Tag Archives: Movies

Appointment in London / Raiders in the Sky  (1953)    65/100

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Rating :   65/100                                                                       96 Min        U

Predominantly set in a British RAF base of operations during World War II that sees the main characters continually fly sorties over German soil, and leaves us wondering who will make it back and also, due to the number of unlikely things going wrong together with certain lighting effects, who may be masquerading as someone they’re not. I decided to watch this when I realised the lead is played by Dirk Bogard and it occurred to me that I was not entirely certain I could immediately put his name to a face (he is pictured above, along with Dinah Sheridan – who actually just passed away only last year). The comedic ‘Doctor’ series immediately sprung to mind once it started of course (of which he starred in four of the seven films, with Leslie Phillips eventually replacing him) and he carries a definite kind of instant onscreen sympathy and likeability, certainly for his character here who has just achieved his 87th sortie – but will he make it to his final 90th?

The film is successful in putting us inside events on the ground, but less so when it introduces the female character, appropriately called Mrs Canyons, that two of the males will fight over, namely Bogarde’s Tim Mason and William Sylvester’s cocksure ‘Mac’ Baker (he comes across very much like an American 1950’s Clive Owen), and some of the tension in the aerial missions feels somewhat neutered with the way it’s been filmed. The title comes from a future appointment in the capital that some of the pilots hope to be alive to make it to – they do actually explain what the meeting is for, but sometimes I find when everyone is speaking with classic celluloid RAF accents they end up sounding a little like competing chipmunks, and The Red Dragon couldn’t quite make out the details… It doesn’t matter anyway as they all die.

That previous statement is inaccurate. A decent war drama that unfortunately had a few drawbacks preventing it from ever really entering into the hallowed halls of classic British war films, but definitely worth a look in for fans of the genre. Raiders in the Sky is the U.S. version of the title, and interestingly the character of Mason seems to have been based on the ‘Dambusters’ leader Guy Gibson whom co-screenwriter John Wooldridge had served under in the No. 106 Squadron RAF. Wooldridge himself not only successfully completed over ninety sorties, but also set a new record time for crossing the Atlantic, from Labrador to London, of circa 5hrs 46 mins in 1944. He also conducted and scored the music for this film as part of a successful career as a film composer, before tragically being killed in a car accident in 1958 when he was only thirty nine.

Mission to Lars  (2012)    59/100

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Rating :   59/100                                               74 Min    Exempt from classification

As a Metallica fan I thought I’d give this a whirl. It’s a documentary following brother and sister Will and Kate Spicer’s attempt to facilitate the meeting of middle sibling in the family, Fragile X syndrome sufferer Tom, with the person he admires the most in the whole world – Lars Ulrich, drummer and co-founder, along with James Hetfield, of hard rock band Metallica. We get some insights about Fragile X from the parents, Tom’s carer and an expert in the field that they interview, and we learn that some of the things that people with the condition find difficult are changes to their normal routine and loud noises. So, as the siblings conclude half way through, dragging him half way across the world to Metallica concerts in Vegas, Sacramento and Anaheim on the last leg of their world tour, was perhaps not the most ideal way to spend more time with him. Especially not when they add filming him constantly into the mix.

Up until this point, it is very difficult to come close to understanding the other siblings let alone like them (Tom is much more agreeable), and it does beg the question of ‘Ok so you’ve decided to give this a try, but why make it into a documentary?’. We learn that Will is an amateur filmmaker, does this justify the project? Or just make it all the more exploitative? I suppose having cameras around may help sell their idea on the road …

Without giving away what happens, although I did want to see the film through to the end it just really isn’t altogether that interesting. In fact, it’s been filmed in a very cold, clinical manner that detaches the audience to a degree and not enough effort has been made to be either original nor to incorporate much in the way of music or information about Metallica (or indeed terrifically much about Tom and his condition) . Perhaps they were a little miserly when it came to the rights to use their tunes …

Philomena  (2013)    69/100

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Rating :   69/100                                                                       98 Min        12A

Be prepared for this film to make you very angry – not because it is faulty in any way, but because the true story it’s based on, and the way central character Philomena Lee is treated (by the Catholic church, shock, horror), is ghastly, inhumane, and sadly perhaps all too common for girls in her situation at the time concerned – as an effective prisoner in a convent in Ireland forced to watch as her child is given away to a wealthy family for adoption against her will. The film catches up with Philomena (Judi Dench) as an old woman in the present day who has been searching for her son her whole life, when a daughter from a later relationship introduces her to Martin Sixsmith (Steve Coogan – who co-wrote the screenplay along with Jeff Pope, adapting the story from Sixsmith’s novel ‘The Lost Child of Philomena Lee’), a journalist recently made redundant and who, being at a loose end, decides to investigate the case for Philomena and to write an article about the experience for publication.

