Monkey Shines
(1988) – 8/10
A quadriplegic man inherits a trained monkey with a
history of experimentation to help him with day-to-day life, only to find
himself forming an unexplainable psychic bond to it and their relationship
taking a dark turn. George A. Romero will likely be remembered predominantly
for his pioneering role in the zombie genre, but his great achievements don’t
end there. ‘Monkey Shines’ utilises an almost gimmicky premise and transforms
it into a strong psychological thriller. While I don’t think it has any performances
that particularly stand out, it tends to succeed on more technical grounds.
There’s a lingering question over how far Allan’s state of thinking is
influencing Ella, or if it’s exclusively her doing. Numerous tonal shifts
jarringly catch you off guard, particularly with its transition from a
heart-warming tale about disability to a full-blown horror flick. I think the
film will best be remembered as an excellent case study on animal training for
film. Credit goes to Boo the monkey, its finest star.
Ghidorah, the
Three-Headed Monster (1964) – 7.5/10
A princess possessed by a spirit from a dead planet warns
the Earth of King Ghidorah’s arrival, leading to a push for Godzilla, Mothra
and Rodan to work together to fight the greater evil. I wish I could say that I
saw this movie under ideal circumstances, but the fact is the film’s rarity in
Australia pushed me towards a low-quality online viewing. Regardless, I was
enthralled in much the same way one would ever be watching Godzilla movies.
It’s the first instance of these movies really taking on the quality of being
an excessive monster mash. A totally
out-there tale and four creatures brawling in rubber suits. While it does often
really push the boundaries of its humour, I think that overall it’s a fine entry,
particularly for introducing its titular character to the long-running
franchise. Hopefully someday I’ll get to see it again under a better standard.
Dark Age (1987) –
8/10
When a giant crocodile starts killing the local populace
in the Australian outback, a park ranger and two local guides set out to
capture it. ‘Dark Age’ is a wonderful example of Ozploitation, and in that
regard it isn’t without some element of heart that puts it above the usual
exploitation film experience. While I would consider it first and foremost to
be a monster movie there is a certain ideology to it that puts it above the
usual harvest. Despite the horror movie violence, it takes an interesting
stance in favour of conservation and respect for the wildlife. The use of
setting is great too, making a great use of both the sparse outback landscape
and the unsettling darkness of the swamp. I appreciate the movie’s
incorporation of Aboriginal attitudes towards nature, which are best revealed
through surprisingly strong Indigenous cast members accompanied by the great
charisma of John Jarratt.
Ben-Hur (1959) –
8.5/10
A Judean prince is betrayed by his Roman friend and
condemned to a life of slavery, and swears for revenge and begins to prepare
his return home. It’s one of the biggest movies of all time, a spectacle of
scale that few others could ever compete with, one of the most significant
remakes and a high point for both director William Wyler and star Charlton
Heston, and only now did I just see it. I don’t know what held me back all this
time, but I’m happy to say I finally sat down to watch MGM’s Biblical epic.
Admittedly I liked Cecille B. DeMille’s ‘The Ten Commandments’ a lot more, but
this film masters those unmistakeable traits of Classical Hollywood epics:
Fantastic imagery, plots with immense scope and length, character-driven tales
complimented by star power and hugely thespian sets. The cast perform great,
the score brilliantly emphasises the sheer immensity of the production, and the
3.5 hour length never feels slow. I’m amazed by how filmmakers like Wyler
manage to coordinate such a large projects to the achieving their best. It’s a
standard that’s rarely met.
Sherlock Holmes: A
Game of Shadows (2011) – 6.5/10
Sherlock Holmes reunites with his partner Watson to take
on a sinister professor who’s linked with a series of terrorist attacks. I
really loved Guy Ritchie’s 2009 ‘Sherlock Holmes’ and feel it’s one of the best
movies from a generally weak cinematic year, but I think this sequel
demonstrates that it really should have been a standalone effort. It’s not that
the film is poorly constructed, but rather it has to exaggerate its
predecessor’s most memorable qualities to, ironically, stand on its own two
legs. Robert Downey Jr and Jude Law commit themselves as much as ever to their characters,
albeit it’s apparent that the eccentricity of this version of the iconic
detective is given an irritating focus. Where the film falters most is in
genre. It feels all too much like an over-stylised action-comedy rather than a
mystery, which I think is a major disservice. Decent entertainment, but an
underachievement for a gifted filmmaker.
