#42: FIGHT CLUB

 

STARRING:   Edward Norton, Brad Pitt, Helena Bonham Carter, Meat Loaf Aday and Jared Leto. Screenplay by Jim Uhis. Based on the book Fight Club by Chuck Palahniuk. Music by The Dust Brothers. Cinematography by Jeff Cronenweth. Directed by David Fincher. Budget $65 million. Running time 139 minutes. Originally released in 1999.

Our narrator, a lonely, un-named, insomnia-suffering insurance investigator (Edward Norton), befriends a soap sales man and radical urban revolutionary called Tyler Durden (Brad Pitt) on a domestic flight and the two men become friends and form and underground boxing club called Fight Club. As Tyler encourages our narrator to embrace his masculinity and identity and abandon his capitalistic ideals, the two men become inseparable until the arrival of Marla Singer (Helena Bonham Carter), an nihilistic, chain-smoking, suicide in waiting, young woman who brings raw passion, sex and bizarrely love into the mix, causing a schism between the two men, made worse when our narrator discovers that Tyler is planning an act of financial anarchy that will literally cause the collapse of capitalism. 

OMG! What an absolute blast! What an utterly unhinged, manic, relentless roar! What an extraordinary experience! What an exhilarating rambunctious romp! What a brilliant black as tar comedy! And what astonishing performances, none of the cast, from Meat Loaf to Norton, to Bonham Carter to Pitt have ever been better! Brad Pitt then the sexiest man in the whole goddam universe! is an utter revelation, his Tyler Durden is an incredible character, and Norton the straight man of the duo brings a well-needed reality to the proceedings. Fincher directs this with absolute control, it's a film with sure a raw centre that it needs a director like him to manage it and I can't imagine any other director being able to land this beast any better than he does! But he's not alone, the cinematography, which despite being filmed mostly at night is never lost in the murky, inky blackness, the sound track by The Dust Brothers is so raw it positively pulsates through your chest. And the choice of music is note perfect. 

This starts off fantastically well, the black humour drips from the screen and the raw energy propels the film perfectly and for the first hour this is note perfect, it sadly begins to slow when Project Mayhem raises it's head and while the film is still fantastically good, it loses its focus as Durden's grand scheme begins to take centre stage. By now everybody in the world must know the 'twist', so I don't feel bad about talking about it here. 

HOWEVER. IF YOU'VE NEVER SEEN THIS FILM BEFORE (WHAT THE HELL) THEN BE CAUTIOUS THIS BIT CONTAINS A MAJOR SPOILER. 

The revelation that the Narrator and Durden are the same man is a brilliant reveal. I can't remember if I knew this going in, but the clues are there if you're paying attention and there's a lovely moment when Marla suddenly realises the truth which is beautiful to behold. The three leads, Norton, Pitt and Bonham-Carter are such good actors and to see the three of them deliver such superb performances is a joy to behold. 

Bloody loved this, it does dip, a tad, but not enough to cost it, because this is such an unique cinematic experience, a delight to see it again on the big screen. It's a film that deserves to be writ large, it's radical, raw and revolutionary. 

A cinematic masterpiece.

10/10 

#41: EXIT 8

 

STARRING: Kazunari Ninomiya, Yamato Kochi, Naur Asanuma, Kotone Hanase and Nana Komastsu. Based on the video game The Exit 8 by Kotake Create. Screenplay by Kentaro Hirase and Genki Kawamura. Directed by Genki Kawamura. Running time 95 minutes. 

The plot sees a nameless bloke known only as The Lost Man on his morning commute on a packed tube train. He witnesses an angry commuter absolutely lose his rag over a screaming baby and its mother and does nothing to help. Then his ex-girlfriend calls to him him she's pregnant and asks him what he wants to do, it's clear that he's not ready to be a daddy and tells her he's on his way to the hospital to meet her and gets off the train. That's when things go all Twilight Zone and The Lost Man finds him self trapped in a Möbius loop of white tiled tunnels and given a set of instructions to find his way to Exit 8, he is on Exit 0. He is told to look for anomalies and when he finds one to turn back, otherwise to keep going. This he does and meets a series of other people, the Walking Man, a Young Woman and a Small Boy. Along the way he either makes the right choice and moves on to the next level, or gets it wrong and goes back to zero, all the while confronting his shortcomings and accepting the responsibilities of potential parenthood. And that's about it for the Möbius loop plot. It ends with The Lost Man back on his morning commute with the screaming baby, but how will it end?

