No-one luxuriates in language and characterisation like Tarantino, and how his actors revel in the delivery of his lines. Walton Goggins' gives a bravura performance with camp flourishes, as the pitiable and at times Gollumesque maybe sheriff Chris Mannix. Jennifer Jason-Lee deserves an Oscar nomination for her portrayal of Daisy Domergue. Whilst this is a long film, it's not like you didn't know what to expect. For my taste, the use of the 'n' word became childish after a while, as if Tarantino acknowledges that it's taboo, and decides to break it over and over again, like a big naughty toddler. The only flaw, however.
Reviews
11 Reviews
Spectre
(I) (2015)
An Enjoyable Hackneyed Series of Clichés
31 October 2015
From what I have read, I expected this film to lack plotting, and to consist action sequences bolted together. This was not the case. How could it be with Sam Mendes directing a fine cast with customary aplomb? There were numerous self-referential nods of the head throughout, but witty though many of them were, they didn't stop the film being in essence an enjoyable hackneyed series of clichés. Spectre had a sort of end of season feel to it. Daniel Craig and Sam Mendes will soon be moving on, on their own terms, like the manager and captain of your favourite football team. The mind wanders towards the question of who the board will bring in next. Guy Ritchie would be interesting. Tarantino wouldn't touch it. Or might he?
The Man from U.N.C.L.E.
(2015)
Achieves its Goals
17 August 2015
In terms of what this film is trying to do: surround a retro plot with likable characters, sparky dialogue, beautiful locations and gorgeous accessories it succeeds totally. The action sequences are exciting, and the way that Guy Ritchie deconstructs and explains certain sequences within the film adds to the exposition, and brings cocksure flair to the direction. I hope that this film makes money, and I would be delighted to see a sequel. Ritchie cops too much flack. This film carried off the 'sixties thing just as well as American Hustle did the 'seventies. And this film had more wit and zip. I also preferred the Man From U.N.C.L.E. to either Casino Royale or A Quantum of Solace. They could do worse than approach Ritchie when Sam Mendes gets sick of Bond. I have awarded 8 out of ten because although the film succeeds in achieving its aims, it's aims are relatively modest. We're not talking high art or truly memorable cinema here, but as the cinematic equivalent of a special chow mein, its a tasty one, and a great example of what it is.
Love Is Strange
(2014)
Contains Mild Awkwardness
19 March 2015
I wonder if Mike Leigh, that master of making up films as they go along, in some of which nothing much happens, has seen this film. If he has, I bet he was jealous. Love Is Strange is just like a Mike Leigh film- talented actors, acting their socks off with virtually non- existent material.
I haven't checked the BBFC website, but I suspect the only warning on there will be "contains mild awkwardness". Anyone (I was) hoping to hear 'Love Is Strange', by Everything But The Girl on the soundtrack will be disappointed, and 'Nothing Ever Happens' by Del Amitri is another sad omission.
On the plus side, the film only lasts 90 minutes.
I haven't checked the BBFC website, but I suspect the only warning on there will be "contains mild awkwardness". Anyone (I was) hoping to hear 'Love Is Strange', by Everything But The Girl on the soundtrack will be disappointed, and 'Nothing Ever Happens' by Del Amitri is another sad omission.
On the plus side, the film only lasts 90 minutes.
Pride
(I) (2014)
Pride-ictable.
30 September 2014
A mawkish cut 'n' shut of two leftist cause celebres, populated by stereotypical characters, moving inexorably, yet insufficiently quickly towards its predictable conclusion.
Unfortunately, I'm not allowed to stop at one sentence. There are some lame jokes about what happens when working class folk- salt of the earth in the main- encounter gays and lesbians for the first time (so far as they know). There is all the personal and political anguish you would expect of the early 'eighties, thematically explored with total unoriginality. The writing is lazy, boring and irritating in its preachiness. This is a ninety minute political broadcast which has unleashed some sickening mutual backslapping amongst a swathe of the arty left who were young in Thatcher's Britain. The film's great achievement for me was to alienate someone who was and is broadly sympathetic of the miners, and who is hugely sympathetic to gay equality.
Unfortunately, I'm not allowed to stop at one sentence. There are some lame jokes about what happens when working class folk- salt of the earth in the main- encounter gays and lesbians for the first time (so far as they know). There is all the personal and political anguish you would expect of the early 'eighties, thematically explored with total unoriginality. The writing is lazy, boring and irritating in its preachiness. This is a ninety minute political broadcast which has unleashed some sickening mutual backslapping amongst a swathe of the arty left who were young in Thatcher's Britain. The film's great achievement for me was to alienate someone who was and is broadly sympathetic of the miners, and who is hugely sympathetic to gay equality.
