#58: KILLERS OF THE FLOWER MOON

Starring Leonardo DiCaprio, Robert De Niro and Lily Gladstone, Jessie Plemons and an impressive ensemble cast that includes John Lithgow and Brendan Fraiser. Written by Eric Roth and Martin Scorsese. Directed by Martin Scorsese. Budget $200 million. Running time 206 minutes.

Based on the Oklahoma murders that occurred in the Osage Nation during the 1920s when oil was discovered on tribal land and the Osage nation became incredibly wealthy which in turn drew an endless army of greedy white bastards, like a moths to flame, eager to exploit the first nation people even if it means murdering entire families to realise that ambition. DiCaprio plays Ernest Burkhart, a WWI veteran who returns to Oklahoma to work for his uncle William King Hale (Robert De Niro) as a taxi driver who seemingly falls in love with Mollie Burkhart (Lily Gladstone). The film follows Ernest, for the most part, and a vast cast of unique-faced delinquents as they murder their way through scores of innocent Osage people all in the pursuit of wealth before the fledgling FBI arrive to investigate the murders and bring some of the killers and masterminds to justice.

Beautiful to look at, an amazing cast, brilliantly directed and acted, and art-directed to perfection. This is an impressively mounted film that is nevertheless emotionally flatter than a Findus Crispy Pancake. With no dramatic highs, or lows, no satisfying emotional core or even a gripping plot or structure like Casino or Goodfellas. It's a film that just methodically plods from plot A to plot B with nothing intriguing or exhilarating to spice things up. Banal crimes and murders are committed without drama or fanfare, like in previous Scorsese films, they just happen. Characters go through no dramatic arcs, unless being alive one minute and then dead the next can be seen as an arc.  

This film is planted firmly in the Gangs of New York territory in terms of being a fantastically researched and mounted film, but lacking anything resembling a satisfying dramatic arc. While both DiCaprio and DeNiro are superb, with the later bringing a power to his performance that's not been seen for a very long time, you find yourself stumbling out of the cinema, bleary eyed, three hours and 26 minutes later feeling subdued and a little deflated, wishing this had just been been a bit better and a lot shorter. 

The trailer for this presents the film in an entirely different way from the finished film, subtly implying that Leo's character is the hero of the film desperately trying to save his wife from the murderous intentions of his evil uncle by going full vengeful vigilante. That might have been a more interesting, or at least more exciting film that this, and sadly I can't imagine myself wanting to return to this in years to come. 

That said, considering that this film was written and directed by a man almost in his 82nd year is deeply impressive, Scorsese has lost none of his scope and ambition, just, perhaps, his bite.

8/10

#57: THE GREAT ESCAPER

Starring Michael Caine and Glenda Jackson, with a supporting cast that includes John Standing, Danielle Vitalis, Brennan Reece, Judith Clune and Wolf Kahler. Written by William Ivory and directed by Oliver Parker. Running time 96 minutes.

Based on the true story of WWII veteran, 89-year old Bernard Jordan who escaped from his nursing home in 2014 to attend the 70th Anniversary D-Day commemorations in France. The film follows Michael Caine as Jordan as he leaves the love of his wife, Irene (Glenda Jackson) to make his own way to France. Along the way meeting up with fellow ex solider, John Standing's Arthur, meeting a group of veteran German soldiers and trying to lay some of his own ghosts to rest. The film flashes back to D-Day itself and also the meeting of Irene and Jordan and shows the duo stories of both Irene and Jordan across this deeply emotional weekend. 

This is a very heart-warming film that packs a fantastically powerful punch, it's entirely powered by two utterly extraordinary performances from Caine and Jackson, in her last role. They are both superb and bring such depth and truth to their roles it elevates the film to a whole new level. Last year I was deeply moved by the film, Living and this year it's this. 

Moving and touching it brought many tears to my eyes and I sat emotionally punched by and thoroughly overwhelmed by it. 

That said, it's not perfect, at several points it seems to be leading you down one route, teasing at something dramatic and mawkish about to happen, only to suddenly blindside you by NOT taking the bait and sticking to the basic story and not feeling the need to squeeze in any virtue posturing or statement making, and then seems to mock you for being duped in the first place into thinking this was a standard Hollywood movie. 

