Chi-Raq (2015)

An uneven blend of serious drama, comedy and musical set pieces from director Spike Lee that's based on the ancient Greek Lysistrata, in which the women of warring men withheld sex in the hope of achieving peace. In Spike's hands it's the gang violence of 'Chi-raq' (a portmanteau of Chicago and Iraq), utilising both the language and music of the era and culture.
The chastity-belted ladies (led by Teyonah Parris) carry the narrative forward, while Sam Jackson pops up occasionally to speak directly to the viewer. John Cusak gives support as a white preacher in one of the film's best scenes. But it's Angela Bassett that kept me watching; when the stylised nonsense threatened to sink the whole affair, she was on hand to save it from itself.

2½ locked gates out of 5

Earth vs the Flying Saucers (1956)

Newlyweds Russell (Hugh Marlowe) and Carol Marvin (Joan Taylor) work together putting artificial satellites into space for scientific reasons, but each time communication with the rocket is lost. It's gotta be aliens! The US military typically shoot first and ask questions later, putting the entire world in peril.
It has its fair share of corny 1950s dialogue, clichés, pseudoscience, and stock footage, but I'm a big fan of the film, nevertheless. I adore the classic design of the flying saucers and how they're brought to life by Ray Harryhausen.
The only thing that I'm not keen on is the suited alien design, which lacks the childlike wow factor that the better aspects of the FX have.

3½ clay pigeons out of 5

The Studio Ghibli Collection (UK)

This Collection post will be most useful to folks that are resident in the UK, so apologies to anyone who isn't. It's because the numbering on the spine of the UK (R2) DVD editions of the films causes problems when lined up numerically. Anyone viewing the features in that given order will discover that The Cat Returns (2002) comes before Whisper of the Heart (1995), which is the reverse of how they should be seen. Perhaps the distributor (Optimum) numbered them in the order they licensed them? I don't know, but the errors and occasional duplicate numbering for subsequent Blu-ray editions drove many collectors with OCD slightly barmy. If you live in the UK and want to watch the films in the order they were released by Studio Ghibli, then ignore the actual DVD spine numbers [in brackets]. The correct production order is as follows:

Agent Vinod (2012)

Vinod is a continent-hopping suave agent who does the same kind of things that you've probably seen dozens of other movie secret agents do.
Given that the poster art montage suggests an Indian cousin of James Bond in a Fast + Furious crossover directed by Michael Bay, it's fair to say that I was less than optimistic about seeing the film. Mercifully, it isn't as bad as all that, but nor is it anything worth singing many praises about, because when I watch a Bollywood movie I want something that only India can give. What I don't want is the same kind of boring polish that Hollywood action movies favour.
Much of AV is the latter. It's only when it tries to be slick and fails — making the ridiculous OTT action scenes seem as comical as they are fantastical — that it manages to produce any kind of unique appeal.

2½ life-changing poems out of 5

Superman: The Last Son of Krypton (1996)

TLSoK is the first three episodes of Superman TAS put together into a one-hour TV Movie. The join could've been better, but the pacing is pretty good. It's the now-familiar origin story of Krypton's finest son, but familiarity doesn't dull it. In fact, the scenes on the doomed planet are the best part. So too is the voice work; the Earth cast are good, too, but not as impressive as Krypton's.
Clark/Superman's (Tim Daly) adolescence is a little hurried, but the key players do each get time in the spotlight, as does the series main villain, the follically-challenged billionaire Lex Luthor (Clancy Brown).
Being sold as a pick-up-and-watch movie makes the open ending feel a little awkward, so you might want to get TAS afterwards for the rest.

3 special deliveries out of 5

One Million Years B.C. (1966)

Instead of simply dipping a toe in the cave-girl genre, Hammer dipped an entire lady, Raquel Welch, and created something iconic in the process.
It's a story of early humans (after they'd learned sewing and modesty) with very little dialogue, most of which is Prehistoric language. Despite that, it does manage to be entertaining, least of all in its good girl falls for bad boy scenario; i.e. Loana (Welsh) for the savage Tumak (John Richardson).
Lovers of 'fur' bikinis should enjoy the scenery, while kids and fans of stop-motion can appreciate the wonderful Ray Harryhausen creature effects. Beyond that, there's character growth, some righting of wrongs, and enough tragedy to enable anyone who's seeking an actual story to leave satisfied.