A Slight Improvement on An Unexpected Journey
4 January 2014
The film rattles along and there is much smiting. This is good. There is much that is not good in this over inflated vanity project.
The Lord Of The Rings trilogy was brilliant and memorable, because it brought a classic story to life. It's a long story, and the films were necessarily long too.
It is outrageous of Peter Jackson to think that his own plot lines might improve upon the author's. In fifty years, will people still be talking about how the brilliant Peter Jackson made the Hobbit an even better story, as well as a good film?
When this film trilogy is complete, it will take you longer to watch it than to read the book, which is both daft and self indulgent. Someone should have told the Director that his hubris was ruining the project.
The Lord Of The Rings trilogy was brilliant and memorable, because it brought a classic story to life. It's a long story, and the films were necessarily long too.
It is outrageous of Peter Jackson to think that his own plot lines might improve upon the author's. In fifty years, will people still be talking about how the brilliant Peter Jackson made the Hobbit an even better story, as well as a good film?
When this film trilogy is complete, it will take you longer to watch it than to read the book, which is both daft and self indulgent. Someone should have told the Director that his hubris was ruining the project.
Seven Psychopaths
(2012)
Profoundly Disappointing
2 November 2013
The film's one real coherence is in its cinematic depiction of writer's block. For that achievement I award a star. You know that something's going to be rubbish when it's about someone trying to write something.
The second star goes to Christopher Walken for being watchable here, as he is everywhere else.
The plot is all over the place and the attempts at humour do not really hit the mark. The whole film reeks of someone scrabbling about for an idea and never really finding one. This lack of substance should have been picked up in pre- production and the project called off for want of a story.
The sad thing is that I have been blown away by the two other pieces that I have seen written by Martin McDonough, The Beauty Queen of Leenane (play) and In Bruges.
The second star goes to Christopher Walken for being watchable here, as he is everywhere else.
The plot is all over the place and the attempts at humour do not really hit the mark. The whole film reeks of someone scrabbling about for an idea and never really finding one. This lack of substance should have been picked up in pre- production and the project called off for want of a story.
The sad thing is that I have been blown away by the two other pieces that I have seen written by Martin McDonough, The Beauty Queen of Leenane (play) and In Bruges.
Sex Lives of the Potato Men
(2004)
Deserves Re-evaluation
1 November 2013
Warning: Spoilers
Earlier this year, I heard Mark Kermode refer to this as a 'nasty' little film. That was not how I remembered it. Crude, tasteless, very funny, and fairly sympathetic to its tragic set of characters was how I remembered the film, so I watched it again.
The film was even funnier the second time round. It is packed with jokes. I particularly liked one where a character sees a pretty nurse in hospital, and makes for the lavatory. "Number one or number two?" He is asked. "Number three" he replies.
Sex Lives of the Potato Men has suffered from two things. First, it came along before The Inbetweeners, and it is no more crude than that television series. Indeed Sex Lives of the Potato Men is like a hybrid of a Carry On film and The Inbetweeners.
Second, I suspect that many film critics thought about how they would be judged for favourably reviewing such a crass, vulgar little film. Perceived peer pressure, and fear of professional ridicule will have made some critics too scared to break ranks and admit that this film is just silly, guilty fun.
The film was even funnier the second time round. It is packed with jokes. I particularly liked one where a character sees a pretty nurse in hospital, and makes for the lavatory. "Number one or number two?" He is asked. "Number three" he replies.
Sex Lives of the Potato Men has suffered from two things. First, it came along before The Inbetweeners, and it is no more crude than that television series. Indeed Sex Lives of the Potato Men is like a hybrid of a Carry On film and The Inbetweeners.
Second, I suspect that many film critics thought about how they would be judged for favourably reviewing such a crass, vulgar little film. Perceived peer pressure, and fear of professional ridicule will have made some critics too scared to break ranks and admit that this film is just silly, guilty fun.
Le Week-End
(2013)
Unable to Suspend Disbelief
1 November 2013
Warning: Spoilers
How this film has become such catnip to critics is beyond me.
The premise- that an experienced lecturer should be forced to resign over telling a girl to spend more time on her studies than her hair is ludicrous, however politically correct an institution might have become.
The interaction between the two leads is simply not credible. Meg, Nick's wife tells him over lunch that he is "too cautious". One might make such an observation within the first 5 years of a relationship, but after 30 years of marriage?