Somehow this film, directed by the man responsible for the wretched Dad's Army, doesn't ever become a button pusher of a movie, it's not sentimental and it's not overly melodramatic, the script is moving and sincere, and very satisfying and I was still a tad overwhelmed by this several hours after watching it.

I hope that both Michael Caine and Glenda Jackson not only get nominated for this film but also win some awards because they bloody deserve it and it makes you wish Glenda had made more movies in her later years, because she's utterly extraordinary.

8/10

#56: CHRISTINE

 

Starring Keith Gordon, John Stockwell, Alexandra Paul, Robert Prosky and Harry Dean Stanton. Written by Bill Phillips based on the novel by Stephen King. Directed by John Carpenter. Music by John Carpenter and Alan Howarth. Budget $10 million. Running time 110 minutes. Originally released in 1983.

Cards on the table, this was the first time I've ever seen this movie, a film now 40 years old. I don't know what I was thinking back then, but obviously there was something about going to see a haunted car movie that just didn't resonate with me. 

Well, I've seen it now and I'm pleased to say it's not bad, that said it's not a note perfect 10/10 either. If you've read a Stephen King book you'll realise that much of the subtlety and narrative drive of the novel had to be dumped to fit into the 110 minute run time and what we're left with is a fairly straight-forward tale about a possessed car and a bullied teenager corrupted by his car. With a disappointingly low body count, and a by-the-numbers plot it's an okay film without any real shocks or horrors, but with some fantastic special effects, and a great sound track. All-in-all, it's an okay film, not perhaps the world's greatest but still, good enough and the addition of Harry Dean Stanton is a welcome addition and adds a nice cherry on the cake.

However, when it comes to John Carpenter films, I'd happily take the previous year's The Thing over this any day! But would, by the same measure also happily rewatch this then rather than nearly all the other films Carpenter would go on to produce from this point on in his career other than Starman.

7/10

#55: FRIDAY 13TH

 

Starring Betsy Palmer, Adrienne King, Harry Crosby, Laurie Bartram, Mark Nelson, Jeannine Taylor, Robbi Morgan and Kevin Bacon. Special effects by Tom Savini. Written by Victor Miller. Directed by Sean S. Cunningham. Budget $550,000. Running time 95 minutes. 

Originally released in 1980 and inspired by the success of the infinitely better 1978 movie Halloween by John Carpenter, which arguably launched the genre of the Slasher genre, and which in turn was inspired by the success of Bob Clark's 1974 film, Black Christmas.

ANYWAY, Friday 13th itself is an iconic and genre defining movie that spawned a 12 movie franchise and perhaps one of horror's most iconic masked killer, Jason Voorhees, which is odd cos as everyone knows he's not the killer in this horror classic. 

The film sees a bunch of young people preparing for the re-opening of the Crystal Lake summer camp, following the drowning of a young child many years earlier. Over the course of a single weekend and one night the young people are systematically killed one-by-one by an unseen killer until the final confrontation between killer and the last survivor.  

The makeup effects by special effects maestro Tom Savini are what makes this film so effective, the kills – with throat slashes, axe wounds, beheadings and the famous arrow through the throat are massively impressive and yet also fleeting, it's weird how time plays tricks with your memories and I was surprised at how brisk each of the kills are, bare seconds, before the camera cuts away.

What makes this film so delightful is the realness of some scenes, the secondary cast of what looks like actual locals and locations and feel and look of it. It's been 43 years since I last saw this at the cinema and it's strange that what was once an 'X' film or an 18 is now reduced to the level of a 15. It's most certainly a child of its time and while the direction by Sean S. Cunningham is oddly old fashioned, the music is most effective.

Lovely to see it back on the big screen but what once caused the audience I first saw it with when I was 17 to scream out loud now causes laughter and giggles.

7/10 

#54: SCALA!!!

Directed by Jane Giles, Ali Catterall, music by Barry Adamson. Featuring interviews with John Water, Adam Buxton, Stewart Lee, Barry Adamson, Jah Wobble, Kim Newman, and a slew of the people behind the scenes at the greatest independent cinema that ever was. 136 minutes. 