3 skulls on sticks out of 5

Ruined Heart: Another Lovestory Between a Criminal and a Whore (2014)

I don't know how it is for other folks, whether they be professional, amateur, hobbyist or otherwise, but, speaking for myself, when it comes to putting together words to describe a viewing some are easy, some are challenging, and a special few, like Ruined Heart, are damn near impossible.
It has a dreamlike quality; not in a colourful and floaty way, but in how it moves from scene to scene, from emotive event to artistic intent. With almost no dialogue to aid comprehension it relies on feelings, delivered primarily via a combination of imagery (cinematography by Christopher Doyle) and peculiar music courtesy of Dir. Khavn and bizarre duo Stereo Total, amongst others.

3½ conceptual lines out of 5

Much Ado About Nothing (1993)

The thought of Brian Blessed in an adapted-for-film Shakespeare tale is an exciting prospect for me, but, alas, Blessed's character (Antonio) is merely a supporting one. To the fore (eventually) are the bickering duo of Kenneth Branagh and Emma Thompson as Benedick and Beatrice, respectively, both of whom liven up the material, particularly Branagh's soliloquies, such as the one during the eavesdropping moments that give the story its best scene(s).
The playful matchmaking and wilful deceptions that skilfully upend the narrative are easy to follow, moving it along at a delightful pace. If you're a fan of Much Ado and prefer the bard's works in a faithful setting with the original language, then you'll maybe enjoy it as much as I did.

3½ hey nonny nonnies out of 5

City on Fire (1987)

Chow Yun-fat plays Ko Chow, an undercover cop in a violent Hong Kong setting. He's tired of the work and wants to retire, but his superior, inspector Lau (Sun Yueh), wants one last job from him: infiltrate and help bring down a gang of jewellery thieves, one of whom killed a fellow cop.
Ko is, it must be said, a bit of an ass-hole who's difficult to sympathise with, despite much of the running time given over to characterisation. But he gets a little less unlikable as the story progresses.
The closing act is fantastic — it also happens to be the part that QT ripped off for Reservoir Dogs (1992) — but overall the film is too uneven for my tastes.

2½ bleeding heads out of 5

Legend of a Fighter (1982)

Considered by his controlling father to be too weak to inherit the secret Huo family kung fu style teachings, fourth son Huo Yuan Chia (Leung Kar-yan) nevertheless secretly watches and learns what he needs to. Naturally, because he's the hero of the story, he grows to be shit-hot at martial arts.
It starts out a little ropey and the comedic (perhaps even political?) mocking of stereotypes do it no favours, but Dir. Yuen Woo-ping's Legend of a Fighter gets better and better as it goes on, giving Leung Kar-yan (aka Bryan Leun) ample opportunity to demonstrate remarkable skills. It's very much in the spirit of a Bruce Lee movie, so fans of his may want to check it out.

3½ defenceless eggs out of 5

Sympathy for Mr. Vengeance (2002)

The unusual lack of music in Mr. Vengeance, which is the first film in Dir. Park Chan-wook's 'Vengeance' trilogy, is as requisite to the feelings that the work engenders as much as the wonderful use of music is to the two subsequent films. While having such a traditional element of the viewing experience absent helps viewers achieve a measure of 'sympathy' for the key players, the tragic events and grim humour that colour the story (of a brother's well-meaning attempt to ensure that his terminally ill sister receives a replacement kidney) can be tough going at times. In addition, the absence makes the violence feel all the more real, some of which is truly unforgettable stuff.

4 skimming stones out of 5

Network (1976)

In pursuit of higher ratings an unscrupulous TV network mercilessly exploits the increasingly unstable mindset of ageing news anchor Howard Beale (Peter Finch), while his closest friend Max Schumacher (William Holden) can do little but watch, partly because Max has personal issues of his own to deal with.
The savagely satirical media-whoring parts of the film are well-scripted, but it's when it explores human relationships that it really hit the mark for me - the scene between Max and his wife is a perfect example of what I mean. In many ways, the politics of fragile people eclipses the politics of financial profits.

