The Secret World
of Arrietty (2010) – 7.5/10
The Clock family, three miniature people living
anonymously in another person’s home find their world turned upside down when
their daughter Arrietty is discovered by a human boy. One of Studio Ghibli’s
more recent films are hardly one of their most ambitious, but it has its own
charms that are both unique by the standards of a Ghibli film and delightfully
enhance its small, but rich world. This one is all about beautiful
simplicities, so while it’s not always exciting it’s nevertheless always
engaging. I sense there’s somewhat of an environmentalist theme implying the
importance of allowing natural forces to run their course, but I found myself
more drawn into the plights of its trio of tiny characters. There’s something
fascinatingly reflective about it. It asks us to be aware of what we’re doing
to those around us and why, but above all it’s always great to see these people
navigating the often unpredictable worlds that Ghibli creates. A comparatively
more tame project, but its aesthetics will sweep fans regardless.
The Magnificent
Seven (2016) – 8.5/10
When a ruthless industrialist threatens the homes of a
small town’s people they hire seven gunmen to protect them. Director Antoine
Fuqua has brought to life a wonderful remake of the classic ‘The Magnificent
Seven’ from 1960. Is it a better film? No, but I think it’s on-par and an
honourable entry into the 21st century’s comparatively smaller
number of westerns. Rather than merely re-enact the original it makes an effort
to stand on its own feet. This approach might not offer anything new, and in a
lot of ways it feels as though it’s simply ticking the boxes on genre
conventions, but I found it to a genuinely thrilling action spectacle. While
much of this is owed to modern production values and the dramatic build-up in
the script it’s impossible to not mention its wonderful cast. Denzel Washington
is phenomenal as Chisolm, bringing just the right amount of humanity and outlaw
toughness to the performance, but one can hardly single out anybody especially
given the likes of Chris Pratt bringing their own unique blend of humor and
dramatic input. This is a great western and I hope it leaves a long-lasting impact
on the legacy of the genre.
Godzilla vs.
Hedorah (1971) – 6/10
A monster born of the Earth’s pollution attacks Japan and
threatens the health of the planet and its inhabitants, only to meet its match
in Godzilla. Released as ‘Godzilla vs. the Smog Monster’ in the US, this entry
into the Godzilla series is arguably better than its goofy predecessor ‘All
Monsters Attack’ but it suffers from similar problems. It has somewhat of a
child-friendly approach with its incorporation of comedic elements, but this
isn’t even where it falters. It suffers from an overabundance of different
storytelling styles, and at times becomes borderline incoherent with rapid
scene transitions and some creative decisions that are hardly more than totally
random. It succeeds where one would expect: Godzilla shows up and brawls with
Hedorah, and it’s as fun as ever, but this instalment is pinned down by its
eccentricity and its failed environmentalist message. Fans will find something
to enjoy, but others should avoid it.
King Soloman’s
Mines (1950) – 8/10
Set in late 19th century Africa, adventurer
Allan Quartermain leads an expedition deep into the wilderness searching for a
missing explorer chasing down a fabled diamond mine. Though many adaptations of
‘King Soloman’s Mines’ have been brought to the silver screen, the 1950 version
is honoured by a Best Picture nomination that it lost to ‘All About Eve.’ While
many would call this tame by modern action movie standards I found it to be a
riveting adventure based around survival and the search for the unknown. Taking
an observable colonial-era mentality, it effectively provides the sense of
vastness that comes with uncharted territory. You feel as though there’s more
of this world to explore, but without the privileges of Western civilization
our heroes are subject to its dangers. While its characters are far from the
greatest and the film is undeniably dated it’s a visual feast and an
on-location shoot that takes advantage of all the creative possibilities.