Back in the late 1980s I started going to the Scala cinema to watch all-night screenings of 1950s B movies, 3-D movies, science fiction classics, horror films and cult movies and saw films like Eraserhead, Nightmare on Elm Street, Hellraiser, Necroromancer, Miracle Mile, Inferno, and a dozen other incredible films and cult masterpieces. It was closed down after showing Clockwork Orange once too many times. I loved that cinema and this documentary charts the history of the Scala from its original home on Tottenham Court to its final home in Kings Cross.

The Scala!!! was premiered at the London Film Festival, at a sell-out cast and crew screening and it was deeply enhanced by the palatable sense of love the audience had for the cinema!

It's a loving taking heads documentary filled with photos, vintage movie footage and reportage clips that talks to the denizens of this glorious cathedral to Shlock including movie directors, critics, authors, comedians, assorted punks, radical feminists, and members of the fledgling LBGTQ+community of the day. Charting it's heyday in the days of punk and rise of the new romantics. With a glorious soundtrack by Barry Adamson and music from the movies and utilising the unique sound of the Scala itself – caused by the running of the underground deep beneath its feet. This movie was a delightful and wonderful trip down memory lane, and I loved every second. Of all the people interviewed, John Waters, Adam Buxton and Stewart Lee shine out with their memories and I found myself transported back there.

The film features a brilliant cartoon drawn by the great Viz artist Davey Jones showing the interior of the Scala and a typical cross-section of a typical audience, including Boy George, Iggy Pop, Laurel and Hardy and King Kong, to name-check a few. 

At one point during the film several of the pundits talk about the only way to survive the all-nighters was to take copious amounts of speed and drugs, and a great many of the audience went along more so for the 'alternative' lifestyle, and rampant gay sex in the bogs than the movies. Well I for one went for the films and stayed awake with copious amounts of black coffee and Polish Wiejska sausage. And the idea that anyone would go to the cinema other than watch the movies shown causes me total bafflement. I mean if it's a toss up between hard-core popper-fuelled anal sex or a Hamster-cheeked woman singing about heaven, I know which one I'm going for. 

A great tribute to a great cinema and the pure nostalgic sense of euphoria it triggered was delightful. Plus it makes me want to go back and rewatch some of those films all over again!

R.I.P SCALA you were the dog's bollocks and no mistake.

9/10

The actual film won't be released nationally until January 25th. 

 
Cartoon by the legendary Davey Jones, coloured by me.

#53: BLACKBERRY

 

Starring: Glenn Howerton, Jay Barcuchel, Matt Johnson, Rich Sommer, Michael Ironside, Cary Elwes. Written by Matt Johnson and Matthew Miller. Directed by Matt Johnson. Based on the book: Losing the Signal: The Untold ~Story Behind the Extraordinary Rise and Spectacular Fall of Blackberry by Jacquie McNish and Sean Silcoff. Budget $5 million. Running time 121 minutes.

Sadly not a great deal to write about this one. Featuring a great cast, an excellent and, at times, very funny script and detailing the incredible rise and demise of Blackberry the phone people bought before Apple. 

Can't fault it, can't make rye pithy comments and can only recommend. Featuring an utterly superb performance by Glenn Howerton, playing co-CEO of Blackberry Jim Balsillie, best known for his performance in the excellent Always Sunny in Philadelphia. He is ably supported by both Jay Barcuchel as tech genius, Mike Lazaridis and Matt Johnson as his best friend and co-founder, Douglas Fregin. Johnson also co-wrote and directed the film. The script is very funny and also very skilled and the technical gobbledygook is well handled as are the numerous boardroom shenanigans. Things kick up a gear when Micheal Ironside arrives to prove he's still the baddest badass in the badass kingdom. 

I find these films about the rise of some tech or financial wizard eminently watchable and this was no exception. Plus it has a brilliant soundtrack and any film that ends with Waterloo Sunset can't be bad. Set in the late 1990s I was shocked to discover that so much about back then was still tainted by the vileness of the 1980s, fashions in particular. The attention to period detail was fun and the cast brought real variety to the roles. I just thoroughly enjoyed this and knew I would almost from the get-go with two truly cringey business pitches that trigger the whole all-too believable story.

Catch it if you can, although it's already ended it 'wide' cinematic release, so most definitely check it out on whatever streaming service it ends up on, it's a pacy, pithy, and phunny film! 

9/10