Midnight Run

From its cheesy logo, synth-heavy score and buddy-movie premise, Midnight Run could have easily been lost amid the flotilla of similar films released in the 80s, but its multi-faceted plot, quick-fire dialogue and outstanding performances from leads Robert De Niro and Charles Grodin set this apart from the rest. De Niro plays Jack Walsh, an ex-cop turned bounty hunter on the hunt for Grodin’s Charles ‘the Duke’ Mardukas. Initially this looks like it’ll be a cat and mouse chase film, with Walsh spending the majority of the screen time hunting his prey, but after tracking him down fairly early on, the film becomes more of a road movie, as Walsh has five days to get the Duke from New York to Los Angeles, with the FBI, the mob and a rival bounty hunter all after the Duke for themselves.
De Niro is at his light-hearted comic best, just watch him practicing flashing a stolen FBI badge, and Grodin is a delight as Walsh’s polar opposite talkative Robin Hood figure, stealing from criminals and giving to charity. Other comic touches and performances and well played, from the beleaguered FBI officer Alonso Mosely, the mobster who seems to think the whole job is a bit of a holiday, and the inept bounty hunter Marvin and Joe Pantoliano’s increasingly irate bail bondsman. No-one does screaming anger quite as well as Pantoliano. This is a little known gem, those I watched it with had never heard of it, let alone seen it, but every one of them loved the film, and it’s worth a watch for the litmus configuration scene alone, Grodin seriously needs to be in more films.
Choose film 8/10

Children of Men

A fairly standard prophetic drama is elevated above an otherwise also-ran status by an interesting concept (no-one has given birth in 18 years) and an outstanding cast (Clive Owen, Julianne Moore, Michael Caine, Chiwetel Eijofor, Pam Ferris, Danny Huston), as well as Oscar nominated cinematography, an award criminally awarded to Pan’s Labyrinth instead. It is this camerawork, most noticeable in several uncut extended tracking shots involving moving vehicles, gun shots and wounds, crashes, crowd scenes and explosions, that justify its inclusion upon this list, and makes Children of Men a must see, if just for the sheer level of technical accomplishment on display.

Choose film 7/10

True Romance

Arguably one of the defining movies of the nineties, directed by Tony Scott, written by Quentin Tarantino, starring a cornucopia of iconic actors and featuring an air guitar-tastic soundtrack including Aerosmith, Billy Idol and Soundgarden, True Romance is nothing short of pure entertainment. The story, Christian Slater and Patricia Arquette as newlyweds on the run from her past and his mistake, takes a back seat (in a pink Cadillac) to a supporting cast of scene-stealing character actors including Gary Oldman as pimp and wannabe Rasta Drexl, Dennis Hopper as Slater’s father, Christopher Walken as a Sicillian mobster and Brad Pitt as stoner Floyd who, with only a few lines of dialogue and a near-immobile part walks clean away with the film. Not to mention Samuel L. Jackson, Michael Rapaport, Tom Sizemore, Chris Penn, James Gandolfini and Val Kilmer (as Elvis no less), this is worth watching just for the cast list.
Choose film 8/10

Men in Black

Men in Black is a universally adored film, I think. But why is it so loved? What is the secret? Well MIB is that rarest of creatures, a film that is all things to all people. It is not simply a big budget summer blockbuster action movie, nor is it just an effects-driven sci-fi film, or a well crafted character piece, a buddy-cop movie or an offbeat bureaucratic comedy. It is all these things and more, telling the story of Agent J (Will Smith, now a fully fledged movie star after Bad Boys and Independence Day) a new recruit to the secretive Men in Black, an organisation tasked with managing the many alien lifeforms on Earth, without the knowledge of the general public. In true buddy movie form, J is partnered with Tommy Lee Jones’ grizzled yet laconic Agent K (who may well be too old for this shit), but I don’t remember Riggs and Murtaugh driving upside down in a tunnel, Tango and Cash delivering an alien squid baby or Turner and Hooch getting covered in slime – OK, bad example.
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Winter’s Bone

Soon to be slinking her way into Rebecca Romijn’s azure shoes as a young Mystique in X-Men First Class, Winter’s Bone sees newcomer Jennifer Lawrence as 17 year old Ree Dolly, charged with finding her meth-cooking runaway father, or be turned out into the woods after he placed their house up as collateral for his bail. Ree, who also cares for her 12 year old brother, 6 year old sister and mentally ill mother, sets about questioning her father’s relatives and associates, but is told to stop asking questions and just leave the matter alone.
Lawrence was nominated for the Oscar for Best Actress, losing to Natalie Portman for Black Swan, but I’m not sure why. Yes, it’s a difficult character, appearing in every scene and dealing with an awful lot of frustration, anger and desperation, but I don’t think it’s as worthy as the other nominees on the list, it appeared as it showed a promising new talent that could be nurtured by a nomination. I don’t disapprove of this technique of bringing up new actors, but it’s not what the Oscars are for.