The Witch (2015) –
8/10
Set in 1630s New England, a devout Christian family
isolated on their farm deep in the wilderness fall victim to a demonic force
that divides and conquers them. ‘The Witch’ is an utterly haunting movie that
can’t be compared with much of the horror that’s made today or ever has been.
The film’s greatness is the outcome of a variety of techniques used
meticulously, illustrating writer-director Robert Eggers’ talents with the
medium. Its gloomy visuals, eerie use of sound, gradual unveiling of
information and an appropriate villainizing of the natural environment
collectively amount to an unsettling experience. Perhaps more admirable is how
well-researched this story is, with its harrowing depiction of 17th
century religious hysteria, the mythology of the witch and the harshness of
early colonial life. ‘The Witch’ is often subtle, but keeps you on edge with
lingering questions and investment in its many characters.
Breakfast at
Tiffany’s (1961) – 8/10
An immature, materialistic and gold-digging New York
socialite finds her attitude towards life and the world changing when a young
man moves into her apartment building. Based on the novel by Truman Capote,
‘Breakfast and Tiffany’s’ is one of the shining examples of the romantic-comedy
genre. When modern examples prove irritatingly formulaic, this classic takes
the approach of a bordering-on character study of Holly Golightly. While many
feel she was miscast, I think Audrey Hepburn shines in the role and eloquently
expresses the shallowness of her character as well as the adult she transforms
into. While the humour is generally upbeat and charming, I think the film
succeeds far more on an emotional level by drawing your sympathies towards
numerous different characters, save for Mickey Rooney’s portrayal of Mr
Yunioshi, which remains hilarious today for all the wrong reasons.
Guns, God and
Government World Tour (2002) – 7/10
A full live show during Marilyn Manson’s tour following
the release of ‘Holy Wood’ and a montage of backstage antics. As a die-hard fan
of this band and a major admirer of its eponymous front man, I have to admit I
was surprisingly underwhelmed by this release. As a concert film, does it
deliver? Definitely. It’s well edited, features a great selection from the
band’s catalogue up to that point and really demonstrates how excellent a stage
act this band was in the 90s and early 2000s. Where it falters is in its dual
advertisement as a ‘behind the scenes documentary’ which in effect is little
more than a disjointed collection of various clips. I think this movie had
immense potential had its two features been re-examined and re-edited to form a
greater piece. Marilyn Manson is amazing, but that fact isn’t realised to its
fullest here.
Death Rides a
Horse (1967) – 8/10
A young gunfighter out for revenge against the gang that
killed his family forms a troubled alliance with an ex-outlaw that wants his
own payback against the same people. The spaghetti western has its unique place
in film history and it’s a privilege to see one of its most well-known entries.
‘Death Rides a Horse’ is a great standard for any western overall, thanks to
fine performances by Lee Van Cleef and John Philip Law, a great use of the
Italian landscape and riveting action sequences. For its atmosphere I think
it’s crucial to pay note to Ennio Morricone’s score. It’s hard to describe its
mood, but it pays off. The character drama is also wonderful, with both Bill
(John Phillip Law) and Ryan (Lee Van Cleef demonstrating their convictions, but
play off one another at the same time. A dramatic and action-packed spaghetti western,
go see it.
Zero Day (2003) –
8/10
Two deeply disturbed adolescents document their
preparation for an armed assault on their local high school. When Columbine
happened in 1999 it brought up a lot of questions on the influences of youth
violence, most of which were incorrect. ‘Zero Day’ makes an effort to answer
some of these questions and it arguably does a much better job than the
American media did, all the while being a plain disturbing film experience
irrespective of its basis in recent history. Where it succeeds is its taking an
approach that isn’t too judgemental. Shot on a handheld camcorder, it gets very
personal with its two leads, Andre and Cal. By exploring their methods, motives
and confessions my interpretation is that it’s driven by a combination of
teenage confusion and frustration. This movie is unsettling to watch,
particularly during its mass shooting sequence, but I do think it’s an
important movie that suggests we can’t simplify why these kinds of events
happen.