The bickering, intended to be funny, is neither funny, nor even bickering. To bicker is to good- naturedly argue about stuff which is essentially inconsequential. At various times Meg threatens to leave Nick, and threatens to go off with another man there and then, taunting Nick's insecurity. After exchanging wounding and generalised criticisms of each other, the viewer is expected to believe that within 5 minutes the couple can be kissing passionately.
This film is supposed to be a comedy. It is not funny. Nor does it work as drama, save potentially in the imaginations of a small tranche of pretentious academics, and some film critics, to whom this film may say something to them of their lives.
The premise- that an experienced lecturer should be forced to resign over telling a girl to spend more time on her studies than her hair is ludicrous, however politically correct an institution might have become.
The interaction between the two leads is simply not credible. Meg, Nick's wife tells him over lunch that he is "too cautious". One might make such an observation within the first 5 years of a relationship, but after 30 years of marriage?
The bickering, intended to be funny, is neither funny, nor even bickering. To bicker is to good- naturedly argue about stuff which is essentially inconsequential. At various times Meg threatens to leave Nick, and threatens to go off with another man there and then, taunting Nick's insecurity. After exchanging wounding and generalised criticisms of each other, the viewer is expected to believe that within 5 minutes the couple can be kissing passionately.
This film is supposed to be a comedy. It is not funny. Nor does it work as drama, save potentially in the imaginations of a small tranche of pretentious academics, and some film critics, to whom this film may say something to them of their lives.
In Bruges
(2008)
A Great Film. Appreciated yet remaining underrated.
10 September 2011
Warning: Spoilers
I love this film, and have seen it a number of times. It has many superlative elements, and one flaw.
The story is compelling, and laden with themes. The use of Brugge as purgatory, is encapsulated in the scene where Ray and Ken meditate upon The Last Judgement, by Bosch. The theme that nice men can do bad things recurs. A nod (an homage is too strong) to "Don't Look Now", and another nod to "Nosferatu the Vampyre", as Harry, in silhouette, pistol whips the attendant of the Brugge Belfry. Ken's own redemption, attempting to redeem Ray shows that it's never too late to change the path you have chosen. Harry, also a bad man, remains an honourable man- "You've got to stick to your principles"; "I'm sorry I called you an inanimate object". The ultimate revelation that the midget's role is central, and is not a picaresque conceit, is masterly. The brilliant dialogue, and the haunting score, especially, Der Leiermann, illustrate that Carter Burwell really understood the film, and endow the film with a congruence that is all too rare.
The flaw? That self referential bit when Harry tells Marie that "this is the shoot out". It jars, but it's like grit in an oyster, emphasising the overall brilliance of this film.
The story is compelling, and laden with themes. The use of Brugge as purgatory, is encapsulated in the scene where Ray and Ken meditate upon The Last Judgement, by Bosch. The theme that nice men can do bad things recurs. A nod (an homage is too strong) to "Don't Look Now", and another nod to "Nosferatu the Vampyre", as Harry, in silhouette, pistol whips the attendant of the Brugge Belfry. Ken's own redemption, attempting to redeem Ray shows that it's never too late to change the path you have chosen. Harry, also a bad man, remains an honourable man- "You've got to stick to your principles"; "I'm sorry I called you an inanimate object". The ultimate revelation that the midget's role is central, and is not a picaresque conceit, is masterly. The brilliant dialogue, and the haunting score, especially, Der Leiermann, illustrate that Carter Burwell really understood the film, and endow the film with a congruence that is all too rare.
The flaw? That self referential bit when Harry tells Marie that "this is the shoot out". It jars, but it's like grit in an oyster, emphasising the overall brilliance of this film.
London Boulevard
(2010)
Not Bouled Over
13 December 2010
Warning: Spoilers
Good points: Ray Winstone is genuinely menacing. David Thewlis does a fun hammy turn. Colin Farrell is sympathetic and credible, as is Anna Friel. However, the plot is unbelievable (in the sense of not suspending disbelief). The contrived way that Farrell gets his job with Knightly is ridiculous, and although the contributions by Thewlis's character are fun to watch, you are not convinced by him. Knightly herself is hopeless. The dialogue is often risible, except when delivered by Winstone. Whilst I enjoyed this film as it ran, the overwhelming impression it leaves is what a piece of work "In Bruges" is. This film is rubbish by comparison, especially considering the pedigree of its scriptwriter. Even Rocknrolla knocks it into a cocked hat. DEEPLY DISAPPOINTING. Ooh, almost forgot! Liked the soundtrack.
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