Down Under (2016)
– 6/10
Set in the aftermath of the Cronulla riots, two groups on
both sides of the fight, fuelled by hate are driving the streets the Sydney
looking for revenge. I had a lot of fascination in the project from its
release, and I hoped it would showcase a positive and intelligent message. It’s
there, but I don’t think it’s explored to any meaningful extent. What we’re
instead treated with is a couple of tales centred on two groups of obnoxious
imbeciles. I really did not like any of these characters at all. They’re
boisterous in their stupidity and the select few that do have a redemptive
element are treated as tools for its message on the futility of racism. At
times however ‘Down Under’ works very well as a satire and showcases why
patriotism is a driver of violence in a way that makes us laugh. Many have
described the film as important for its comments on very recent Australian
history, but I personally found it exploitive and preachy. It does have its
moments though.
The Old Dark House
(1932) – 8/10
Set in a remote part of Wales, a group of travellers take
refuge from a rainstorm in the mansion of a family that hold dark secrets and
may be insane. James Whale is a contender for greatest horror filmmaker of his
generation and ‘The Old Dark House’ is, much like his earlier classic
‘Frankenstein’ proof of that. Although the title might lead one toward thinking
it’s generic, this film is a chiller of the highest order. The feeling of
entrapment brought about by the constant sound of rain and thunder, the almost
exclusive use of interior sets and its dark lighting really put you into the
action. Its characters are the real point of fascination. You sense the
anxieties of the protagonists and you’re constantly speculating what the Femm
family wants and what it is they’re hiding. Boris Karloff is the big name
attached, but in all honesty I can’t single out any performance as greater than
any other. They’re a wonderful cast who bring to life characters with explosive
chemistry, and ‘The Old Dark House’ knows all the tricks to making an
effective, creepy movie.
Godzilla vs. Gigan
(1972) – 4/10
Cochroach aliens disguised as human beings plan to use
the monsters King Ghidorah and Gigan to conquer the world, which brings
Godzilla and Anguirus to come to the Earth’s defence. The Shōwa Godzilla series
is up to its 12th instalment with ‘Godzilla vs. Gigan’ and it’s
really starting to take a toll on my patience. Reverting back to a somewhat
less child-oriented approach, this entry suffers from being wholly unremarkable
and frankly incredibly dull. Making use of a cliché-ridden plot and
uninteresting human characters, what Godzilla movies usually do best is hardly
a saving grace here. It’s a monster mash and it’s cool, but these scenes are
overlong and shamelessly exploit prior instalments’ stock footage. ‘All
Monsters Attack’ is often labelled the worst film in the series, but I honestly
found this one harder to get through for its lack of charm and its rushed
production rubbing off on the final product.
Godzilla vs.
Megalon (1973) – 4/10
An underground kingdom unbeknownst to human civilization
sends the monster Megalon to destroy humanity for their own protection, leading
to a confrontation between Godzilla and the robot Jet Jaguar. Originally not
even intended to be a Godzilla movie but rather a solo vehicle for Jet Jaguar,
a character who was legitimately designed by an elementary school student as
part of a competition. This fact really rubs off. It’s sadly an irritatingly
underwritten film that lacks the creative drive of earlier entries in the
franchise. I do really like its two villainous monsters Gigan and Megalon, and
seeing them brawl with the likes of Godzilla is fun, but sadly is also prone to
getting old. There’s a modicum of humor stemming from its cheesiness and I
think this alone puts it slightly above its weak predecessor. The Godzilla
series really needed its spirit back at this time and this movie showcases
that. Fortunately from what I hear the next film is a return to form.
Alien: Covenant
(2017) – 8/10
The crew of the colony ship Covenant discover an
unchartered planet that appears perfect for human settlement, only to learn of
a terrible secret that threatens their lives. A sequel to Ridley Scott’s
earlier film ‘Prometheus’ and a new entry into the larger Alien franchise
proves to be more than competent. It’s a great thriller and I always welcome insight
into the dark universe constructed throughout this long-running series. The
problem is it doesn’t offer anything new and it feels very much like it has
some of the same issues as ‘Prometheus’: A lot of lingering questions and it’s
left without a sense of finality. That said, it’s a fairly dramatic experience,
delivering both sombre moments of exposition and intense if infrequent burst of
sci-fi action. I admire the film’s building of atmosphere, even if this becomes
a little lost in favour building up to something we’re yet to see. ‘Alien:
Convenant’ left me hungry for more, but it can’t compete with greats like the
first two Alien movies.