3½ corporate manoeuvres out of 5

The Child's Play / Chucky Collection

In the pantheon of killer dolls in horror movies one name arguably reigns supreme: Chucky. I'm not suggesting the series has delivered the most memorable film in the entire genre, but as characters go it's hard to argue with the notion that Chucky is as good as it gets. For me, that's in large part due to casting. Brad Dourif is amazing in the role; had it been anyone else I don't think the series would have been as successful as it is.
At time of writing, all of the Child's Play and Chucky films have been reviewed on the blog. Click the links below to be taken to each one's review:

01. Child's Play (1988)
02. Child's Play II (1990)
03. Child's Play III (1991)
04. The Bride of Chucky (1998)
05. Seed of Chucky (2004)
06. Curse of Chucky (2013)
07. Cult of Chucky (2017)

your name. (2016)

On a basic level, Makoto Shinkai's your name. is a body-swap story in which two Japanese high school students, Mitsuha (female) and Taki (male), swap identities from time to time. While there's still some mileage to be had in the concept, thankfully, the film attempts something more meaningful.
Filtered through the director's understanding of the shortcomings of human relationships the many contrasts adopt a kind of sensitivity that over time bond with a small number of recurring motifs. When coupled with musings on the machinations of fate's weave, the result is a tale of two souls searching for something yet unknown to them, but it's a thing that each one believes in their heart exists. While it didn't stir me as much as his earlier works, the animation and movement are beautiful, and the sentiment that's carefully stitched into each revelation is heartfelt, so respect is earned for that.

3½ thread voices out of 5

French Dressing (1964)

The 1960s British seaside comedy isn't a genre that I've any real interest in, but French Dressing is Ken Russell's début feature, so I gave it a chance. It's not as terrible as I feared, which is to say it does at least deserve to raise a blip on a Russell fan's radar. Why? Because its eventful plot deals with sex, cinema, and has a horde of leering men to poke fun at. The mix of Britishness and seediness is something that the director's playful side was likely sympathetic to, but, unfortunately, it all goes a bit Benny Hill at times.
Actress Alita Naughton (Judy) gives her scenes a definite sparkle; I was surprised to learn that she didn't keep acting for long afterwards.

2½ inflatable ladies out of 5

The Rock (1996)

With hand on heart and no trace of facetiousness, I don't understand why Michael Bay's ham-fisted, cookie-cutter brand of bullshit action movie is so popular with moviegoers. With regards The Rock, the most convincing thing in it is Sean Connery. Nic Cage, on the other hand, is unconvincing even when his character is called upon to be unconvincing, if you get what I mean. Ed Harris' character gets one scene where he's not a B+W angry bad guy - the film cuts back to him every now and again to remind us that he's an actual part of it. The plot, something about toxic green balls (I shit you not), is a blundering mess.
Why it's released on the Criterion label is yet another mystery.

2 green flares out of 5

Outrage Coda (2017)

Dictionary.com defines 'coda' as 'a concluding section or part [...] serving as a summation of preceding themes, motifs, etc.'. Outrage Coda fits that particular description, concluding the trilogy but telling its own story, too.
Otomo (Kitano) now conducts his business from a South Korean island, out of harm's way and under the protection of a powerful Korean organisation, while the old Hanabishi lieutenants back in Japan scheme and bicker over profits and status. When the two operations clash and war looms, Otomo's hand is forced.
As before there's many dialogue scenes, some with a pleasing dollop of Kitano's subtle comedy stylings, but, sadly, his character isn't involved in very many of them. But he's there for some of the violence, which is brutal.
Keiichi Suzuki's score is by turns daring, unusual, and effectively dramatic.

3 responses out of 5

Stigmata (1999)

Anyone can wear a white clerical collar and pretend to be a Catholic priest, but, strangely, when actor Gabriel Byrne wears one it seems authentic. His role in the film is also the best it has to offer. He's an investigator for the Vatican, finding — and, if need be, discrediting — alleged religious miracles. He's sent to investigate Frankie Paige (Patricia Arquette), a young party-going hairdresser who appears to be suffering the stigmata of the title.
There's about 10 minutes, in total, in which the film gets close to being a sophisticated drama with theological concerns firmly fixed but open to interpretation, but then it stumbles over its own telling and reverts to being just another horror with christian themes used for broad dramatic effect.

