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Walkabout (1971)
A Film From A Truly Different Time
A girl and her young brother find themselves abandoned in the Australian outback. They meet an aboriginal boy who is on his tribal right of passage known as 'Walkabout'. The three set off on a journey across the vast, sunburnt land where they learn as much about themselves, as they do how to survive.
This film is hard to describe. The countryside is breathtaking in its harshness and beauty, which the film makers expertly capture on camera. The central story is simplicity itself, with very little development. There are no great moments of catharsis as the landscape and lived experiences change the characters. They simply travel across it, experiencing it as it presents itself.
This is a film with three child actors in the lead roles, but most certainly not a film for children. The imagery the director and editor chooses is overtly sensual. There's nothing even vaguely subtle about hidden desires of the older boy and girl, and while nothing is consummated between them, the editing alone lays it all out. This is most apparent in the scenes of the girl swimming naked in the billabong.
These overt desires are picked up on in scenes of secondary characters. This film has two major sections where random, adult characters have scenes not related to the main story. These scenes are even more overly flirtatious, and the characters promptly then disappear, never to be seen again. A confusing choice to the overall narrative, to say the least.
The editing goes out of its way to juxtapose the brutality of the landscape with the vulnerability of the siblings. While it does portray how unprepared they are to survive, it's so unsubtle as to be truly jarring at times.
Having said all that, the three leads do a commendable job on screen together. There are some real moments of connection and levity between them. It's a shame that screen time given to random characters who come and go for no reason, weren't given to them to develop their characters more.
When viewed as an entire experience this film is worth watching. If you can let the small questions go as an audience member, then you'll be treated to a visual spectacle, with enough of a heart to reward you for watching.
Ghostbusters II (1989)
Feels Too Familiar
Ghostbusters 2 is more of the same, and entertaining enough.
Five years after the events of the original Ghostbusters, our heroes have found themselves at a new low. Business is hardly booming, relationships are strained and the world has moved on from the supernatural heroics the team became famous for. But when a new threat is discovered then it's time to don the proton packs once more and answer the call.
Ghostbusters 2 hits many of the same beats as Ghostbusters, which is both a blessing and a curse. Even though it presents new challenges to the core characters, it's still framed like the original, leaving it feeling a little too derived at times. A bit too much paint by numbers.
Relationships that could have been developed are discarded. The writers also did the obligatory 'Let's set the characters back to square one so we have somewhere to go' thing that marks the worst part of any sequel.
Having said that, there are moments that shine. Ernie Hudson is great when he gets something to do. The scene at the docks, while brief, is memorable.
The finale is a little lackluster, but overall the film isn't a complete waste of time. It just isn't able to cast off the shackles of the first film and find its own voice. When it speaks, it all sounds very familiar.
Ghostbusters: Afterlife (2021)
A Classy and Heartwarming Passing of the Torch
Ghostbusters Afterlife acts as both the completion of a trilogy, and the passing of the torch.
When Phoebe and her family inherit an old farm, she discovers that the grandfather she never knew was a tragic and heroic figure. One of the original Ghostbusters. This sets her on a path of discovery, both of her family's past and also of a darker, more menacing threat to her future.
Beautifully shot, with a great cast and location, Afterlife puts to bed the sins of the 2016 film and gives the legacy characters the sendoff they deserve after the events of Ghostbusters 2. It is genuinely touching in places, with just the right levels of callbacks to the original films, combined with a tight focus on the new characters as they revive the past and go on their own adventure.
McKenna Grace as Phoebe is the lead of this film. The events are mostly seen through her eyes and she is a well weighted entry point for the audience. Her quirkiness and attempts at humor are endearing and she is competent without being overbearing. A mistake that other franchises are currently making in their treatment of intelligent, scientific prodigy characters.
She is backed up by solid performances from the rest of the cast. All doing enough to service the story and inject humor and energy to proceedings. Carrie Coon and Logan Kim are probably the strongest of the supporting group.
Ghostbusters Afterlife does have some missteps. Celeste O'Conner is a little one note, and Finn Wolfhard does an ok job portraying his usual Stranger Things awkwardness, but these are small blips on the radar, and the climax of the film more than makes up for this. It is immensely satisfying and heartwarming and could not have been done better.
Ghostbusters Afterlife is quite literally for everyone. Fans of the original and newcomers to the franchise. A fulfilling and fun supernatural adventure, that packs a real emotional punch in the climax.
Northspur (2022)
A Memorable Actioner With Heart
Northspur takes a straightforward every man quest, set in a post apocalyptic world, and imbues it with a real heart. It's a finely crafted film, beautifully shot, on a budget, that stays with you long after the final credits have rolled.
Kellan (Josh McKenzie) must locate medicine to save the life of his love Melinda (Delany Talbon). To this end he falls in with Summers (Marshal Napier), who agrees to supply the rare medicine in return for a favor. The pacifist Kellan must help to fight off waves of attackers, all intent on taking Summers down for their own reasons. An all out war ensues and the cabin the two men are holed up in becomes ground zero for a battle of epic proportions.
Northspur is engaging from the opening. It has shades of the original Mad Max all through it, only with more of a character based story. The relationship between the two men is key to the whole film, and Napier and McKenzie imbue both characters with just the right levels of humanity and desperation.
Delany Tabron is also a joy to watch. Melinda has just as much to deal with, harassed by a sinister home intruder and taking care of her neighbour's newly orphaned child, she portrays the terror of isolation with a relatable vulnerability.
