The Kids Are All
Right (2010) – 8/10
Two children conceived through artificial insemination
bring their biological father into their family life, leading to complications
with their lesbian parents. The final Best Picture-nominated film from that
year I needed to see is a mature look at non-traditional family life, and it’s
also one that asks the audience to examine their own feelings. Though it is
often unconventional it’s also willing to explore both questions of ethics and
real, down-to-earth problems centred on love and commitment. There’s no
definite line where your sympathies are meant to lie, and each character is
fleshed out with their own unique strengths and shortcomings that make them
feel real as people. I especially loved the chemistry between Julianne Moore
and Annette Bening as the matriarchs of this story, but Mark Ruffalo brings his
own touching demeanour to the table. ‘The Kids Are All Right’ is non-judgmental
and mature, even if that means it won’t work out as happily as one would wish.
Police Story 3:
Supercop (1992) – 8/10
Ka-Kui is given a special assignment and sent abroad to
the mainland to take down an international drug smuggling ring. The third
Police Story movie often known as simply ‘Supercop’ continues in the spirit of
its predecessors and reinforces that fact that Jackie Chan is one of the
greatest martial artists ever to appear on the silver screen. Having grown
attached to Ka-Kui over the course of prior adventures I took special joy out
of seeing him placed in a foreign environment. The series is noted for its
mixing its action with comedy, but in this instance I felt the comedy was
moderately toned down and not always to the best effect. However this is made
up for through its stunts, which are arguably the best I’ve so far seen from
these films and Jackie’s teaming up with China’s Michelle Yeoh delivers what
you’d expect: Martial arts brilliance of the highest order.
Furious 7 (2015) –
8/10
Despite leaving the mercenary life behind, Dominic
Toretto and Brian O’Connor reassemble the crew to contend with their past
adversary Owen Shaw’s vengeful brother and a terrorist chasing a dangerous
computer program. Though I felt the previous film offered a worthwhile
conclusion, I’ve generally liked revisiting these characters with each
successive Fast and Furious movie. ‘Furious 7’ features some obvious signs of
wear, but generally performs as well as you’d expect it to and offers some
finality. Why they’re releasing another movie in light of this ending and Paul
Walker’s death I won’t attempt to explain. The film’s strengths are obvious,
with its excitingly over-the-top stunts and its pockets of drama which only
become more relevant as these actors/characters get older. Sadly it falters
with some occasionally out of place humour, and an incredibly limited use of
some leads. These movies are great popcorn entertainment, but the final curtain
call is due.
The Wind (1928) –
8/10
A woman from the east moves in with her cousin on the frontier,
and comes to struggle with both love and her fear of land’s incessant wind.
Although being released towards the end of the silent era, Victor Sjöström’s
‘The Wind’ is a crucial entry into the history of film and particular for the
western genre. With that said I really love its unspecific fit into any lone
category. It experiments with romantic drama equally with its depictions of
frontier life, and more importantly it’s a work that gets into the mind of its
main character. Lillian Gish is wonderful at demonstrating Letty’s anxieties,
strive for happiness and ultimately her breakdown and rejuvenation. I sense
that the film is subtly hinting at the place women held in the wild American
west and encourages feelings of empowerment. Above all, it’s a wonderful silent
flick that stands the test of time and showcases just how potentially great
these kinds of movies are even in the 21st century.
Little Caesar
(1931) – 8.5/10
A small time crook moves into the big city hoping to
strike it big as a gangster, but when his ambition attracts attention of the
law his newfound life starts to fall apart, piece by piece. Like many gangster
movies of the time, ‘Little Caesar’ is equal parts an exploitation of lurid
subject matter and a public service announcement directed at gangland and the
question of prohibition. Although being made in the 1930s puts it under a lot
of restrain by modern standards, it’s ironically this same restraint that
allows the movie to thrive. Every shot fired, every threat made by Rico and his
gang and every moment of suspense just feels all the more powerful when
delivered conservatively. I loved Edward G. Robinson’s performance as
Rico/Little Caesar, and it’s one of the rare instances where my fascination and
dislike of a character have been at odds with one another. Its statement about
the menace of organised crime is hardly unique, but it offers a vivid insight
into the world that is the mob in the Prohibition era and makes it all the more
better as a movie about the bad guy.
Samurai Rebellion
(1967) – 8/10
During a period of peace in Japan in 1725 a respected
swordsman retires and leaves his son as head of his family. After marrying the
former mistress of a feudal lord, the status and safety of the family is put at
risk when the ruler requests her return and is rejected. ‘Samurai Rebellion’ is
a lot of things, and it may mislead audiences that expect it to be heavy on
swordplay and violence. Of all things though, the movie is both hugely
Shakespearean in its nature in the way it plays on numerous themes at once:
Family, honour, justice and power. There’s a lot going on in this movie that it
makes it hard to pinpoint what it does best, but in my opinion it’s in the
notion that conventions should be defied for the greater good. It questions
that place of government as the source of societal norms and moral behaviour
and naturally has an anti-conservative, anti-authoritarian stance. Looking at
it more on the surface though, it’s further proof of Toshirô Mifune’s mastery
of the acting professional and Masaki Kobayashi’s effective direction of a dark
tale.