Godzilla vs.
Mechagodzilla (1974) – 7.5/10
Apes from outer space intend to take over Earth by having
a mechanical version of Godzilla battle humanity’s protector. After a few flops
with ‘Godzilla vs. Gigan’ and ‘Godzilla vs. Megalon’ I was happy to see an
instalment that’s in the same spirit of the earlier Shōwa. It is light-hearted
and cheesy, but doesn’t toss creativity aside entirely. You can’t put too much
faith in the stories of these movies, but ‘Godzilla vs. Mechagodzilla’ does
make an honest attempt by drawing on its own mythology and putting nature into
conflict with the heartless and mechanical. Although the film’s action is
sparsely distributed it really does pay off. The monster suits look great,
there’s no shameless use of stock footage and Godzilla still proves his knack
for goofy humour. The film isn’t perfect given some underwritten and flat out
pointless choices for what to add to its story. As far as early Godzilla movies
go this is definitely a positive entry, and I look forward to finally
concluding the original series with the next movie.
Detroit Rock City
(1999) – 8.5/10
Set in 1978, four rebellious teens resort to every act of
desperation to see a KISS concert in Detroit. While it’s evident that ‘Detroit
Rock City’ is attempting to emulate ‘Dazed and Confused’ and other teen movies
of the 1990s I think it stands strong as a true party flick. It’s great to see
a film that’s clearly so light-hearted still go ahead and attempt to serve as a
period piece. There’s a real hilarity, especially in retrospect knowing that a
band like KISS was seen as a Satanic group corrupting America’s teenagers. The
spirit of this movie is of course in its fun-loving nature and depiction of
youth. Although I was never this irresponsible I found the four protagonists to
be hilariously relatable. There’s something about loving heavy music that’s
hard to articulate to those that don’t understand it, but ‘Detroit Rock City’
is fully in touch with this. With a legendary soundtrack, numerous
laugh-out-loud gags and an evident fascination with the 70s, this movie is sure
to leave one feeling positive.
Terror of
Mechagodzilla (1975) – 7/10
When an alien race starts rebuilding Mechagodzilla to
destroy both humanity and Godzilla a traitorous scientist provides them with
access to another monster, Titanosaurus. Although it was the least successful
film in the entire Godzilla franchise financially it certainly isn’t from a
filmmaking perspective and it’s a solid farewell to the Shōwa series and
Godzilla’s temporary retirement. Although not one of the best it does continue
the usual Godzilla traditions of the time. The fights between Godzilla,
Titanosaurus and Mechagodzilla are the real highlights, and the human story
utilises an amusing science-fiction cheesiness. Many of the tropes are truly
tired out at this point and the wear is still too evident even with improved
writing considered. Lacking in any unique themes or stand-out moments, it works
as a campy action flick.
Frankenstein and
the Monster from Hell (1974) – 8/10
While hiding in an insane asylum Baron Frankenstein is
joined by a recently condemned doctor in reanimating an ape-like inmate that
committed suicide. The last of Hammer Film Productions’ Frankenstein series is
a fine if flawed conclusion to the gothic reimagining of Mary Shelley’s source
material. While some of the creations brought to the screen in prior
instalments have been underwhelming when compared to earlier examples
‘Frankenstein and the Monster from Hell’ corrects this mistake by giving us a
truly memorable monster that’s both creepy and brutish. There’s always been a
sympathetic element surrounding them though, painting Peter Cushing’s
Frankenstein as manipulative and sociopathic as he is cunning. Although it
often lacks suspense given the characters’ anonymity in this sequel it’s made up
for in fascination. This film really is about prompting intrigue and pushing
the boundaries of this world’s science. Sadly the film is given an extremely
abrupt ending and doesn’t see the series end in the best way, but the overall
film is a great conclusion.