2 impressions of the truth out of 5

Cult of Chucky (2017)

To get the most from the seventh film you'll need to have seen the previous six. In lieu of a full explanation, it's self-referential and reliant on knowledge of past characters/events. (It also references other 'horror' films in fun ways.)
It takes place inside an asylum for the criminally insane, so the usual 'nut-house' stereotypes are there, but they're put to good use. There's an ominous build-up and a steady pace, with enough teasing to keep us anticipating the next Chucky scene, and a wicked symmetry adds weight. But in attempting to fit a lot of series history into the plot, it may feel too much like fan-service at times. The final twenty minutes aren't as good as what came before and do feel somewhat unfinished. Once again, look out for a post-credit scene.

3 doll parts out of 5

A Tale of Two Sisters (2003)

A creepy drama from Dir. Kim Jee-woon that has a few good scares but is mostly about atmosphere - Jee-woon savours the beauty of a scene, drawing out its potential in an unhurried and altogether deliberate manner. The story, inspired by a centuries-old folktale, about a family (two sisters, their father, and their troubled step-mother) can get a little confusing on first viewing, but things become clearer as it deepens. It's best if I say no more than that. I'll add only that the performances of the four principal actors are great.

3 old photos out of 5

Inside Man (2006)

It has a number of big names on the roster, but the real star of Inside Man is the person sat behind the camera, Dir. Spike Lee. His technique overshadows proceedings one minute, then works its magic subtly the next. Of the former, having Clive Owens' bank-robbing character speak directly to the viewer and some high-contrast flash-forward moments stand out the most, whereas the latter is perhaps best illustrated by the expert framing and superb camera movements that help tell the story. It's an interesting telling, most of the time, but the narrative itself tries too hard and too often to remind us of how clever it all is, which sometimes backfires, resulting in pushing a viewer out of a scene while Spike's artistry works hard at drawing us in.

3 Steves out of 5

Atlantis: The Lost Empire (2001)

Of the Disney animated films that I've watched thus far, Atlantis: TLE is the only one that I definitely want to see again. It's because it feels very non-Disney: it's sci-fi, there's no furry things in peril and at times it even has more in common with anime (the beginning and end, especially).
It's a Jules Verne-esque story about Milo Thatch's (Michael J. Fox) lifelong desire to find the fabled city, but beyond that it's about family, it's about truth, folly, fear, compassion, respect, moral choices and following your heart. The story moves too quick for it's own good, but I loved it, nevertheless.
Voice work is superb. The CGI actually works alongside the traditional. And, remarkably, even the obligatory comedy character was bearable.

4 vegetables out of 5

Robin Hood (1973)

Disney's animal kingdom version of the Robin Hood story has a talking fox (Brian Bedford) in the title role. The primary antagonist of the film is Prince John, a maneless lion voiced by the wonderful Peter Ustinov, who's assisted in his wrongful deeds by a scheming snake named Sir Hiss (Terry-Thomas).
The animal type chosen for each of the characters reflects their different personalities, making them a genuinely good fit; e.g. Robin is cunning and fleet-footed, while the Sheriff of Nottingham is an overweight wolf.
The set-pieces, such as the archery contest and the daring prison break, are the kind of thing that will probably please and/or excite younger viewers, and there's even a few scenes that I suspect some adults will enjoy. Overall, I'd hoped it would be better, but it could just as easily have been a lot worse.

3 collection days out of 5

Tarzan (1999)

The opening eight minutes of Disney's Tarzan are fantastic - it's pure drama, dialogue-free, a perfect example of how animation alone can be used to tell a gripping story. The protagonists are sympathetic and the four-legged villain is terrifying. But then the animals talk... in English... with US accents and it takes an elephant-sized dive directly into Cocked-it-up Swamp.
The humans fare better in that respect, particularly Minnie Driver as Jane Porter, and Brian Blessed as William Clayton the shotgun-loving hunter.
When the talking animals are absent the whole thing recovers part of its opening appeal, with occasional musings on the importance of family and understanding the emotional needs of others being precise and timely.

3 vine climbs out of 5

One Hundred and One Dalmatians (1961)

aka 101 Dalmatians

Disney's dalmatian adventure is a simple story that moves from A to B to C without asking too much of a viewer. That's not a criticism in itself, simplicity can be a great strength in animation, but, on the whole, the dognapping yarn had me literally catnapping long before the credits rolled.
I liked the 'classic Hollywood' feeling that was most evident early on, and the wonderfully named Cruella De Vil, a wiry villainess who wants the many pups made into a fur coat, certainly looked the part (she wouldn't seem out of place in a Roald Dahl novel, either), but once again it was primarily the beautifully rendered Disney backgrounds that appealed to me, not the talking animals.