Inferno (1980) –
7.5/10
An American studying in Rome and his sister living in New
York investigate a series of killings that a linked together by tales from an
ancient book. It might not be as acclaimed or nearly as well-known as
‘Suspiria’ but the second of Dario Argento’s loosely-connected Three Mothers
trilogy is a fine example of Italian horror. It’s imperfect, but does
brilliantly in some respects. The film feels almost like a merger between a
supernatural mystery and a bloody piece of exploitation bound to appeal to
those with varied tastes for their horror viewing. While it occasionally
suffers from some narrative incoherence and isn’t always sure whose story its
meant to be telling, it has an aesthetic quality that keeps you engaged due to
truly rich visuals, great colour selection and a steady incorporation of witch
coven mythology.
The Big Short
(2015) – 8/10
Three stories based in the world of high-finance follow
those that predict and act upon the impending collapse of the housing bubble in
the mid-2000s, leading to the global financial crisis of 2008. While it’s
unsurprising that many of the details behind the events preceding the big crash
are hard to digest ‘The Big Short’ deserves acclaim for its ability to take on
a topic of this size while being comical, attentive to detail and making its
message abundantly clear. The banks were fraudulent, played with people’s
livelihoods, the promises of the American dream and ultimately got away with
all their wrongdoing. I appreciate how well-researched the film is and how
committed it is to educating. For a seemingly impersonal approach, I was amazed
at the kind of change seen in many of its characters, especially in Mark Baum
(played wonderfully by Steve Carrell). The film’s dark comedy is cheeky, but
works at inviting the viewer into the more intricate world of the US banking
system in a way that’s both entertaining and full of lessons.
Krampus (2015) –
8/10
After a young boy has a bad Christmas he unknowingly
summons a demon that punishes those that have lost the holiday spirit.
‘Krampus’ sometimes feels like an attempt to live up to the darker Christmas
classics of the past and usually it does pretty well, but even in its
self-awareness I think it’s actually worked against its own potential in some
way. Not being so much a straight-up horror movie, but more of a horror-comedy
it takes on the nature of a mockery, which alongside its genuinely scarier
elements feels a bit uneven. A majority of its characters subscribe to some
kind of stereotype, usually with very comical results. However it’s where
thrills are meant to take the lead that this comic joy restricted what could
have been. Nevertheless it still proves a pretty wild experience full of
imagination, a great sense of atmosphere and plenty of humour in the right
places.
Night of the
Creeps (1986) – 8/10
An alien brain parasite begins infecting the local
populace and forces two geeks to battle deadly zombies before they infect
everyone at their college. I’m not sure why ‘Night of the Creeps’ isn’t more
widely known outside of the film community, because it really deserves a lot
more mainstream attention. It has every distinctive feature that makes a great
1980s horror film, and even takes it one step further by paying homage to the
monster and alien invasion movies of the 1950s. This is observed through its
stylistic blends through combining themes of much older films with the
beautifully bloody effects seen in its contemporaries. While I think it’s very
much a movie lover’s movie, it does have an appeal to a broader audience by
telling a relatable tale of a passive geek seizing the day. It’s gruesome joy
best for those with an appreciation for genre.
Mr. Mom (1983) –
7.5/10
After he’s laid off from his job, a man switches roles
with his wife to become a stay-at-home dad, something he finds more challenging
than he expects. Prior to his success with more serious films like ‘Batman,’
Michael Keaton was a highly competent comedy actor and ‘Mr. Mom’ exemplifies
this. I wasn’t expecting much above slapstick humour, but was pleasantly
surprised by its comedy and at times I even found it to be a compelling tale of
family. Deriving its joys predominantly from a series of eccentric characters
that all occupy their own littles niches within the plot and the exaggerated
antics of its central character, what’s pleasing is its pockets of drama
embedded throughout. Michael Keaton is charming as Jack and plays off his
skills as both a dramatic performer and a comedian offer his co-stars.
Hacksaw Ridge
(2016) – 8.5/10
Desmond Doss, an American Army Medic who refuses to kill
on grounds of his Christian faith becomes a hero in his own way during his
service at the Battle of Okinawa. Mel Gibson’s first feature as a director in
ten years is so satisfactory is his best film since ‘Braveheart’. This is where
Gibson’s often controversial dedication to religion has really paid off, and I
had a lot of doubts over it too having concerns it would be preachy and
in-your-face with its ideas. While this does prove true to an extent, it’s
totally in place by its promoting the film’s anti-war moral message and works
brilliantly at developing Doss as a character. Andrew Garfield has delivered
the best performances of his young career as the hero of this tale, and is
wonderfully supported by a number of names from Hugo Weaving to Vince Vaughn. The
second half of the film features some of the most intense and graphic war
scenes I’ve ever seen in a major Hollywood picture, but amid all the chaos it
never loses sight of the heart of the story. ‘Hacksaw Ridge’ is a great
reminder of why we should respect the fallen and is easily one of the best
films of 2016.