The action sequences are punchy and brutal, but Northspur shows its real edge in the way it tackles some of the darker themes in the film. Most notably the effects of domestic violence and the legacy it leaves on survivors. It handles these scenes with a refreshing honesty, one that makes the story memorable.
A strong ensemble cast backs up the leads, with Michael Hurst, Gayle Haye and Nell Fisher the standouts. The cast is large, and would be easy to lose track of if they weren't so distinctive.
The scenery is stunning. It was shot on location in New Zealand and seeing the usual fantasy backdrops transferred into the grim world of a collapsed society is unique and gives the film a real identity.
Northspur entertains on so many levels. It takes you on an action packed ride that is both engaging and memorable.
Miracle Mile (1988)
A Tension Filled Thriller With Superb Energy
Harry (played by acting stalwart Anthony Edwards) is a young man who finally meets the girl of his dreams, the vivacious Julie (Mare Winningham).
But just as things are looking up for our hero, a seemingly small incident sparks a series of events that will change his life forever, and send him on a desperate race against time save his new love.
What follows is a tense, action packed panic film as fear grips the city. But is the danger real? Could it all be a hoax?
Miracle Mile succeeds on so many levels. It is tense, and the tension is maintained even in moments of levity that let the characters take stock of what is happening. It keeps the focus purely on Harry, allowing Edwards to carry the film with his everyman charm and underdog determination. There's a lot to appreciate in his portrayal of the frantic, self deprecating Harry. He's a likable, relatable character who is hopelessly out of his depth, but never out of the fight.
The supporting cast come and go, and more than a few of them are a little wacky, but the movie keeps a consistent, terrifying tone that puts them through some serious challenges, as well as keeping the story exciting and well paced.
Some clean stunt work and a few twists cap the whole experience off nicely. An easy film to recommend.
The War of the Worlds (2019)
The Bore Of The Worlds
Where to start with this one?
Perhaps with the positives. It's a short list though.
The setting is close to the original novel. H. G. Wells imagined the story in his own near future: "The last years of the nineteenth century" setting it just after that. So being in Edwardian England the BBC at least got that (mostly) right.
It has Raph Spall, Robert Carlise and Rupert Graves. All competent, talented actors with pedigree.
Well that's the positives taken care of. Now for the rest.
The design of the Martians is baffling bad. They oscillate between nanobot type orbs instead of cylinders, and giant crystalline walkers. A far cry from the titan mechanical fighting machines Wells originally wrote of. Both Wayne and Spielberg did them far more justice.
The key moments from the book are gone. Replaced with additional characters and a complete lack of focus. This is Amy's story. As she fights her enemies with her wits and courage. I am talking about men of course, not the invading Martians. I am guessing the BBC thought that a heroic sacrifice from the men on board the HMS Thunder Child was a little off message. Guess we will never see that iconic battle depicted on film or television. Farewell Thunder Child.
Which brings me to the main issue. It's The War Of The Worlds written with modern sensibilities. It's the BBC. This really does explain everything. This is a female focused story with a diverse cast. The writers will have random characters turn up, strangers to the central characters, who are then treated like long lost friends because the BBC realized a certain demographic wasn't being represented. It's honestly this ham fisted.
It also does the one thing that War Of The Worlds adaptations should never do. It botches the pre-invasion section of the story. This is when it should be the most tense, as humans stand looking at a storm about to engulf them, and are unaware of the true danger. This adaptation gives us nothing but bland scenes and poorly written dialogue in the build up to the chaos.
But most of all it's boring. Any time a character is engaging in any way the scene then ends, followed by an unpleasant argument or dead air with 'meaningful looks'. Mills and Boone produced better drama.
Avoid this one. My suggestion is watch Spielberg or George Pal instead. Or give yourself a real treat, dim the lights, and put on Jeff Wanye's musical version. All those options are leagues closer to a real War Of the Worlds experience than this creatively bereft offering from the BBC.
Forbrydelsen (2007)
Extremely Good Slow Burn Mystery
The Killing is well worth investing your time in. It takes a fairly straightforward premise - 'Outcast hero must solve a murder' and knows exactly when to pull back and develop the characters, and when to reveal plot moving developments. The slow pacing at times is a joy, a panacea for the modern day trend of having flashes and loud noises to remind people to look up from their phones to watch the screen.
Sofie Gråbøl as Sarah Lund is perfectly cast, and her quirkiness and brilliance is offset by her fellow cast, who seem even more grim and dogged by comparison.
It does muddy at times, with a couple of revelations feeling like they are backtracking a little, but this doesn't torpedo the narrative completely.
All in all, a nordic noir that is well worth the watch.
Conan the Barbarian (1982)
Strength Through Simplicity
The best thing about this film is the simplicity of it. Conan The Barbarian, first installment of the series, creates a brutal, savage and altogether interesting world by being stripped back. There are no towering sets, no elaborate battles and no cast of thousands. Ultimately this ends up being the strength of the film.
Schwarzenegger's Conan is nothing like his book counterpart. The film version has none of the brooding intellect and smoldering cunning of Howard's original creation. Nonetheless, he still feels part of the world, a product of it, and is still worth cheering for (even if he is a little backward at times). A young Arnold Schwarzenegger gives the character everything he needs, and takes you on a quest for revenge that is engaging, heroic and entertaining.