2½ all-dog alerts out of 5

Basil the Great Mouse Detective (1986)

aka The Great Mouse Detective /

The Adventures of the Great Mouse Detective

It's Disney's version of Sherlock Holmes but with small animals instead of humans. Basil of Baker Street (Barrie Ingham) is Sherlock; the Watson role is filled by Dr. Q. Dawson (Val Bettin), who also serves as the film's narrator; while Basil's nemesis is a sewer rat named Ratigan (Vincent Price). Under threat is the entire British Monarchy; well, the animal side of it, at least.
After a surprisingly scary opening scene, and despite enjoying the character designs, I didn't warm to the story as much as the writers probably would've liked a viewer to have done - except, that is, during the exuberant finale. Set inside a clock tower, amid mechanical cogs fraught with danger, it put the famous mouse's cognitive skills and quick reflexes to the test.

2½ forces in motion out of 5

Peter Pan (1953)

Disney's version of J. M. Barrie's most famous play, Peter Pan, or The Boy Who Wouldn't Grow Up (1904) popularised the green duds and elfish ears look that for many people is the definitive version of Peter. The screenplay handles the eve of young Wendy's transition into maturity with ease, but the mute fairy Tinker Bell is the film's most interesting character; driven by jealously for the mischievous Peter's affections she's arguably a more complex villain than even Captain Hook, the film's second best character. The remainder of the cast, especially the Lost Boys, are borderline annoying, but that's maybe just through adult eyes, and kids may feel differently.

3 scurvy brats out of 5

The Sword in the Stone (1963)

Disney's take on the King Arthur tale focuses on Arthur as a "scrawny" boy. With only a brief mention of the rich lore that preceded his birth, the crucial contrast + comparison between son and father is absent. Instead, it explores young Arthur's education by Merlin, a process of learning by doing.
The abridged narrative makes sense given that it's a film targeted at children, but the story is little more than a collection of transformation events stitched together, with lessons regarding actions and consequence failing to hit their mark. Characterisation of Merlin and Arthur is good, I loved the backgrounds, and the squirrel scene had a special charm, but the film is a pretty forgettable attempt at adapting the famous story for a younger audience.

2½ wizard blizzards out of 5

Beauty and the Beast (1991)

An enchantress disguised as a beggar teaches a selfish young Prince a powerful life lesson by making his physical appearance representative of his inner wickedness. All things considered, that's a pretty darn extreme reaction from a woman who, to be fair, is pretending to be something she's not - lie much, witch? In contrast, by merely acting according to his nature, the Prince was being honest. So who's the most contemptible in this scenario?
To break the curse the Beast must win the love of another. Luckily, bookish Belle, living the life of Riley but wanting more than a charming provincial town can offer, stumbles into Beast's castle while searching for her father.
Successfully recreating a Broadway musical style, Disney's BatB is memorable mostly for the titular creature's design and voice work.

3 anthropomorphic household items out of 5

30 Days of Night (2007)

The premise of 30 DoN is for me the best thing about it. It's a vampire story set in an Alaskan town, an icy location that once a year is plunged into a month of darkness. With no daily sunrise to force them into hiding, the bloodthirsty predators don't have to stop feeding (until they run out of food).
The build-up, i.e, before the invasion begins proper, is very good; it feels as if the town is winding down while the people themselves are gearing-up for the long night ahead. It's a shame that that same sense of interest isn't sustained.
Once the killing starts it's little more than fast-moving menaces stalking another pocket of survivors. There's a troubled relationship element that was a nice idea, but it lacks weight and is, frankly, as bland as shit is brown.

2½ cold cuts out of 5

Riki-Oh: The Story of Ricky (1991)

A Hong Kong martial arts movie based on a Japanese manga, Riki-Oh is a strange one. It begins with the titular fighter (played by Fan Siu-Wong) being incarcerated in a privatised prison, a facility with a stylised use of space. He quickly gets on the wrong side of the prison's deadliest occupants, including a hook-handed assistant warden. However, the greater the challenge, the more determinedly the super-human Ricky rises to meet it.
The infamous level of violence in the film is over-the-top ridiculous, but it occasionally crosses the line into gorily disturbing. Happily, the simplistic plot does at least attempt to give Ricky a streak of noble sensitivity.
Fei Lit Chan's minimalist, almost Carpenter-esque music was my favourite part.

