#67: ONE BATTLE AFTER ANOTHER - TAKE 2

 STARRING: Leonardo DiCaprio, Sean Penn, Benicio del Toro, Regina Hally, Teyana Taylor and Chase Infiniti. Written and directed by Paul Thomas Anderson. Budget $175 million. Running time 162 minutes.

When Willa Ferguson (Chase Infiniti) goes missing following a police raid on the night of her high school prom, her permanently stoned single-parent father and ex-revolutionary, Pat Calhoun (Leonardo DiCaprio) races off on a relentless search to rescue her from Colonel Lockjaw (Sean Penn) an obsessive, psychotic hard-core marine who's convinced that Willa is his daughter. With only Willa's sensei, Sergio St. Carlos (Benicio del Toro) to help him, Pat sets forth on a rescue mission whose outcome is anything but certain. 

Here's a link to the original review. 

https://www.blogger.com/blog/post/edit/474873268835444248/3915445226366393064

Went to watch this again, before it disappears from our screens. It's often a very rewarding experience to rewatch a film you've enjoyed, sometimes you become aware of a film's flaws and faults and dramatically revise your original score, like Die Another Day when you realise, much to your shame, that rather than being a thrilling and fantastic spectacle worthy of a 9/10 it is in actuality a rather piss-poor, badly plotted, over-the-top, piece of crap worthy of probably a 7/10.

I should point out that for me, a 7/10 is a middling film. I realise that some of you might consider a 5/10 to be middling. But I think all films should aim for a 7/10 as their basic minimum score. 

ANYWAY. What of One Battle After Another? I took Petra who'd I'd tried to take when it first opened but she was reluctant, she seems to have taken against my film suggestions and so it took the combined might of her entire office telling her she should see it to finally make her agree to experience it. 

I was suprised how much of it I had forgotten, or how my brain had editorially broken it down and subtly restructured it. I was immediately stuck by the music, which starts before the opening credits and before the film proper has even begun, both the choice of classic rock and pop music tracks, and later the unsettling discordant strings are used throughout this are simply fantastic. 

The acting too is outstanding, that's across the board, it goes without saying for the likes of del Toro, Sean Penn and DiCaprio, who are acting royalty, but it's Chase Infiniti who deserves special attention. She is the real revelation, she holds our attention and her performance easily matches the three male leads, which considering this is her first film role is astonishing. I think the future is bright for her, I bloody hope so! 

The action throughout is superbly handled and the intense car chase in the final act is truly inspirational. Likewise, the humour is spot-on and although some critics have complained about the Christmas Adventurers Club I think it was perfect. At the end of the day, this film is a social commentary of the utterly corrupt and abhorrent Trump administration, and as such it nails it perfectly. 

The story, simply structured in nevertheless deeply engaging and the 162 minutes speed past and I was completely captivated. I simply can not fault it and watching it again made me realise this is quite possibly The Film of the Year, although you'll have to wait to the end of December to find out if it managed to  finally knock The Phoenician Scheme off the top spot. No spoilers.

Once again this scores a 10/10 from me, and from Petra, who loved every second. Maybe she'll start trusting me again, when it comes to film recommendations. 

#66: TRON ARES

STARRING: Jared Leto, Greta Lee, Evan Peters, Jodie Turner-Smith, Hasan Minhaj, Arturo Castro, Gillian Anderson and Jeff Bridges.  Story by David DiGilio and Jesse Wigutow. Screenplay by Jesse Wigutow. Directed by Joachim Rønning. Music by Nine Inch Nails (NIN). Budget $200 million. Running time 119 minutes.