The film is not so much slow as it is unhurried, meandering from Ree’s quest as she teaches her siblings basic survival skills, how to shoot, hunt and prepare a squirrel for dinner, showing that for Ree life does not stop just because she has something to do.

Choose film 6/10

Crash (2004)

An all-star cast playing characters from all walks of life who, over a period of a couple of days, become intertwined with one another’s lives through circumstances distressing, joyous, criminal and fatal. No, I’m not talking about a masterpiece lovingly crafted by Paul Thomas Anderson or Robert Altman, instead a thoroughly commercial, awards-baiting crowd-pleaser from Paul Haggis, largely depicting themes of racism and prejudice in Los Angeles. Featuring a pair of car jackers (Chris ‘Ludacris’ Bridges & Larenz Tate), a racist cop (Matt Dillon) and his rookie partner (Ryan Phillippe), dating police detectives (Don Cheadle & Jennifer Espoisto), a TV director and his wife (Terrence Howard & Thandie Newton), the LA district attorney and his socialite wife (Brendan Fraser & Sandra Bullock), a Persian storeowner and his family and a Mexican locksmith (Michael Pena), as well as secondary characters including William Fichtner and Keith David, it is clear that Haggis wanted to make a film to be discussed, to be seen by many and considered for awards a-plenty, but not necessarily a good film. The issues he discusses are important and the situations topical, for example a black director being told to make one of his characters ‘talk blacker’, or a district attorney concerned about his public ratings after being mugged by two black criminals, but the revelations are shallow and the characters stereotypical, none of them deep enough to warrant a great deal of screen time, in contrast to Anderson’s Magnolia or Altman’s Short Cuts. That said, the film is enjoyable, the cast do well and some of the dialogue is excellent, so go ahead and watch it anyway. I could argue that it didn’t deserve the Oscar for Best Picture, but up against Capote, Good Night and Good Luck, Munich and Brokeback Mountain I don’t really know who is more worthy.
Choose film 6/10

The French Connection

The French Connection started an obsession of Hollywood’s with gritty cop thrillers continued with Serpico and Dirty Harry (both arguably owing their places upon the list to the French Connection). Deciding to portray more than just car chases and shoot-outs, instead including the mind-numbing mundanity of spending hours listening at a wire tap, staking out a suspect’s house and dismantling an entire car to its base components, as well as the gritty violence almost required to make an arrest distances this far from more modern-day blockbuster police movies such as Bad Boys or SWAT. It’s a wonder we’re not shown policemen filling out a mountain of paperwork. Not to say that the shoot-outs and car chases in the French Connection aren’t incredible, with the chase against a criminal-carrying overground train being both the highlight of the film and possibly the greatest car chase in movie history.
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The Truman Show

The central concept of the Truman Show, that a man (Jim Carrey, in one of his first reined in roles) is being unwittingly filmed every minute of his life for a reality TV show/, is genius, and on the surface appears well thought out. Round the clock feed is funded by blatant in-show product placement, the town of Seahaven where Truman lives is encased in a giant dome, complete with ocean, and almost everything in the show is set up to keep Truman satisfied with living there, from regular news bulletins and reminders from friends that they live in officially the greatest town in the world, to travel agents displaying posters of planes being struck by lightning, proclaiming “It could happen to you!” The shows creators have even created a fear of water in Truman, by having his father drown and making it Truman’s fault, but if you look closer there are some fairly major faults with the show. Firstly, it makes sense to give Truman’s best friend a menial job, as it requires little skill, but why make his wife a nurse? Surely it’s possible that she may need to see to someone in the presence of Truman, as shown when he goes to see her at work. This is also true of the coach-driving extra, unable to drive a coach, but the main issue here is why there is a coach station at all, when it’s never going to be used, and there not present in every town, even in the US.
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Indiana Jones and the Temple of Doom

Within the Indiana Jones saga, each of the films has a specific role. Raiders is the leader, the well rounded, talented, good looking jock that everyone likes, admires and wants to be friends with. Crusade is the jokester, a tad immature, but loyal and loveable nonetheless. Skull is the one no-one wants to admit is in the gang, the sci-fi nerd with the stupid theories that tags along despite being the butt of all the jokes. And Temple takes life a bit more seriously, is a bit more intense, or so I’ve always remembered. When I’ve thought of it, I tend to remember the dark, mythological plot, involving sacred stones, voodoo, mass child kidnapping and slavery, yet upon rewatching I picked up on the lighter notes, the offsetting of this darkness with two of the series’ more comic (and irritating) supporting characters, various light-hearted moments (generally involving elephants) and a physics/logic defying rollercoaster minecart ride.
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The Blair Witch Project

I needed a short film today as I was a little pushed for time, so the 74-minute Blair Witch Project was perfect, until I realised I was watching a horror film alone in an empty flat immediately before going to bed, not always a wise decision. You’ll be able to tell when I’m really busy when I post about watching La Voyage Dans la Lune (14 mins) or the Cat Concerto (8 mins).
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