2½ chest bullets out of 5

Bugsy Malone (1976)

The owner of the speakeasy that Bugsy (Scott Baio) frequents is under threat from a rival gang leader. Bugsy, in need of money, gets involved.

A childhood favourite that I still adore today, Dir. Alan Parker's first feature is a prohibition era gangster musical. If that wasn't strange enough, the entire cast is made up of children, the guns shoot splurdge (custard), and the cars are pedal-powered. The characters are mostly genre stock types played straight; i.e. they aren't written as if for kids. It lacks the emotional punch that adult actors would bring to it, but it has a charm and integrity all of its own.

The songs by Paul Williams enrich the experience and are well-placed, but it is a little odd hearing adult vocal performances coming from kids.

4 soulful soliloquies out of 5

The Killing (1956)

A group of men carry out an unprecedented robbery from a busy racetrack while the horses are running a high profile race in Stanley Kubrick's taught noir based on crime writer Lionel White's Clean Break (1955) novel.
An unseen narrator occasionally guides us as the daring event and its aftermath is shown from various perspectives, building up a compete picture from a number of striking smaller pieces, each helped along by lengthy takes and some long and revealing tracking shots. The hard-boiled dialogue keeps the pace steady even when the plot demands that the telling be low key.
If you're a fan of Tarantino and want to see where he got some of his more interesting ideas from, then The Killing should definitely be on your list.

3½ timetables out of 5

The End of the Affair (1999)

Based on a Graham Greene novel (that I've not read), Neil Jordan's TEotA is a powerful study of love, albeit one measured by unconventional methods.
Maurice Bendrix (Fiennes) and Sarah Miles (Moore) are the couple having the affair, while Sarah's husband Henry (Rea) worries about her from afar.
Structured as a kind of literary confessional from the obsessed Bendrix, there's more than one truth in play; each one unfolds in a dramatic but organic manner, revealing the motivations and fears of the lovers at key moments. The full story is a lot more interesting than it appears to be at first.

4 fictional values out of 5

Sweeney Todd: The Director's Cut (2006)

With a screenplay by Joshua St Johnston, Dir. David Moore's telling is by far the best filmed Sweeney Todd story that I've personally seen, to date.
Ray Winstone plays the titular barber, resident in a London that's rife with poverty and squalor. A well-liked man, Todd's skills are regarded highly by a regular clientele. When not shaving chins he's a kind of backstreet surgeon saving lives. But when the urge to kill arises it's almost like an affliction taking hold, guiding his steadied, practised hand. By succumbing to it, he can fix the world and ease his philosophically troubled mind, albeit temporarily.
His complicated but sympathetic nature is further explored by his vying for the affections of Mrs Lovett (Essie Davis). Both Winstone and Davis bring something wonderfully rich and compelling to their respective roles.

4 pie fillings out of 5

L.A. Confidential (1997)

Of the film's three leading men, not one of them is someone that I'd be happy to be stuck in a room with: LAPD detective Bud White (Crowe) acts as if he's above the law, allying himself with men who feel that they very much are; Ed Exley (Pearce) is a young cop who's governed by a strict moral code that's as sanctimonious as it is noble; and Jack Vincennes (Spacey) is an ego-driven prick who embodies the L.A. spirit of 'celebrity' status being everything, even though he's the least interesting of the trio.
Set against a backdrop of vice, prostitution and drugs, the film takes a while to hit its stride, but once it does it stays strong to the hard-hitting end. The tightly-woven plot occasionally gets buried under the taut layering, but a fiery clash of personalities keeps the Noir drama thundering along nicely.

3½ press labels out of 5

Romance & Cigarettes (2005)

Written and directed by John Turturro, it's the story of husband and wife Nick and Kitty (James Gandolfini and Susan Sarandon), a couple having what polite society calls 'marital problems', but what makes the film more than the sum of its parts is the wonderfully written characters and dialogue. With just one exception, i.e. an oddly subdued Eddie Izzard, even those with a small amount of screen time (e.g. Steve Buscemi) are decidedly memorable.
It's classed as a musical, but songs are less frequent than the label usually implies. I'd describe it more as a left field comedy drama with moments of song that successfully convey feelings of love in many of its guises.