True Grit (1969) –
8/10
A stubborn teenager seeking vengeance for her father’s
murder works with a hard-as-nails U.S. Marshal and a Texas Ranger to track the
culprit down. Whether you see this as one of the great John Wayne westerns or
just ventured out to see it in light of the more recent adaptation by the Coen
brothers, ‘True Grit’ is a fine western. Although it seemed the genre was
really showing signs of weariness by the late 60s I think this shows that the
western still has kick in it when left in the right hands. Wayne delivers an
excellent performance as Rooster Cogburn, a role that feels like a merger of
the macho heroism of his earlier westerns and the softening that comes with old
age. Taking home an Oscar for this, Wayne really does tower over everything
else. I loved the cinematography of this film too, with some shots resembling a
great landscape painting and wonderfully giving us a vivid picture of the Old
West environment. Though I’d probably gravitate towards the Coens’ movie first,
this remains essential viewing for Western nuts.
The Phantom of the
Opera (1925) – 7.5/10
An insane, disfigured man living in the catacombs beneath
the Opera of Paris seeks out the love of a young singer while terrorizing the
crowds. Widely remembered as one of the most significant horror movies of the
silent era I do have to admit that ‘The Phantom of the Opera’ isn’t one of my
absolute favourite horror movies, but it’s something I’ll extend an immense
gratitude to regardless. It’s most notable for featuring ghastly makeup for The
Phantom designed by its star Lon Chaney, but I think the appeal sits in a lot
of other things. While its titular villain is undoubtedly a force for evil, I
actually appreciate it taking somewhat of an empathetic approach. He’s more a
victim of circumstance than something more diabolic. Making use of numerous
different colour filters, elaborate sets and a haunting score, it’s definitely
something to check out if you’re interested in the powers early cinema had.
Where to Invade
Next (2015) – 8/10
In the search for ideas to make America a better society
Michael Moore ‘invades’ a number of other nations with the plan to bring their
best qualities back home. Despite much of the criticism levelled against Moore
on grounds of left-wing bias and personal privilege I’ve always enjoyed his
work as a filmmaker. ‘Where to Invade Next’ carries on the same spirit of
documentaries like ‘Sicko’ and ‘Bowling for Columbine’ by proposing big changes
for the common, collective good. What I find both depressing and oddly
uplifting at the same time is the common reassurance that most of these ideas
are ‘American’ in their nature and not as alien as some might be led to
believe. Whether we’re talking universal healthcare, free education, a sensible
justice system or business/financial matters it’s clear the US isn’t incapable
of implementing them, but the powers that be won’t allow it. It takes something
that seems like a pipe dream and uses fascinating case studies to show that it
isn’t.
Fantastic Beasts
and Where to Find Them (2016) – 7.5/10
In 1926, Newt Scamander travels to New York City on a
mission of conservation but finds himself embroiled in a battle against an
emerging dark wizard. The first in the new planned franchise of J.K Rowling’s
Wizarding World and her screenwriting debut proves to be earnest in its
intentions in giving Potterheads more of what they love, though as a film on
its own its probably not as great as it could be. I couldn’t help but feel that
it either wasn’t sure of what it wanted to be, or it’s become too engaged as a
set up for something greater. David Yates’ direction lives up to expectation, with
his aptitude for dark storytelling and illustrating sheer wow factor, but the
writing seems too split between Scamander’s journey and the spectre of evil in
the wizarding world. It proves wonderful in its less conventional setting, but
is too hollow to stand free of the iconic Harry Potter series.
My Top 10 Movies for November 2016
1. Ben-Hur
2. Hacksaw Ridge
3. Breakfast at Tiffany's
4. Where To Invade Next?
5. Monkey Shines
6. The Witch
7. Death Rides a Horse
8. Zero Day
9. True Grit
10. Night of the Creeps
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