This is not a horror film, do not be fooled by the trailer, and it's not a bad thing either. This is a film that makes you think, you play along with The Lost Man, learning the rules of this game and you become engaged with the frightened young man as he accepts responsibility and the prospects of becoming a father and all that entails. 

It's well made, the set is brilliant and it's different in style look, feel and acting. It's also mercifully brief at only 95 mintues long. I gotta say I guessed what was going on and it didn't bother me. Satisfying. Nothing more, nothing less, except the horror film the trailer and advertising screamed it was. 

8/10

#40: MICHAEL

 

STARRING: Jaafar Jackson, Nia Long, Laura Harrier, Juliano Krue Valdi, Miles Teller and Colman Domingo. Written by John Logan. Directed by Antoine Fuqua. Budget $170 million. Running time 127 minutes.

I gotta say I was kinda worried that the new Michael Jackson bio-pic, Michael would gloss over the child abuse allegations, so it's good to see they're tackling it right off the bat with the film poster.

And so to the film. It's 1967 and domestic bully and patriarch, Joseph Jackson (Colman Domingo), a steel worker forces his five sons to form a band he calls the Jackson 5, just think if there'd only been three of them, then pop history would probably know them as the Jackson 3, or the Jackson Trio, which doesn't quite have the same ring, unless he'd launched his own chocolate covered biscuit bar, but I imagine he'd have been sued by United Biscuits who made the Trio bar if he did. Anyway, he didn't and they didn't and so we're left with this, the sanitised, glamourised, homogenised, Hollywoodised telling of the Pedo-Prince of Pop's life story, glossing over any impropriety or uncomfortable truth with a thick veneer of adulation, idol-worship and undying love. Structured like a 21st Century version of 1954 Glenn Miller Story, this is the classic sugary-sweet, warts and all (minus the warts and all), rags-to-riches story of little MJ, the PPoP from wide-eyed adorable pop poppet to 'on the verge of universal acclaim' in 1988, just short of all those completely innocent multi-million dollar payouts Micky (as he loved to be called) made to a whole slew of children for no apparent reason, apparently, and most certainly not because he liked to share his bed with them, no siree. ANYHOO, back to the plot. Bad Dad Jackson beats the band into shape, literally, they're signed by Motown, they have sell-out concerts across the US, shift a literal shit-tonne of albums and become megastars. Then Michael gets his nose fixed, visits kids in hospital, decides to eradicate gang violence with music, invents the moonwalk, makes a video with zombies, then gets blown up in a Pepsi ad, which is why all cans of Pepsi carry a 'Highly Flammable' warning (check it out if you don't believe me), and then Mikey does one more performance with his fam before finally setting off solo to make his fortune, build a creepy one-man fun fair and zoo and go slowly mad.

The trouble is this film is just the sugar coating, according to it, there's nothing to tarnish Jackson, or at least nothing worth noting and it's galling. I'm sure that if you're a fan of MJ then this film will be a masterpiece, a stunning celebration to him and his legacy but for the rest of us not blinded by his godhead, what of us?  

Well for me going in I thought that with the exception of Thriller, I wasn't a fan of his work and was pleasantly surprised to discover that actually I liked quite a lot of it, well the Jackson 5 stuff anyway, the pure Jackson stuff leaves me cold, a bit like this film did. It's well directed by Antoine Fuqua whose Equalizer trilogy I very much liked, and the performances are good, particularly Domingo and Jaafar Jackson, but there was no real depth to the proceedings, this is all surface, with the odd glimpse of something more, and it all feels a lot like a light paddle rather than a deep dive. I found the section with the young Michael Jackson by far the most interesting and entertaining but got a little bored by the adult Michael and his slow rise to the top, which plays like a 1950s biopic. Even his near death experience while making the Pepsi commercial feels inconsequential and the vague mention of painkillers that would come to rue his life is done in the same casual manner. Finally when from his hospital bed he declares his divine vision for the future I kinda lost my patience with it all. 

This is a music video compilation of his greatest hits. Not as terrible as critics had been claiming, while not as deeply engaging as A Complete Unknown, as joyous as The Queen biopic Bohemian Rhapsody, it's still far more enjoyable than Rocket Man. If you're a diehard fan of Michael Jackson you'll have a good time the rest of you will probably wonder what all the fuss was about. And so this gets a 6/10.

FOOTNOTE.

If Elvis was the King of Rock 'n' Roll, and Madonna was the Queen of Pop, then surely Michael Jackson should have been known as the Duke of York of Pop and not the Prince?*

*And before any smart Alecks out there tell me he was known as the King of Pop and not the Prince of Pop, I don't care, it works better for my rather excellent gag. 