Serial Mom (1994)
– 8/10
A devoted wife and mother takes to dealing with the
imperfections of her life by becoming a serial killer, but as her habit becomes
more compulsive a media circus and a police hunt for the infamous ‘Serial Mom’
develop. If there’s any way to describe the films of John Waters it’s that
they’re unique often to a fault and many find them to be an acquired taste. For
whatever reason ‘Serial Mom’ wasn’t donned with the same cult status of
something like ‘Cry-Baby.’ I personally consider this to be a superior film. It
relies heavily on the shock value of its sporadic violence and its central
character’s regular acts of cruelty, largely inspired by the films of Herschell
Gordon Lewis (which are given little nods throughout) but it’s the ironic
humour that makes this film great. It’s well aware of its goals by using
heavily-exaggerated dialogue and drawing the absurdities out of numerous
situations, but at its core it’s a criticism of the hypocrisies of a
conservative suburban lifestyle and it’s suggestive that the picturesque image
we conjure isn’t without an ugly side that can put us on the edge. ‘Serial Mom’
won’t be for everyone, but those with a grim sense of humor will love it.
Sully (2016) –
8/10
After Chelsey Sullenberger miraculously lands an airbus
in the Hudson River following an accident and saving all the lives on board he
has to deal with his newfound status as a hero while a developing investigation
threatens his career as a pilot. Despite some excellent work earlier in his
career many feel that Clint Eastwood is slipping as a filmmaker, but ‘Sully’
is, to me, proof that isn’t necessarily true. Perhaps it’s imperfect, but I
really believe this is Eastwood’s best film since ‘Gran Torino’ and one of the
best stories of the everyday hero in recent years. This isn’t a story about
tragedy, but rather not-so-straightforward aftermath of becoming a hero. Making
a clever use of structure, the film repeatedly comes back to the few moments
defining Sully’s unforeseen achievement and amazingly delivers a different
emotional result each time. If at times it doesn’t always do its best by
secondary characters, and a rushed ending leaves one slightly unsatisfied
‘Sully’ is a solid achievement for both Eastwood and star Tom Hanks.
The Return of
Godzilla (1984) – 8/10
Thirty years after his original rampage Godzilla
re-emerges and attacks Japan, bringing the threat of a nuclear conflict with
him. Considering how goofy the original series became by the 1970s I’m beyond
that Godzilla went into a temporary retirement and came back in full force with
‘The Return of Godzilla.’ While it’s no competitor with the 1954 classic it’s
succeeded wonderfully in updating its message to the 1980s. Godzilla is a force
of chaos, but what this film asserts is that humanity’s capacity to destroy
itself through atomic war is a much greater danger than a villainous giant
lizard. Lacking in any standout performances or any truly compelling human
characters it makes up for it in the joyous destruction and flashy (if
outdated) special effects. What the original Godzilla did for post-war Japan,
this movie does the same for the intense final decade of the Cold War and this
makes it better than any sequel in the Shōwa series.
Ender’s Game
(2013) – 7.5/10
Fifty years after the initial invasion of Earth by a
genocidal alien race is prevented, young Ender Wiggin is selected for his
intelligence and empathy to lead a new generation of fighters in his planet’s
defence against their enemy. Everything I’ve heard about the original novel is
that it’s thought-provoking and full of excitement. This film is an
underachiever in both of these respects, but still proves competent as a sci-fi
movie. What holds ‘Ender’s Game’ back from achieving real greatness is its own
thematic confusion and lack of payoff. It does very little in exploring the
relevance of our hero’s incredibly young age or the moral implications of
military aggression in the name of defence. The maturity of Ender and a solid
performance by Asa Butterfield draw us into the many battles of this
character’s life, but when much of the plot is dedicated to simulated warfare
scenarios it begs the question of what genuinely constitutes genuine cinematic
action. Regardless of some flaws, I loved the surprises of the final act that
do, if briefly, summarise its pro-peace, compassionate message.