All Monsters
Attack (1969) – 4/10
A bullied schoolboy has a reoccurring dream of visiting
Monster Island, where he befriends Minilla who turns out to be having a similar
problem. Considering ‘Destroy All Monsters’ was originally intended to be the
end of the series, ‘All Monsters Attack’ is an example of where a lack of ideas
and prolonging a series’ lifespan can only bring about a movie that’s redundant
before it even begins. Toho throws away whatever adult elements still existed
and instead makes a pitiful children’s film. There’s a modicum of fans that
defend it for its light-hearted nature and anti-bullying message, but it just
doesn’t work for me. The movie is incredibly tedious given its lack of any
compelling stakes and reliance on goofy humour. I wish I could say that ‘All
Monsters Attack’ is a so bad-it’s-good movie, but honestly its production value
is probably too high for that. Its worst shames are recycling stock footage
from previous movies and jarring its dedicated fanbase, making the tenth
Godzilla movie a huge mistake.
Queen Christina
(1933) – 8/10
The Queen of Sweden is a dedicated monarch beloved by her
subjects, but when she falls in love with a Spanish envoy she’s forced into an
uncomfortable position, having to choose either loyalty to the country or a
happy future. Widely regarded as Greta Garbo’s finest hour as an actress,
‘Queen Christina’ is a fascinating biopic and the epitome of old-Hollywood
glamour in cinematic form. As far as its romance is concerned it’s admittedly
nothing special. Garbo’s chemistry with Gilbert is solid, but this isn’t what
makes the movie for me. I appreciated the movie more for its themes and
production values. The sets are wonderful, illustrating the privileges of
royalty and its place in the politics of 17th century Europe.
Thematically the film deals in varying degrees religion, nationality,
patriotism and loyalty to the state and boldly states that none are as
significant as the individual’s search for happiness. It’s an individualist
film that remains beautiful even today.
Diabolique (1955)
– 8/10
The wife and mistress of a cruel headmaster conspire to
murder him to have him out of their lives, but when the corpse disappear it
sets off a chain of events that progressively drive the two women insane. Now
credited as one of Europe’s best thrillers and an inspiration for countless
horror movies since, it took me far too long to finally sit down to watch
‘Diabolique.’ While I personally don’t think it’s as sensational today as it
was upon its original release in the 1950s it holds up incredibly well and this
can be credited all to Clouzot’s direction. It can seem pretty minimalist, but
it’s so effective in creating suspense. It’s especially admirable because the
film’s tone can be subject to change. Unsurprisingly ‘Diabolique’ is best
remembered for its Hitchcockian twist ending, which is prime example of how to
shock an audience. Its French origin might mean some will overlook it in favour
of a contemporary Hollywood thriller, but ‘Diabolique’ is remains great today.
Switchblade
Sisters (1975) – 8/10
The leader of an inner-city girl has doubts about the
permanence of her leadership when a new girl proving more capable arrives on
the scene and influences them in a new direction. Praised by Quentin Tarantino
as one of the masterworks in B-grade cinema, ‘Switchblade Sisters’ may be
trashy but it’s totally in spirit with the best of exploitation movies of the
1970s. There’s a certain blend of aggression and cheesiness about the
production that makes it so worthwhile. Although performances are moderate at best,
the spirit of rebellion and freedom is expressed through its surprisingly
engaging cast of characters. These are people who rule in their little niche of
a world and don’t take ‘no’ for an answer. Much like Jack Hill’s other
exploitation work, it’s especially notable for its dated 70s soundtrack,
wise-guy dialogue and sporadic violence. It’s not class, but ‘Switchblade
Sisters’ is wonderful fun.
Hell or High Water
(2016) - 8/10
A divorced father and his ex-con brother engage in a
series of bank robberies across Texas to save their late mother’s ranch set to
be repossessed by the bank they’re robbing from. A Best Picture nominee at last
year’s Oscars and rightfully so. ‘Hell or High Water’ is as much a
distinctively southern film as it is a throwback to the great westerns of the
past, though not in the way you might expect. Its modern setting places it
apart from something like ‘Unforgiven,’ ‘Open Range,’ or ‘Appaloosa’ but it
utilises similar ideas. In many areas it offers nothing new, but tweaks these things
ever so slightly to the benefit of feeling fresh and new. Exploring its two
central characters, played wonderfully by Chris Pine and Ben Foster it
considers whether nobility can exist in a life of crime, or if every act by the
law is in the name of justice. It’s a film that poses questions in plenty of
grey zones, and besides being a neo-western that makes you think it’s all
around incredibly thrilling.
Ranking the Movies!
1. Little Caesar
2. Hell or High Water
3. Samurai Rebellion
4. Queen Christina
5. Switchblade Sisters
6. Diabolique
7. The Wind
8. The Kids Are All Right
9. Furious 7
10. Police Story 3: Supercop
11. All Monsters Attack
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