The Hunger Games:
Mockingjay – Part 2 (2015) – 8/10
As the rebellion in Panem closes in on the Capitol,
Katniss Everdeen embarks on a mission to assassinate President Snow while she
holds what’s left of her life in the balance. It’s perhaps the weakest of the
four films of the young-adult science-fiction film series, but the anticipated
climax of The Hunger Games retains the same spirit that drove its predecessors
to success. The major factor that holds it back is, as expected, in its sense
of incompletion as a stand-alone film. It’s an ending that lacks a great
beginning, and makes me wish that ‘Mockingjay’ was produced as a single, three-hour
plus epic. Toning down the political commentary for the first two acts, it can
come off feeling like an extended action scene when all its world-building
potential runs out. Stars Jennifer Lawrence, Woody Harrelson, Philip Seymour
Hoffman and many others perform just as great as ever, and through their
characters communicate the value of democracy and civil rights. It’s been a fun
series, and I’m happy it ended here.
Sisters (1973) –
7.5/10
A journalist witnesses a murder from the window of her
Staten Island apartment, but when the police refuse to start an investigation
she seeks the truth for herself and discovers some disturbing details.
‘Sisters’ is among Brian De Palma’s earlier feature films, and while not as
remarkable as many that would come later in his career, it illustrates the
admiration he had for the work of Alfred Hitchcock. I really feel that this movie
is just as much a tribute to the director’s techniques as it is an original
psychological thriller. It’s this approach that makes the film worthwhile by
far, given its performances sit at only a fair standard and most of its
characters aren’t that particularly interesting save for its gripping twist.
‘Sisters’ enjoys toying with audience expectations by gradually shifting from
being a basic murder mystery to an unsettling horror film that delves into the
mind.
*batteries not
included (1987) – 7.5/10
The tenants of a decrepit apartment building are aided by
small robotic aliens in resisting the developers that want to demolish their
homes. ‘*batteries not included’ may not really stand out as anything more than
a standard feel-good movie, but I consider it more than worthwhile for it being
both Brad Bird’s debut script and a fine example of 1980s science fiction. The
influence of executive producer Spielberg rubs off with the film’s slight
similarities to some of the man’s own directed works. While the robotic aliens
that come to be our heroes aren’t given an explanation and their background
shrouded in mystery. The controlled use of special effects places
responsibility more on human characters, all of whom are depicted as
good-willed people who you can’t help but feel for. It’s a small, dated film,
but one with heart.
Mothra vs. Godzilla (1964) – 7.5/10
A giant egg washes up on the beach at the same time
Godzilla awakes from his rest, leading to the egg’s mother, Mothra to come to
its defense. Acting as both a sequel to ‘Mothra’ and continuation of the
Godzilla series, ‘Mothra. Vs Godzilla’ is widely regarded as a fan favorite
despite being one of the earlier instances of these films moving into a sillier
direction. I actually enjoyed the mythology surrounding Mothra, her twin
fairies and the island natives far more than Toho’s signature monster, whose
depiction is limited to a force of destruction. This same destruction however
serves as the basis of the most enjoyable part of the film, the showdown between
the two titular beasts. Special effects are a great step-up from previous
entries and the sheer destruction promised lives up to the series’ reputation.
Explorers (1985) –
7.5/10
After dreaming up a blueprint and constructing a
spaceship with his friends, three young boys heed to a calling to them from
outer space. Joe Dante’s films are usually provide a wonderful experience that
puts you in a great mood and ‘Explorers’ is very consistent with that, however
when often compared with the likes of ‘The Goonies’ and similar examples it
falls slightly short of the mark. Where it succeeds very well is its depiction
of the transitional stage between early childhood and adolescence. That age
where imagination and being carefree comes at odds with responsibility and
maturation. This is especially well communicated by young child actors Ethan
Hawke and River Phoenix. Unfortunately the film falters at the moments where
you’d expect it to succeed the most. Where science fiction typically succeeds
in arousing curiosities towards what’s out there, this film simply veers
towards a rushed, anticlimactic finale that leaves us with more questions than
answers. A fine but uneven film by Dante.
Police Story 2
(1988) – 7.5/10
Following the events of the first film, Ka-Kui finds
himself suffering from his demotion and targeted for revenge by his past
enemies whilst a group of blackmailing bombers threaten Hong Kong. I wish I
could say that ‘Police Story 2’ did much to expand on what the original film
offered, but generally it just tends to repeat established conventions. In
fairness, it’s a formula that works especially well for this film considering
its merging genres between an American-style police-comedy and an Asian martial
arts movie. Jackie Chan, still in his writer-director-star position proves just
as likable as ever for both his prowess as a stuntman and knack for
mildly-cartoonish humour. Where I think the film falters is in repetition. It
mimics the structure of its original very closely, and simply confirms the prior
development of its characters as opposed to expanding. Fortunately this also
means that it promises an entertaining action-comedy experience.
One-Armed
Swordsman (1967) – 8/10
After his arm is cut off in battle, the disciple of a
martial arts teacher seeks out a simple life as a farmer, but finds the
emergence of an old foe and his allegiance to his master holds him back. Among
the earlier films of famed martial arts film director Cheh Chang comes a
dramatic tale about honour that thrills in a number of ways. What’s most
striking to me is the design of its numerous elaborate sets. The Shaw Brothers
Studio spared no expense when it came to making the film’s environment mimic
the look of a stage play, which has an indescribable effect on how the film’s plot
plays out. Jimmy Wang was launched to super-stardom in his role as Fang Kang,
and understandably so. His performance delicately communicates his conflicting
loyalty and anguish whilst also standing out as a great stunt performer. The
film provides more than enough action to please wuxia genre fans and those with
an admiration for effects-free excitement.
