from 2010 entitled The Eagleman Stag. Winner of the 2011 BAFTA for Best Short Animation, this monochrome rumination on life and time is breathtaking, and I dread to think how long it took to produce. Within a scant 9 minutes it contains sly humour, philosophical musings and elements of fantasy in it’s depiction of significant moments in the life of an eventual taxonomist and his obsession with making moments count.

The film can be watched here, and I thoroughly recommend it.

Top 5… Movies I Should Like More

Posted on May 11, 2012 by jaycluitt

There are many things that keep me up at night, tossing and turning into the nether hours. Normally it’s that I’m wasting time sleeping when there are so many other things I should be doing (I’m one of those people with a neverending To-Do List, the first 10 or so items on which are generally Write Posts), or that I’m wasting my life watching films instead of actually living. Sometimes it’s my neighbours two-year-old (their second child is due in two days) or that niggling feeling at the back of my mind that I’ve forgotten something I’ve supposed to have done (more often that not: set an alarm). But now and then, I can’t sleep because I’m stuck thinking why, just why, do so many people rave about a film that I just can’t get my head around. This list is predominantly comprised of such movies, that the majority of movie nerds seem to love, yet for some reason or another just don’t do it for me. Don’t get me wrong, none of these are bad films, I’ve just never lifted them up to the levels of greatness so many others have.

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