Here, mixed in with the relation of real events, we find the traditional story arc of Sixsmith from jaded snoot only really interested in getting something into print, to the emotionally involved fighter in Philomena’s corner, and Coogan successfully manages the balancing act of introducing some ameliorating comedy and lightheartedness to the tough storyline. Dench’s Irish accent is one moment spot on, the next wavering, and then it’ll disappear completely, but vocal misgivings aside both leads give very good performances with a script that works overall, is well directed by Stephen Frears (‘Dangerous Liaisons’ 88, ‘High Fidelity’ 00, ‘The Queen’ 06)  and a story that is sure to leave its mark on the audience. See ‘Oranges and Sunshine’ (10) for an even more brutal and heart wrenching tale on similar themes, and also the original ‘Bad Lieutenant’ (92) with Harvey Keitel for a similar contrast between the victim and the sympathiser.

Thor : The Dark World  (2013)    73/100

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Rating :   73/100                                                                     120 Min        12A

The latest Marvel adventure and the second solo film for the heir to the throne of Asgard, just over a year after his Mjolnir wielding antics in New York with ‘Avengers Assemble’. The graphic work is rich and colourful with the continued glamour of the home of the Norse gods of legend featuring heavily, as an ancient and forgotten evil, the dark Elves, reawakens and threatens to cover all of the nine realms (which includes ours incidentally) in eternal darkness, and only Chris Hemsworth (Thor) and Natalie Portman (Thor’s astrophysicist lover when he isn’t busy thumping things with his hammer) can stop them pesky Elves. But at what cost to Earth, Asgard and Thor’s sex life?

All the cast from the previous adventure return to reprise their roles – including Tom Hiddleston as Loki, the likeable supervillain predominantly equipped with one-liners, and Anthony Hopkins as Odin himself (I’m sure he has a line ‘Odin be praised’ in ‘Beowulf’ coincidentally). Initially, the film exhibits a lot of action and proceeds at a decent pace, but there is the distinct air of having seen such fare many times over in Marvel and other recent films and some of the characters, namely the scientists, are decidedly carefree upon discovering an inter dimensional portal (though I must admit, The Red Dragon does find the idea of Natalie Portman solving differential equations somewhat … exciting) but it isn’t too long before the story becomes more engaging, and Marvel once again display their trademark of visually remarkable set pieces with a solid helping of good comedy.

Another comic book adaptation to potentially enjoy more than once – be sure to stay for not just the first post credits scene, but also the second post credits scene which appears right at the very end (the wait is not terribly long for it though). Helmed by veteran TV director Alan Taylor (‘Game of Thrones’, ‘The Sopranos’ – also due to take charge of the Terminator reboot in 2015) watch out for the mention of Asgard Productions in the rolling credits too  …

Press interview with the cast followed by one of the B rolls showing off the location shots in London, Surrey and Iceland:

Cloudy with a Chance of Meatballs 2  (2013)    73/100

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Rating :   73/100                                                                       95 Min        U

The sequel to 2009’s ‘Cloudy with a Chance of Meatballs’ which despite very much flying under the radar was a really great film, making it onto several lists of the ‘top 50 animations of all time’ I’ve seen published since (like this one). The next instalment begins with the clean up operation of central character Flint Lockwood’s home island, after the inventor last time around peppered the area with super sized food dripping from the heavens courtesy of one of his more bananas, and yet genius, schemes (thus the title, and his pearing up with saucy meteorologist Sam Sparks). Enter traditional bad guy and cereal capitalist Chester V who intends to use Flint’s invention to steak a claim on his own evil food bar empire – all via the Foodbar 8.0, the only problem is he was Flint’s childhood inventing idol when he was growing up, will that boyish admiration be left in tatters?

Chester and his company Live Corp are a not too subtle parody of Apple (and the latte Steve Jobs, who also co-founded animation giant Pixar {Cloudy is from Sony Pictures Animation}) – which not only fits thematically but is arguably comedic with shadier undertones for a company currantly sandwiched between tax avoidance scandals and a price rigging pickle, not to mention their support for SOPA and PIPA… All satire aside though, Chester is one of the weaker ingredients in the film, and he comes across as fairly creepy – more akin to something out of South Park than the loveable creatures Cloudy normally serves up. Indeed, the visual richness and appeal of the animation, and the filmmakers sense of humour, is really where these films stand out – the creation at Live Corp of a zero emission car that runs on ‘cute’, for example, and the shot of the tank being opened up to uncover a cuddly sort of kitten squashed into it – but full of beans and happily purring away, its huge eyes gazing lovingly up at the driver. Nice.