The Maltese Falcon
(1941) – 8/10
A San Francisco private detective takes on a shady case
that involves him with a scheming woman and a trio of three criminals searching
for a priceless artefact. ‘The Maltese Falcon’ is renowned for being one of the
all-time greats of 1940s film-noir, and I find it even more astonishing
considering this was John Huston’s very first movie. It’s clear cut proof that
Huston was born to be a filmmaker. Being cited as the first major film noir by
many leads me to appreciate it for popularising its numerous genre conventions.
I love the shady visuals. They enunciate that feeling of suspicion you
associate with any great mystery, and here that’s handled brilliantly. It keeps
you constantly on edge over the extent of truth and lies, and always judging
who’s bad and who’s worse. Humphrey Bogart’s exceptional charisma lets him
realise the character of Sam Spade to the fullest, and illustrates why he was
one of the undisputed kings of the acting community. ‘The Maltese Falcon’ was a
game-changer and holds up extremely well today.
Pretty Maids All
in a Row (1971) – 8/10
While a series of murders are investigated at Oceanfront
High School, a young man blossoms into sexual maturity through the aid of his
teacher, who tries to hide his casual flings with female students. Cited by director
and celebrity cinephile Quentin Tarantino as being among his favourite movies,
I have to say that ‘Pretty Maids All in a Row’ might be written off as trashy.
I think it’s worth mentioning that it’s among the most unique movies I’ve seen
in a while, with its balance of dark comedy, teen drama and mystery. Gene
Roddenberry of Star Trek fame has given us a film that’s hard to describe yet
easy to follow. It strikes a certain relatability with its younger characters,
but then puts ethics to the test and typically leads to an overwhelmingly silly
result. Despite some incredibly predictable outcomes and a lack of any genuine
thrills, I think this film works great as a time capsule to the 1970s and if
you want something that’s cheap but a standout among grindhouse cinema this is
a good choice.
Sharknado (2013) –
6.5/10
Los Angeles is hit by a monster hurricane and drags in a
horde of vicious sharks to terrorise the flooding city. ‘Sharknado’ has become
a cult film and has been credited with reviving the popularity of the movie
that is “so-bad-it’s-good” but I’m not 100% sure if it’s deliberate exercise in
this, or a genuine but failed attempt at real comedy and science fiction. It need
not be said that the film can’t be fairly judged according the more common
criteria. The plot is stretched thin for a film of this length, the dialogue is
on-the-nose, the performances are poor for a few talented cast and the effects
are hilariously bad. The real question is does it entertain? I would have to
say yes. As critical as I am about SyFy Films’ intentions, the result is still
an amusing piece of cinematic schlock and one should be unabashed for enjoying
what it has to offer. I have a feeling the studio really exploits this silly
premise in later releases, so this is only the beginning of my Sharknado
experience.
Lowlands (1954) –
7/10
Somewhere in early 20th century Spain a
beautiful dancer becomes the romantic focus of a domineering aristocrat and a
humble, but lonely shepherd. ‘Lowlands’ is widely thought of as Leni
Riefenstahl’s final film despite her documentary ‘Underwater Impressions’ being
released several decades later. For a production so troubled, ‘Lowlands’ proves
to be a competent effort for the director. Rather than focus on the ideology
and spectacle that made ‘Triumph of the Will’ and ‘Olympia’, Riefenstahl
instead returns to her ‘The Blue Light’ roots by creating something that deals
with love, the strive for happiness and emancipation from tyranny. This is
highly unusual for something filmed in totalitarian Nazi Germany. The
filmmaker’s use of camp inmates leads one to question her ethics, but I think
the final result is a work with positive meanings. Leni Riefenstahl will always
be associated with the Nazi regime, but I do feel she was ultimately an artist
first and this film demonstrates that.
The Evil of
Frankenstein (1964) – 8/10
A penniless Baron Frankenstein and his assistant Hans
flee to the doctor’s family castle in Karlstaad to resume their experiments
with the dead. While still a very entertaining horror movie, the third in
Hammer Studios’ Frankenstein series feels more like its retracing steps already
taken rather a push for further inventiveness like its predecessors. This isn’t
to say that it’s a bad film, but it less ambition involved really shows.
Breaking continuity, I can’t help but speculate that it’s also a partial remake
of the Universal film from 1931, given the resemblances in certain story
elements and especially in the overall design of its sets and creature. Peter
Cushing remains as wonderful as ever, though I don’t think there’s any arguing
that his prowess as an actor carries the film much more than it should have to.
It offers more general thrills that we’re familiar with, and I wish it aspired
to be more than that, but I still have immense faith in what Hammer followed
this with.
Coming Out (1989)
– 6.5/10
A gay high school teacher dating a female colleague to
hide from his true self finds himself confident to accept who he is when he
meets another young man in a bar. ‘Coming Out’ might not really stand out as
much an LGBT drama as much as it does an interesting film relic. It premiered
in East Germany on the very night the Berlin Wall fell, yet still managed to
make its daring statement amid the dying era of communism. Despite that
interesting fact, the movie itself isn’t particularly excellent. It makes good
points about the acceptance of the gay community in a society that had become
stagnant, showcases an interesting collection of East Berlin gay bars, but its
characters are two-dimensional and feel more like personifications of these
statements rather than believable people. It’s a forward-thinking film, but not
a standout piece in this genre.
My Top 10 Movies for October 2016
1. The Maltese Falcon
1. The Maltese Falcon
2. One-Armed Swordsman
3. Pretty Maids All in a Row
4. The Evil of Frankenstein
5. The Hunger Games: Mockingjay - Part 2
6. Sisters
7. *batteries not included
8. Mothra vs. Godzilla
9. Police Story 2
10. Explorers
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