So, 15 years have passed since Tron Legacy and in the present Jared Leto plays Ares – a programe who dreams of being human, imagine a digital Pinocchio who's also a one man killing machine. He's a program created by the Grandson of David Warner's Dillinger from the first Tron movie, and he's found a way to 3D print digital weapons and soldiers, but they only have a life span of 29 minutes. Meanwhile there's this scientist lady called Eve who's the owner of all of Kevin Flynn's, played by Jeff Bridges in the original, company and tech and she and Dillinger are mortal enemies. Anyway she finds this old Flynn code that will make all the 3-D printed stuff last indefinitely. Dillinger and his mum, played by Gillian Anderson want it, girl genius wants it and so does Ares. But when Ares escapes into the real world he teams up with genius girl, and Dillinger sends another digital warrior after Ares to get it back. And then there's this big chase and battle somewhere in an American city and Ares ends up in the original Tron world and chats with Jeff Bridges and then more stuff happens and it ends, with a post credit sequel bait sequence and there you have the synopsis for the most unnecessary sequel, since the three Star Wars prequels and sequels, the three Matrix ones and all the Terminator and Alien ones after the second. 

I left the cinema less than an hour ago and I'm desperate to get my thoughts down before I forget I've ever saw this. Interestingly enough the four other members of the audience for this film walked out after ten minutes, while I stayed to the very end and I'm rather glad i did, because I rather enjoyed it. 

Just make sure to switch your brain to neutral, disable your critical facilities, and lower your firewall and just enjoy the visual and audio spectacle because this was a mostly entertaining and exciting little romp that didn't outstay its welcome and didn't offer a world threatening global extinction event. Jared Leto, an actor I have very little enthusiasm for, did well and offered up a mostly reserved and likeable character in Ares, the effects all reds and blacks were very well done, but the highlight of the whole event was a return to the original world of Tron in a most unexpected way, I wish we could have stayed there longer, seeing the original light bike was a total delight and worth the admission price alone. The music by NIN is very good, powerful and raw and very much suited the visuals. The pacing is good, the direction won't win any Oscars but was very competent and there's a very funny bit about 1980s music which had me laughing. The great thing about being the only one in the audience is not only can you whoop and cheer with impunity, but you can also sit there in your underpants and string vest as if you were at home. 

The original Tron came out in 1982 and beyond its ground-breaking special effects had very little less to offer, the story was bog-standard and very Disney-esque. Tron Legacy arrived 28 years later and was an overblown affair mostly remembered for the terrible CGI de-aging of Jeff Bridges. This new sequel, which if it is to be believed has been in development since 2010 makes no effort to resolve the ending of the last film, which saw Sam Flynn and Kiora the female program drive off into the sunrise, or sunset, although their existence is hinted at in this and their possible involvement should there be another installment. That possibility seems very likely since for some inexplicable reason, despite their poor box-office returns, Hollywood just keeps on producing more Tron films. 

To sum up, this wasn't totally ch-TRON-ic, and it did sort of ARES-ise above expectations.

7/10

#65: GOLDENEYE

 

STARRING: Pierce Brosnan, Sean Bean, Izabella Scorupco, Famke Janssen, Joe Don Baker, Alan Cummings, Dame Judi Dench and Samatha Bond. Story by Michael France. Screenplay by Jeffrey Caine and Bruce Feirstein. Directed by Martin Campbell. Music by Eric Serra. Special effects by Derek Meddings. Running time 130 minutes. Budget $60 million. Boxoffice £356.4 million. Originally released in 1995.

And so it came to pass that after a six-year absence James Bond did return for his 17th cinematic outing, in the guise of Irish actor Pierce Brosnan. Featuring a new Miss Moneypenny, now played by Samatha Bond and a new female M played by the superlative Dame Judi Dench, this was the Bond franchise Rejuvenated and invigorated. It was also the first Bond film not be based, in any small part on the works of Ian Flemming, the first without Cubby Broccoli's involvement and with a new director replacing long-time stalwart John Glenn. It marked a new beginning for series and was the first to seriously try and update the whole template of Bond. There was a lot riding on this one and its success would herald a new era of Bond which would go on to see some of the best entries of the entire series and also some of the absolute worst. 