Despite Chester V, Flint becoming a little too weak for a central character, and an over reliance on monkey jokes via his close friend Steve (who is indeed a monkey) eventually the film comes into its own with a wonderful story arc that sees all the food from the previous film literally come to life Jurassic Park style, allowing the animators to really put their creativity to the test – generating a visual feast for the eyes. Flint returns to the island to get to the root of the problem, along with several of the characters from the first film – his father, Sam Sparks, Manny, Brent and of course Steve, but on their adventure they encounter a new companion, Barry, the next stage in culinary evolution (pictured above, with their first meeting below) who turns out to be one of the best helpings of the series, and I think I speak for all the adults in the audience when I say – I WANT A MOTHER FUCKING TALKING STRAWBERRY THAT HIDES IN MY BACKPACK AND SAYS ‘MOOOOOOO?’!!!

Despite the film’s early weaknesses and the slight leekage of interest, I’d still fallen in love with it come the end, and judging by all the young sprouts in the audience running around dancing at the end credits, they relished it even more than I did. Bill Hader stars as Flint, with Anna Farris (who sizzles perfectly in the role) as Sparks, and James Caan, Will Forte, Andy Samberg, Ben jam in Bratt, Terry Crews (replacing Mr Tea) and Neil Patrick Harris rounding out the rest of the support. There is a brief post credits scene too. Mooooooooo?

One Chance  (2013)    35/100

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Rating :   35/100                                                                     103 Min        12A

I’m very tempted to say James Corden has already had his one chance with ‘Lesbian Vampire Killers’ (09) which was one of the direst films I have ever seen in my life – no hyperbole, but he at least has the saving grace of not having been involved with its screenplay. Here, he embodies the opera singer Paul Potts who rose to international prominence by winning the first ever ‘Britain’s Got Talent’ TV competition in 2007. Now, given that it is painfully (perhaps even disturbingly) obvious here that it is not him singing and that he equally cannot do the accent required (all the more emphasized by the fact he is surrounded by actors who either can or for whom it is their natural accent anyway. Bizarrely Potts is depicted as growing up in Port Talbot in Wales here and Corden’s lack of anything approaching a decent Welsh accent is astounding – and yet Potts is actually a Bristolian and not only didn’t move to Wales until later on in life, but also does not have a Welsh accent, so if they hadn’t butchered his real life story Corden’s accent would have been fine. Crazy) the reasons for his casting would seem to be whittled down to naught more than the extra layer of insulation he has lovingly nurtured (notwithstanding the Tony award he won in the States last year, minor detail). Something which we are visually treated to in all its fleshy glory on more than one occasion.

Was it not possible to find a vocally gifted actor that could just shove a pillow up his jumper? Or a young opera talent who could passably pull off the dialogue? Actually, just the pillow singing by itself would be more believable – unfortunately the leading man leads this film straight down the pan, and it is only due to the supporting cast that it manages to deliver any sort of reward or emotional engagement whatsoever, with most of the first half just cringe worthy. Alexandra Roach (pictured above) is wonderful, and it is her that’s largely responsible for saving the movie from complete incineration, together with a bit of help from Colm Meaney, Julie Walters and Mackenzie Crook. The fact that the film also takes enormous liberties with the actual life of Potts, including not mentioning previous employment with local government in Bristol for seven years and multiple opera tours before appearing on television, together with the knowledge that the movie is partly produced by the man behind the talent show Mr Simon Cowell himself, just drives the final nails into its coffin.

One of the other producers for the film – big Hollywood player Harvey Weinstein, aka ‘The Punisher’, was actually responsible for pitching the role to Corden, but then in rehearsals immediately called his main actor ‘tone deaf’ before hiring Potts himself to do the voice over (he should really have just played himself) and then, astoundingly, having this to say to the MailOnline about the final product – “James is definitely up for a Golden Globe or Oscar: it’s that kind of performance.” Is he deliberately trying to sabotage his career? Corden is actually due to appear in two upcoming big budget films where he will be singing, so this slight debacle will probably be forgotten about soon enough …

When I began writing this review, it became apparent whoever care takes the imdb page for the film was also not a fan of it, with any clicks around the top of the page directing to different lesbian films. Sadly, these links have been removed now – but to save the affront to your patience that watching this film would entail, you can find the clip below of the actual performance from Potts that got him his place in the ‘Britain’s Got Talent’ show (apparently it’s one of the most watched clips on YouTube) thus extracting the best bit from the movie, and another more recent clip from the same show which is also worth a gander …


 
James Corden is definitely up for a Golden Globe or Oscar it’s that kind of performance.”
Read more at http://www.entertainmentwise.com/photos/129884/1/James-Corden-Labelled-Tone-Deaf-By-Producer-On-Set-Of-One-Chance-Film-#6SuteRmTRPUS3Jyd.99

Bad Grandpa  (2013)    61/100

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Rating :   61/100                                                                       92 Min        15

Normally, trailers for films don’t usually wet The Red Dragon’s appetite much, partly due to overexposure and partly due to having a somewhat voracious appetite, but the ad for this did have me looking forward to seeing the full movie. The difference is though, that with the trailer the fact that this involves pranks on real people is not so prevalent on the consciousness of the audience, whereas it is foremost on one’s mind when watching the film and it’s not so easy to switch off completely and enjoy it – although all the people whose faces aren’t blotted out did give their permission to appear in the final edit.