#39: AKIRA

 

STARRING: (Voice actors) Mitsuo Iwata, Nozomu Sasaki, Nami Koyama, Taro Ishida, Tesshō Genda, Derek Smith, Mizhuo Suzuki, Tatsuhiko Nakamura, Fukue Itō and Kazuhiro Shindō. Based on Akira manga by Katsuhiro Otomo. Screenplay by Katsuhiro Otomo and Iao Hashimoto. Produced by Ryōhei Suzuki and Shunzō Katō. Directed by Katsuhiro Otomo. Cinematography Katsuji Misawa. Edited by Takeshi Seyama. Music by Shōji Yamashiro. Budget $5.7 million. Boxoffice $49 million. Running time 124 minutes. Originally released in 1988.

All together now, "CANADA!!!!"

Outside the oeuvre of Studio Ghibli and K-Pop Demon Hunters, Akira and is perhaps the most famous anime of all-times, it's certainly the most influential and epoch making. The story involving mutant albino midgets, mind altering drugs, Japanese biker gangs, covert military organisations and telekinesis would take longer to successfully synopsis than to watch so you'll have to trust me on this. This is fantastic! An absolute thrill ride, a bat-shit bonkers, relentless kinetic, roaring masterclass in animation. 

Go and see this if you can up there on the big screen and absolutely marvel at the fact that this bad boy is hand drawn! There's not a shred of CGI for a million miles. The animation is perfection itself, gasp at the motorbike chase through the city, the scale and ambition of it all, the pounding soundtrack and spot how many times you've seen this film ripped off by other pale imitators, live-action and anime alike. This didn't just rip up the book on what an animated film could do, it also wrote a whole new book on animation and then ripped that one up too! 

For years Hollywood has unsuccessfully tried to make a live-action remake of this film and failed, and for the simple reason that it can't be done. This does things with paint and ink that look sublime. Its success lies in the fact it's approached as if it was live-action hi-octane action film, with machine gun rapid editing, dazzling cinematography, and a pulse pumping soundtrack. Plus, it's without doubt one of the greatest science fiction films ever made! 

It's cultural impact cannot be understated. It's gone on to influence films, animation, comics, video games and popular culture and was the spearhead in the explosion of Japanese popular culture in the west back in the late 1980s and heralded the surge of popularity in anime and all thing Asian.

The funny thing is I've written all that from memory as I've not yet been to the cinema to see it. In fact I'm off tomorrow night, so I'm going to sign off here and return post film and conclude my review. Will be I still feel the same about it? 

BY GOD THAT WAS IMPRESSIVE! I'd forgotten the neon lights, the music, the violence, the animation, the vision of Otomo and the sheer energy of it all. Oh, and that amazing motorbike of Kanada, that sideways skid, so copied and imitated, this is a 38 year old animated movie that makes a mockery of most of the present CGI animated movies that get thrown at us, and Hollywood has never made an animated film this adult. It's lost none of its power, it truly is a technical marvel. 

10/10

FOOTNOTE

I just realised something. One of the first things we spot in movies is bad CGI animation, think the awful train hopping Indiana Jones in Diarrhea of Destiny as an example. There's a bad bit in the new Mortal Combat II where we spy a group of fighters battling on a mountain top arena, the animation is off, the timing wrong. It sticks out cos we can't help but spot it. But Akira, there is not one single piece of duff animation, it is pure perfection, and to think it was done using traditional techniques. 

#38: STAND BY ME

 

STARRING: Wil Wheaton, River Phoenix, Corey Feldman, Jerry O'Connell, Kiefer Sutherland, Richard Drefyus and John Cusack. Screenplay by Raynold Gideon and Bruce A. Evans. Based on the Stephen King novella The Body. Budget $8 million. Box office $52 million. Running time 89 minutes. Originally released in 1986.

Set in 1959, this coming-of-age drama, sees four friends on the cusp of secondary school, set off on a quest to find the dead body of a missing boy reportedly lying along a stretch of railway track. The four friends, Gordie (Wil Wheaton), Chris (River Phoenix), Teddy (Corey Feldman) and Vern (Jerry O'Connell) set off one morning with just $1.69 in their pockets, a couple of canteens of water and some bedrolls slung over their shoulders and stroll off along the railway track, singing, bickering, fighting, falling-out, reconciling and doing battle with not one but two trains. Along the way we learn about their lives, their dreams,  aspirations and the sorrow in their souls, and all the time the town psycho, uber-bully and knife-wielding gang-leader Ace Merrill (Kiefer Sutherland) dogs their progress threatening violence. This is a bitter-sweet quest as if the four friends know that the spectre of change hangs over their young lives and that this final summer outing before 'big school' will be their last as friends.