3½ butts in the snow out of 5

Midnight Cowboy (1969)

Texan Joe Buck (Jon Voight) travels to New York to make some easy money as a hustler - a male prostitute with rich old ladies in his sights. Beneath his veneer of cocky confidence is an unsettled soul with an inflated sense of his own abilities. He befriends a sickly con man played by Dustin Hoffman and the two men eke out a living of sorts in a city populated by lonely people.
The two leads each give wonderful performances, making their unrefined characters oddly sympathetic, but it's the manner in which the film is assembled that really impresses. The addition of flashbacks and occasional imagined scenarios worked in tandem, an undercurrent of feeling that showed how emotional wounds aren't tied to one place or time; they travel with us no matter where we go, for as long as we allow them passage.

3½ shoes shined out of 5

Killer's Kiss (1955)

The story in Dir. Stanley Kubrick's second feature, about a boxer (Jamie Smith) and his dancing neighbour (Irene Kane), isn't anything to write home about, so casual viewers may find themselves getting bored before the end. Fans of his more famous later works, however, may find something of interest. While the powerful visuals that he's known for aren't as prominent as one might hope, his love of composition and framing is still very much to the fore.
For me, it wasn't until Paths of Glory (1957) that the stamp of the artist would become so markedly felt, while in Killer's Kiss it feels almost as if he's still searching for the lexicon needed to accelerate himself toward auteur status.

2½ mannequins out of 5

The Street Fighter's Last Revenge (1979)

I didn't enjoy the Mission: Impossible-esque silliness that popped up from time to time, making the Takuma Tsurugi character seem almost like some kind of wannabe super-spy, but when Chiba leads with his deadly fists it makes Tsurugi feels authentic again. Along the way he has run-ins with a martial artist whose skills are greater than the Streetlighter's own, and another whose skills are lesser - both of them cause him problems. In addition, there's some double-crossing, a corrupt politician, and a small item that everyone with something to lose (or gain) is desperate to get their hands on.

3 ace cards out of 5

Sheba, Baby (1975)

Private Detective Sheba Shayne (Pam Grier) answers the call to help out her father, a loan company owner who's getting leaned on by rich heavies who want his honest business permanently closed. Armed with a pistol and a pair of ass-kicking boots Sheba goes in blazing, to do what the police won't.
It's Pam in another tough-talking Blaxploitation flick, doing what she did in most of the others that are named after the title lady. With more outfit changes than necessary, she once again looks the part.
The biggest flaw is the editing, which, if tightened, could've helped patch over the lazy timing and acting, and may even have heightened the weak finale.
My favourite part was perhaps Christopher Joy as Walker, the comedy houndstooth-suited, feather-in-the-hat wearing street hustler.

2½ shotgun redecorations of of 5

Napping Princess: The Story of the Unknown Me (2017)

Sometimes when Kokone sleeps she dreams of a fairy-tale kingdom named Heartland, a place whose relationship with the real world is based on the genre's fanciful rules. When her immediate family is in danger Kokone draws strength from the other realm, but Heartland is under threat, too.
You could accuse Napping Princess of lacking originality, given that is has a Ghibli-esque female protagonist, a story that could've been a younger-audience vehicle for the late Satoshi Kon, a pace that feels almost like Mamoru Hosoda's, and there's some giant creature action that's reminiscent of Hideaki Anno's most famous work, but despite all of that it occupies its own space.
It reveals itself slowly, allowing each of the simple threads time to breathe comfortably. But when it's time to prove it or lose it, it does provide some welcome warm fuzzies, which is something to celebrate.

3 hearts united out of 5

The Crow: Salvation (2000)

The third Crow movie doesn't suck quite as much as its predecessor, but it's still a waste of precious time. The story has twenty-one-year-old antihero Alex (Eric Mabius), who's sent to the electric chair on a trumped-up murder charge, return from the grave to clear his name and find the real killer.
The film-makers had the good sense to abandon the weird piss-smog of City of Angels (1996), but it's still not something I'll want to watch twice.
On a side note, I burned my finger on an oven dish the same day that I watched the movie; my frantic rush toward the cold water tap (aka faucet) was more dramatically satisfying than anything onscreen had been.

1 bird's eye view out of 5

The Band / Artist Collection

Mini reviews of a filmed live performance by a band or artist OR a collection of their music videos on shiny disc. There's no scripted musicals, films about music culture or genres, etc, or biopics of musicians.