The story sees little Jimmy Bond going up against the Huge Janus crime syndicate run by Sean 'Bastard' Bean's in a post Soviet Union collapse (rather amusing in this day and age) he's got his hands on the Goldeneye EMP device and Jimmy's keen to get it back before his old work buddy Alec Trevelyan 006 can steal loads of stuff from his super-duper secret satellite dish complex in Cuba. Along for the ride and to be his reward for a job well done is Natalya Simonova (Izabella Scorupco), a Goldeneye computer game programmer. 

Actually, come to think about it, this film is very female-centric, what with Dench's M, Samantha Bond's Miss Moneypenny who's not tolerating any of Bond's leery innuendo, Trevelyan's henchwomen Xenia Onatopp (Famke Janssen) who gets sexually aroused by murder and killing and the aforementioned Natalya. See, strong female characters. 

Despite the reboot, this new Bond film still features many of the tropes that made the series so successful, the visit to Q Branch and its head Q (Desmond Llewelyn), the gun barrel, the iconic Bond March, the gadgets, guns and cars. 

And where as time seems to have been rather kind to Goldeneye, it's not a perfect film. The music by newbie to the series Eric Serra is, in a word, shit. Ghastly 'whaa-waa' twanged disco funk that sits badly with the action and makes you crave a good-old meaty John Barry score. 

I've not seen this up on the big screen since 1995 so it's a nice coincidence that the screening I saw just so happened to be the 30th anniversary of Goldeneye! What a nice surprise.  

This starts extremely well, with one of the best pre-credit sequences ever, that valiantly tries to out-do sublime The Spy Who Loved Me and fails. It introduces the new Bond perfectly even if Bronson doesn't quite feel comfortable in the role and he brings some lovely little tweaks to the mythos of Bond, the straightening of his tie, the way he pouts when peeved and some youthful energy. However he's also a rather seedy, tad creepy and rather predatory Bond and some of his innuendo schtick is rather icky. Martin Campbell, who directs, brings some much needed energy to the proceedings, and helped to kickstart this post-Berlin wall Bond. Special mention also to the special effects of Derek Medding and his crew. using models and practical effects, the film action set pieces are downright superb and some of the best of the series.

While this is definitely not my favourite Bond film, that honour belongs to The Spy Who Loved Me, Goldfinger and Casino Royale, this is my favourite Pierce Bronson Bond and it was an absolute treat to see it writ large on the silver screen again. 

8/10

#64:GODZILLA VS BIOLLANTE

STARRING: Kenpachiro Satsuma, Masashi Takegumi, Kunihiko Mitamura, Yoshiko Tanaka, Masanobu Takashima, Megumi Odaka, Konaiji Toyota, Toru Minegishi, Yasuko Sawaguchi, Toshiyuki Nagashima, Yoshiko Kuga, Ryunosuke Kaneda and Koji Takahashi. Written and directed by Kazuki Ōmori. Story by Shinichirō Kobayashi. Special effects by Kōichi Kawakita. Budget $10.7. Boxoffice $9.14 million. Originally released in 1989.

A direct sequel to the truly sublime 1984 The Return of Godzilla, this one sees Godzilla (Kenpachiro Satsuma) emerge from the volcano he fell into at the climax of that one and, feeling a bit peckish, set off for a spot of radioactive fast food. However, mankind has not rested while Godzie slept, no far from it! Using Godzilla cells secretly harvested by the Saradia Institue of Technology and Science who hope to use the celles to transform Saradian deserts into fertile land, their pet scientist Dr. Genshiro Shiragami (Kōji Takahashi) and his daughter, Erika have created an anti-nuclear energy bacteria vaccine. However a terrorist attack leaves her dead and him deeply aggrieved. Five years later, Godzie is out and the Doctor is encouraged to join the fight in defeating him. The good doctor hasn't been idle and has managed to merge the Godzilla cells with a rose bush DNA and his daughter's soul resulting in the creation of Biollante leading to an epic fight between the two titans! Add to that a subplot about secret agents, elite assassins and a race against time to save the world and you have one of the best made Godzilla films!

