A Matter of Life and Death

Whilst returning home to England after a mission over Germany during World War II, RAF pilot Peter Carter (David Niven) reports back to American radio operator June (Kim Hunter) and alerts her to the presence of his squad, who all bailed out of their severely damaged aircraft. With his own radio technician, Bob (Robert Coote), dead and no intact parac/hutes remaining, Carter knows he will not survive the return journey, but plans to eject anyway, preferring to jump rather than fry, but during his brie dialogue with June the pair develop an attraction. Suffice to say, Carter bails out and his plane crashes but, miraculously, he awakes on shore, fully alive. You see there has been an error in Heaven and, due to the heavy fog across the English Channel, Carter’s body could not be found. An agent of Heaven, Conductor 71 (Marius Goring), is sent to retrieve him, but alas he has met in person with June and the two have fallen hopelessly in love, and therefore Carter is far from willing to accept his allotted demise, and instead intends to fight his case to the end.
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Archangel

In 1919, the Russian village of Archangel continued to fight a war they didn’t know was over. Grief-stricken Canadian soldier Lt. Boles (Kyle McCulloch) arrives at the village and assists a family with an injured child, only to see a vision of his dead wife. This vision turns out to be field nurse Veronkha (Kathy Marykuca), who happens to look exactly like Boles’ wife. Veronkha has her own problems though, her husband, Lt. Philbin (Ari Cohen) has suffered a brain injury that makes him think he is always experiencing his wedding night, despite the fact that Veronkha is no longer in love with him.
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The Maltese Falcon (1941)

It looks like just another day at the detective agency for Sam Spade (Humphrey Bogart) when Miss Wonderly (Mary Astor) walks in requesting his assistance in tailing a man believed to have run off with her sister, but when Spade’s partner Miles Archer (Jerome Cowan) is shot and another body shows up later that night, Sam soon finds himself under question by the police. His gift of the gab can only talk himself out of so many predicaments, as he becomes entwined in a desperate search for a priceless artefact that everyone seems to crave.
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Night of the Living Dead

When siblings Johnnie (Russell Streiner) and Barbra (Judith O’Dea) visit their father’s grave to lay flowers, they notice a strange man ambling towards them, who attacks when he arrives. Johnnie appears to be taken down protecting his sister, who flees and finds shelter at a nearby house after discovering dozens more mindless attackers. Soon Ben (Duane Jones) shows up at the house too, and reveals this outbreak of unprovoked attacks seems to be happening everywhere. Ben safe-guards the house from the attackers, but it’s when they discover five more people hiding in the basement that the real problems arise.
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Forbidden Planet

This review was originally written for Blueprint: Review.

In the 23rd century, mankind is undergoing a widespread mission to colonise other planets. Twenty years before the story begins, a ship arrived on the planet Altair IV and now a new crew, captained by Commander John J. Adams (Leslie Nielsen, back in his serious acting days), has been sent to see what has become of this quest. Upon arrival they are warned off by Dr. Morbius (Walter Pidgeon), but decide to go anyway, only to discover that Morbius is the only surviving member of the original crew, along with his daughter Alta (Anne Francis), who was born on the planet and knows little of the outside world. Her presence causes friction amongst the crewmen who haven’t seen a woman in months, and the addition of Morbius’ assistant, the giant Robby the Robot, doesn’t really help matters either.
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The Exorcist

Famous actress Chris MacNeil (Ellen Burstyn) is working on a film in Georgetown, Washington D.C., when her twelve year old daughter Regan (Linda Blair) begins displaying strange behaviour. After months of medical and psychiatric examinations, it is believed that Regan may be possessed by a demonic spirit, and the only way to resolve the situation is via a religious exorcism.
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My Week in Movies, 2016 Week 40

In all the fuss and hubbub with China I completely forgot what time of year it was, it’s New 1001 Movies Book time!10012016

There have been ten additions for the 2016 edition and, as the number in the title hasn’t changed, that means there’s ten removals too. We’ll get to those in a minute (they’re less important, as just because a film gets removed from the List doesn’t mean I’m not going to still review it) but first, here are the additions, along with any top-of-my-head thoughts on them:

The Look of Silence – I still haven’t seen The Act Of Killing yet, let alone this one. I sense a very depressing double bill in my future.
Star Wars: The Force Awakens – A surprising addition. It did well commercially, but I feel it is far too soon to give The Force Awakens the kind of cultural significance required for the List. Then again I didn’t love it as much as everyone else. Considering what didn’t make it, I’m a little sad to see this here.
The Revenant – No surprise given the team behind it, regardless of my feelings. I’m very glad I anticipated this being added and reviewed it when I did, as it means I don’t have to sit through it again.
Son of Saul – I’ve heard a little, and what I’ve heard is good.
Bridge of Spies – Another surprise. I feel Spielberg is taking the Hitchcock mantle of being a great director, but having far too many films on the List. I liked Bridge of Spies, don’t get me wrong, but it’s my no means essential viewing.
The Big Short – I thought this film was fine, but wasn’t wowed by it. Topical, but again not really List-worthy. This is starting to feel like a make-the-numbers kind of year.
Spotlight – Best Picture winners always make it on, even ones as average as this. I watched it earlier this year with the intention of completing a write-up in preparation for this day, so maybe I’ll be a bit more inspired to get to it now.
Tangerine – The addition I know the least about. It sounds promising and, if it’s not, then at least it’s short.
Straight Outta Compton – Making a correction the Oscars missed out on, this is a welcome addition that I thoroughly enjoyed despite having absolutely zero prior knowledge of NWA.
Mad Max: Fury Road – Another complete lack of surprise, and a film I’m delighted to see immortalised on the List forever.

So what got taken off? This bunch:
Senna – Haven’t seen it yet.
Cave of Forgotten Dreams – Haven’t seen it yet.
Drive – I’m OK with this. I’ve not re-watched it since my initial viewing, so my thoughts on this are still pretty underwhelmed.
Amour – Good. I remember not hating this film, but also not ever wanting to watch it again.
Django Unchained – I liked it, as I do pretty much all Tarantino, but it’s not essential.
The Act of Killing – Haven’t seen it yet. Presumably this made room for The Look Of Silence.
The Wolf of Wall Street – Glad this is being removed. I’m not a fan.
Citizen Four – Haven’t seen it yet.
Guardians of the Galaxy – I’m surprised this has left so early, especially given the continued prevalence of superhero movies, and with the recent slew of bad ones proving this to be a better example of the genre. Still, every time I watch it I like it less.
The Theory of Everything – Decent film but yeah, it was never going to last on the List.

Overall it’s a fairly standard changeover. Nothing knock-me-down surprising on either side, and nothing terribly upsetting either. I still think these additions are made far too soon after the films are released – this year we should be looking at additions that were released in maybe 2011 – as cultural impact hasn’t yet been proven, but I also understand that the book-sellers are more likely to flog copies with The Revenant and Fury Road on the cover than The Artist and War Horse. I’m surprised (but not overly disappointed) that the likes of Ex Machina, Sicario, Inside Out, Brooklyn and Creed didn’t make it, and I genuinely thought that The Martian and Room would have good shots, and am annoyed that they aren’t present, especially when Bridge of Spies and The Big Short made it instead. I reviewed Inside Out purely because I thought it’d be added! Ah well. I wonder what’s going to be added next year? I doubt anything discussed in the rest of this post will be added!
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