Clicking the existing Music label will retrieve most of what's listed below, but an A-Z is more direct and enables you to avoid the stuff that you don't like.

From Dusk Till Dawn 3: The Hangman's Daughter (1999)

A direct-to-video prequel that takes the bloodsucking action back to a wild (Mexican) west setting. Various peoples from different walks of life, including an outlaw gang, a newly married couple, and an author with a fondness for the bottle all find themselves at a saloon in the ass-hole of nowhere, a place of many vices that opens it doors from dusk till dawn.
Someone was far too enthusiastic with the orange lighting effects, but overall it's a fun, if overlong, genre-mashing romp. I'm probably in a minority with regards what I type next, but I enjoyed it more than the first film. What that means is I only had to stop myself once from turning it off, whereas it was four times with the first one. I love that the IMDB cast and crew listing has entries for 'Snake Girl' and 'Wedding Dress Whore'- looks good on a CV!

2 boot blades out of 5

Free Enterprise (1998)

For some people turning thirty is a worrying prospect. It's certainly the case for writer Mark (Eric McCormack), who equates his fast-approaching three decades milestone with some kind of cut-off point, à la Logan's Run (1976). He and fellow film fan Robert (Rafer Weigel), who learned most of what he knows about life and love from watching Captain Kirk on Star Trek TOS, struggle with the ups and downs of romance amid a midlife crisis situation.
Knowledge of Trek and film culture in general will increase your enjoyment of the story, which, when stripped of its fandom appeal, is a pretty standard tale of two men getting a timely kick up the ass, with added Shatner.

2½ human adventures out of 5

Django, Prepare a Coffin (1968)

aka Viva Django

Dir. Ferdinando Baldi's film was set to have original Django Franco Nero return to the role, but then Nero went to Hollywood and the job went instead to Italian-born Terence Hill, who did a mighty fine job at filling in.
It's a story of multiple betrayals and, not surprisingly, some stolen gold. Ambushed and left for dead, Django bides his time until a deserved payback can be extracted. When it arrives it's not as bloody nor as good as the original, but it at least respects it and the music (by Gianfranco + Giampiero Reverberi) is top class. If the ADR had been up to the same standard, the unfortunate tension-killing lack of atmosphere elsewhere might've been avoided.

2½ walking dead men out of 5

She and Her Cat (1999)

To give it its full title, She and Her Cat: Their Standing Points (i.e. viewpoints) is an early short (5 mins) B+W anime from Dir. Makoto Shinkai. The animation is simplistic, but it's certainly not hurried and it suits the aesthetic.
It begins in springtime, then moves through the subsequent seasons to end in winter. There's a voice-over from the perspective of a male cat, commenting on his relationship with the young woman whose house he shares. It's a sweet, thoughtful and often poetic slice of observation that provides a glimpse into one example of the process by which two souls can come together.

3½ pensive stares out of 5

Ghost in the Shell: The New Movie (2015)

It's not stated on the box art, but Dir. Kazuya Nomura's film is a continuation of the Arise version of GitS and a sequel to the Pyrophoric Cult episode(s).
Set in the year 2029, it begins with a hostage situation that doesn't quite go to plan and the assassination of a very public figure. Working independently of Public Security Section 9, Motoko and her team investigate further.
The plot is complicated. If I understood it correctly, it boils down to progress in cyberization and how that relates to what's termed the "Third World". Various parties want to push the advent of new tech, while others want to halt it. In the middle are the profiteers, individuals or corporations who care only about personal agendas or bottom line profits. Repeat viewings may change my opinion, but right now I feel like there were a number of unresolved issues in The New Movie's script that make the Arise reboot feel still unfinished.

3 things to do afterwards out of 5

From Dusk Till Dawn 2: Texas Blood Money (1999)

A direct-to-video sequel staring Robert Patrick as Buck. He and his criminal cohorts plan to rob a Mexican bank, but they run into some bats along the way; not your regular garden-variety kind of bats - they're the Titty Twister kind.
In one scene the gang criticise a film on TV for its low quality and lack of memorable characters, when they themselves are that very thing in the movie they're starring in. I took it as a knowing, self-referential nod to its own failings, but it may have been just dumb luck. Elsewhere, references to better films and frequent use of odd perspectives made me think more than once that FDTD2 was probably more fun to make than it was for me to watch.

1½ peculiar POVs out of 5