Metal: A
Headbanger’s Journey (2005) – 8/10
Sam Dunn travels the world
exploring the musical subculture of heavy metal, looking into its origins, key
groups, genre distinctions and the qualities that make it both loved by fans
and condemned by those outside of it. This is not my first time watching
‘Metal: A Headbanger’s Journey,’ but it’s a documentary film I’ve always found
myself coming back to. How could I not be drawn to a film about the best music
in the world? What Dunn’s film illustrates is that metal isn’t a casual element
in the lives of its fans, but an empowering force that few understand (and we
won’t have it any other way). Structurally the film is appropriately broken
down into key areas demanding exploration. Media censorship, male dominance,
Satanism, the works. The only issue is that given the genre’s immensity
attempting to cover everything is far too ambitious. Regardless of whatever
shortcomings there may be ‘Metal: A Headbanger’s Journey’ is a passionate
documentary, and if its many interviews are indicative of anything it’s that
its fans and musicians love the music and the heavy metal way of life.
The BFG (2016) – 7.5/10
An orphan girl befriends a compassionate giant, and
together they attempt to stop his man-eating co-dwellers from harming the human
world. With two huge projects based on real-world subjects ‘Lincoln’ and
‘Bridge of Spies,’ Steven Spielberg has given us a solid family-fantasy film
based on the famed Roald Dahl book. Does it work? Predominantly, yes. ‘The BFG’
is light-hearted and puts a smile on the face, but it also doesn’t leave much
of an emotional impact. For everything that’s charming and funny about this
film there’s usually something painfully clichéd or dare I say even immature.
At times it seems as though the film isn’t sure of what to do with a plot too
thin for a near two hour runtime and it aimlessly plays around rather than
building stakes or characters. As a family film it succeeds in inspiring the
imagination through its fantastic visuals and innocent nature, but where ‘The
BFG’ falls short is in pacing and its leaving us craving more.
Abbott and
Costello Meet Frankenstein (1948) – 8/10
Chick and Wilbur, two hapless freight traders find
themselves subject in Dracula’s plot to revive the Frankenstein Monster while
the Wolf man tries to stop him. ‘Abbott and Costello Meet Frankenstein’ can be
understood in two ways: As proof that the classic Universal monsters had become
so tired to the point of being comical, and as one of the great horror-comedies
of the golden age of cinema. Wanting to think positively I subscribe to the
latter position, but the former undoubtedly holds weight. The joys of this
movie really have little to do with whatever creep factor you might associate
with its trio of monsters, but the role they play in juxtaposing their iconic
status with Abbott and Costello’s humor. There are times where we’re treated
with mere laughs, and other times more dramatic stakes enter the picture.
Either way the film is a delight thanks to the titular duo’s screen
performances, a genre-balancing script and the long-awaited reprisal of Bela
Lugosi as Dracula.
The Boy and the
Beast (2015) – 8/10
A recently orphaned boy inadvertently wonders into a
world of bipedal beasts and is taken under the wing of an insecure and
short-tempered warrior. The latest film by animator-director Mamoru Hosoda is
fantastical if any movie ever was, and it continues in the line of his three
great earlier film, ‘The Girl Who Leapt Through Time,’ ‘Summer Wars,’ and ‘Wolf
Children’ although admittedly it is my least favorite of the four. ‘The Boy and
the Beast’ succeeds in the expected areas. It’s a beautifully animated movie
full of vibrant color and infinite levels of imagination in its fictional
world, but the real appeal is in its more human drama. Encompassing themes of abandonment,
family, belonging, personal growth and the objective good, we’re treated to a
story about a boy’s unlikely, yet quarrelsome relationship with someone that
proves to be symbiotic. ‘The Boy and the Beast’ is sometimes very funny, sometimes
touching, but most of the time it sweeps you up in a wonderful world that turns
the turns the ordinary into the extraordinary without trivializing anything human.
My Top 10 Movies for May 2017
1. Detroit Rock City
2. The Magnificent Seven
3. King Soloman's Mines
4. Sully
5. The Boy and the Beast
6. The Old Dark House
7. The Return of Godzilla
8. Metal: A Headbanger's Journey
9. Serial Mom
10. Abbott and Costello Meet Frankenstein
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