This is of course the latest Jackass film, one with a slight alteration to their previous movies as here Johnny Knoxville dresses up as the titular Bad Grandpa, Irving Zisman, and goes on a road trip with his grandson, played by Jackson Nicoll. A lot of the gags are funny, just not as much as I was expecting them to be – all except for the beauty pageant scene, which never failed to get a laugh in the cinema when the trailer was on and despite seeing it many times over, it is still quite hilarious. A slightly higher rating is probably merited when watched with a couple of beers and your mates …

Closed Circuit  (2013)    63/100

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Rating :   63/100                                                                       96 Min        15

A thriller based around two lawyers assigned to a high profile terrorism trial in London. The lawyers in question are played by Rebecca Hall and Eric Bana – with Julia Stiles, Riz Ahmed, Ciarán Hinds, Jim Broadbent and Anne-Marie Duff rounding out an impressive cast list as the various journalists, MI5 agents and other interested parties that get involved. It’s a jittery start with somewhat ropey editing attempting to set the scene as the legal team are given separate investigations to follow in order to represent their client. A client who stands accused of helping to orchestrate a suicide bombing in the city, but his defense are legally bound to keep their investigations secret from one another when the trial is separated into a public hearing and one behind closed doors – all in the interests of national security.

To be honest, whenever I watch a film with Rebecca Hall it takes me a while to get over just how strikingly beautiful she is and actually pay attention to what’s going on, and here she displays a certain vulnerability – a subtle nervousness that suits her character well as she tries to confront the difficult scenario she is faced with. The acting all round is fine, and the middle of the film does generate some real tension, it’s just not quite skillful enough to make it anything special in the end.

Ender’s Game  (2013)    75/100

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Rating :   75/100                                                                     114 Min        12A

I loved this film. The premise seemed somewhat airy fairy – a young kid is selected as humanity’s best hope against an invading alien species that almost wiped us out the last time they dropped by to say hello, but actually it is delivered to us in quite a believable and entertaining way. Something anchored very strongly by Harrison Ford’s performance as the sort of grand training colonel, lending the necessary gravitas to the set up. Asa Butterfield as Ender is good, as are all the supporting young actors. There’s a decent amount of philosophy to chew on throughout the film, and the only real complaint to raise is the slight hiccup with a few minor editing choices for the last minute or two of the film – these overall don’t really matter, but it is a shame as they sort of define the feeling you walk away from the film with. Similar in essence to ‘The Hunger Games’ (12) and just as good.

Walesa – Man of Hope / Czlowiek z nadziei  (2013)    69/100

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Rating :   69/100                                                                     127 Min        12

A very interesting film that charts the rise of electrician Lech Walesa, from dockland worker in Gdansk in the early seventies to the co-founder and leader of the first independent trade union movement in Poland (and indeed the Soviet bloc) over the next two decades, and eventually the winner of the Nobel peace prize and the presidency of the Polish nation. Internationally respected director Andrzej Wajda had in mind to simply relate a factual account of events, without the traditional sort of narrative that we might expect from a Hollywood biography – and the result is a fascinating story, albeit one that does lack a certain emotional connection at times.

Mixed in with the relation of events chronologically is an interview with Walesa that seems to try and provide insights into his character not given elsewhere, but here the film is at its weakest, with the meaning a little too ambiguous and unclear (anyone under the microscope in an interview is already giving us an out of context glimpse of their personality, likely with an agenda behind their answers) and the heavy stylised use of cigarettes – smoking certainly fits into the historical context here, but with the interview it serves no real purpose, and for a film decrying the corruption of big business it seems markedly odd to be kowtowing to one of the most pervasive, corrupt and destructive businesses there has ever been.

Notwithstanding the occasional drifting of one’s attention, the tale is a fascinating and important one, promoting the rights of the common man as well as the power of self belief and determination to accomplish truly great deeds, as we watch Walesa battle against severe, and at times deadly, political forces. Robert Wieckiewicz as Walesa is believable throughout and seems perfect for the role, with Agnieszka Grochowska as his beautiful but constantly stressed out wife just as good. Real archive footage was used throughout – sometimes with Wieckiewicz’s face digitally imposed on top, and the style of the film very much mirrors one shot in the seventies.