As I've previously stated I am an avid Godzilla fan and simply love the films of the Big Guy to such an extent that I am critically blind to the alleged failings of the Toho franchise, not so to the Legendary efforts which have been a mixed bag. 

ANYWAY, this one. Well, it's not my favourite, it's not as good as Godzilla Vs Megalon, but it's still a delightful and exhilarating rampage. It takes too long to get up and running, and let's be honest, what we want from a Godzilla film is for our titular hero to stomp the living shit out of Tokyo before going head-to-head with another monster(s) of equal or better power. GVB delivers the destruction fantastically and the return of the spectacular Super X flying platform, now remotely controlled like a drone is fantastic! The levels of destruction on display, all done practically and with models and actual explosives, are off the fricking chart, and deliver in nothing but spades! 

The human story at the centre of all the Godzilla films is usually the weakest part of the films, but not so here. Infusing the plot not only with secret agents, gun battles and super assassins but also our various heroes racing around trying to rally the troops really helps to make a gripping and exciting romp of a film. The whole approach was devoid of any humour or comedy and presented very earnestly, however as is often the case with Japanese cinema, that approach can offen elicit hoots of laughter, as was the case with this!

The version presented at the Barbican Cinema 1 screening was part of their Kaiju season and was subtitled not dubbed and was packed, which was a delight, how wonderful to see this time of film with an audience of fans. I count myself blessed that I was able to see both of these Godzilla films on the big screen and am eagerly looking forward to Ebirah, Horror of the Deep in November!

Mixing Godzilla levels of destruction and mayhem with a healthy dose of James Bond for a big, meaty no-holds-barred heavyweight bout of big monster smack downs! 
 
9/10

#63: ALIENS: DIRECTOR'S CUT

Starring Sigourney Weaver, Michael Biehn, Paul Reiser, Lance Henriksen, Carrie Henn, Bill Paxton, William Hope, Ricco Ross, Al Matthews, Jenette Goldstein, Mark Rolston and Daniel Kash. Written and directed by James Cameron, from a story by Cameron, David Giler and Walter Hill. Music by James Horner. Budget $18.5 million. Running Time 154 minutes. Originally released in 1986. BOX OFFICE HAUL $183,291,256.

57 years after the events of Alien, Ripley (Sigourney Weaver) is found drifting in her life pod in deep suspension and revived to take the blame for the destruction on the Nostromo and the death of its crew. Meanwhile LV427 is in the process of being terraformed and the contents of the derelict alien spaceship have been unleashed on the unsuspecting terraformists causing untold mayhem. When the colony goes silent, Earth sends a Marine troop to investigate and Ripley tags along for some more shits and giggles, although this time with the action ratcheted up to 11.

As soon as Ripley and the Marines lands on LV427 the film explodes into action and doesn't let up for one instant. 

I saw this, the Director's Cut just two years ago back up on the big screen, the first time since it was originally released in the cinema. I loved it the first time I saw it in 1986 at a Preview and I've never stopped loving it, if anything as time goes on my love for it grows, cos they just don't make films like this anymore.
This is a fantastic sequel and a damn good film in its own right, utilising optical and practical effects and superb model work from John Richardson and his hand-picked crew. Actually, isn't it funny how old CGI dates horribly but not well done old practical effects. This film is just so inventive, the script is so tight, so well written, the cast and the characters all acting as adults and not making stupid plot choices just to propel the story along. 

Anyway, yet again witnessing this on the big screen was just an utter treat and one you should never give up the opportunity of seeing. It reigns supreme up, twenty feet high. It doesn't need saying but it's lost none of its power, drama or scope. It's superbly paced, and edited, and this is yet another Cameron film that really is a note-perfect, it's amazing to think this was his third film as director. 

You can see why every film in the franchise after this just screwed the pooch, after the sublime genius of Ridley Scott and Cameron there really was no way to go. If only they'd left well enough alone. Oh well. Nothing that has come since has damaged this ones reputation.  

Loved it then. Love it now. Can't fault it. 10/10