Directed by Rob Reiner with care, consideration and restraint he avoids making this a wacky Goonies style adventure instead focusing on the power of raw emotions on young minds. This is a tight film running to a brisk 89 minutes but never feels hurried or rushed. Interspersed with a legendary story about a pie-eating contest, a battle with leeches, and the genuinely poignant discovery of the dead body of the boy which triggers emotions in both Gordie as he remembers the funeral of his much loved brother Denny (John Cusack)when his father turns to him and says, "It should have been you." and I found myself thinking about my sister and found myself missing her as much as Gordie misses his brother. It made the scene immensely moving.

The most powerful thing you take away from this, or at least I took away from it, was just how astonishingly good River Phoenix was as an actor, by god that boy could act! He brings a level of believability to the role that staggers belief. And of the four child actors he is the best by a country mile. In direct contrast to Corey Feldman who acts with all the subtly and charm of a brick thrown through a plate glass window. Wil Wheaton also performs very well and gives the film its emotional core. Sadly, Jerry O'Connell has the thankless role of token 'fat boy' and has to weather the almost endless abuse hurled at him by all and sundry. 

A moving, joyful and beautifully produced film that will never age. 30 years old and still going strong. Catch it if you can.

9/10

#37: AMÉLIE

STARRING: Audrey Tautou, Mathieu Kassovitz, Rufus, Lorella Cravotta, Serge Merlin, Jamel Debbouze, Clair Maurier, Clotilde Mollet, Isabelle Nanty, Dominique Pinon, Arfus de Penguern, Yolande Moreau, Urbain Cancelier and Maurice Bénichou. Cinematography by Bruno Delbonnel. Edited by Hervé Schneid. Music by Uann Tiersen. Story by Guillaume Laurant and Jean-Pierre Juenet. Directed and screenplay by Jean-Pieree Jeunet. Budget $10 million. Running time 123 minutes. World wide box office $174.4 million. Originally released in 2001.

Quite possibly the most charming, sweet, adorable, whimsical and spellbindingly romantic movie ever made and also quite possibly the best French film EVER made. FACT! It tells the story of quirky Amélie Poulain who moves to Montmartre to work in a typical French Café and decides to help the small group of people who've become her surrogate family, before finding unexpected love in a photo-booth.

I would actually call this sublime, it's a wonderful film that put a smile on my face, that lasted the whole film, from the opening seconds when we actually  watch Amélie conceived, through her unhappy childhood and finally her escape to Paris when she's an adult. It's all so overwhelmingly charming that it's impossible to find fault with it, there's an energy that veritably pulses off the screen, the camera and direction dance with the joy. The cast, every single goddam one of them brings something to the mix, with a naturalistic ease. And through it all, beaming like a 10,000 lumem bulb, dances the beating heart of the film, Audry Tautou's Amélie, so effervescent she could out shine the sun. God, the camera loves her as she commands every close-up. Think of the film as a series of mini adventures as Amélie secretly orchestrates events to help those closest to her find love. 

Drop everything and see this now. 

10/10

#36: FUZE

 

STARRING: Aaron Taylor-Johnson, Theo James, Gugu Mbatha-Raw, Sam Worthington, Saffron Hocking, Elham Ehsas and Honor Swinton Bryne. Written Ben Hopkins. Directed by David Mackenzie. Running time 96 minutes.

When an unexploded WWII bomb is found on a building site, a square mile of London is evacuated and cordoned off by the PoPo while Major Will Tranter (Aaron Taylor-Johnson) and his crack unit tries to defuse it. Meanwhile Karalis (Theo James) and 'X' (Sam Worthington) along with their band of professional bank robbers start drilling into the vault of a bank through a basement connecting wall in Edgeware Rd. But how did they know the bomb was there?

Bloody hell that was surprisingly exciting, twisty and turny. Produced by Sky and filmed in and around London, this looked like being any old generic police TV drama, but quickly revealed itself to be anything but. A great cast, a fast-paced script and a plot that keeps you guessing right up to the end. This was described as the perfect Dad movie and I couldn't agree more. I really enjoyed it and for once I couldn't guess the ending. It's no spoiler to tell you that the actual completion of the robbery is only the start of this gripping, tense and fantastically action packed thriller and that it's well worth a punt!

What with this and Crime 101 and Shelter 2026 is shaping up to be a good year for action thrillers.  

8/10