Weekend Retrospective - Seeing Double

INVASION OF THE BODY SNATCHERS (1978)

Every so often certain thoughts will cross my mind, such as ... "it's 2o'clock in the morning, why am I watching this again?" Certain movies have that kind of affect, although it's a rare occurrence. A particular sense of dread, an all pervading gloom. Maybe I am just a sucker for this era of science fiction releases, but at the same time I can't help but wonder what it is that draws me into such a disturbing experience, a real waking nightmare distilled into less that two hours.


Of course the 1978 remake of Invasion of the Body Snatchers is a truly great movie. But it's also a truly,  intensely, creepy movie. Right from the outset it rarely leaves you time to relax despite a few bits of character humour early on. You get a few gags about the rodent problems that Donald Sutherland's health inspector comes across, and a little respite as other characters like Jeff Goldblum and Veronica Cartwright are introduced as a couple of kooks running a mud spa. Poor Veronica! The casting of Mr. Spock himself has clever implications later on as things progress but all these moments feel like fleeting glimpses of warmth, as the humanity of the world is drained away.

The look of the film adds a lot to this. It's the poster child for weird washed out 70s film stock, it's bleak and murky with night time scenes offering seriously dark blacks. So long 50s and 60s Technicolor, and welcome new era nihilism! Yes as most know they follow along with the downbeat ending rule from this decade. But on that note I have to mention an unknown designer; the person who put a big spoiler for that ending on the menu for the DVD and also on the packaging (which shows said menu from a time that alone was supposed to be a special feature) all I can say is are you kidding with this, what were they thinking? Luckily I first saw this pretty much knowing nothing of what was to come besides the whole pod people idea which has become a fairly mainstream pop culture idea. Late night TV has a lot to answer for.


Outside the look of the film there are a lot of elements that make it so unnerving. Of course there are several scenes of pure gross out body horror with alien plants birthing grotesque duplicates and leaving the original host to dessicate. The whole thing is also packed with unsettling camera angles (this is what dutch angles are supposed to do, Thor) and a there's a lot of creepy noise in the soundtrack which brings everything together. It's true there are a few traditional tunes in the score but wow, this other stuff really puts you on edge with it's buzzing, warped sound effects and juddering, pulsating synth notes - it's altogether otherworldly. Just to let everything sink in the credits are completely silent. This is hardly sci-fi in the usual sense, but it's right up there with 1982's The Thing in terms of how to do a remake and stands with it for sheer paranoia factor alone as well as on the front of intricate and disgusting practical effects. Maybe with The Fly they can be looked at as a trilogy of best / slimiest remakes.

As soon as you see the spores arrive and begin to take root you know a lot of weird stuff is inbound. From the slimy parasites in the opening to the tendril sprouting pods later on, it's all great work which stands up to the test of time. Some moments lose their shock factor on repeat viewings and a certain dog appearance fans will know is almost comical if you're expecting it, but I am hard pressed to find a film that I like and avoid watching at the same time as much as this one. How fitting a major idea in the story is trying to stay awake, it's sure to make anyone restless.

Review Roundup - The Sting

AMERICAN HUSTLE (2013)

While something like Rush played down the 70s hair and fashion a little and had a digital sheen about it, David O. Russel's latest is a period caper which goes full on with the hair pieces and shirts, and has a cigarette stained, desaturated look to the visuals. In a story about scams, loan sharks and political corruption, it's fitting that style, and also dressing up is at the forefront. In an opening scene we see Christian Bale's Irving slowly put together a complex toupee and it's this meticulous approach which continues throughout the movie. The level of pure swagger and attitude makes the ridiculous mix of hairspray and eye watering shirt designs come together. In spite of all these pieces seeming laughable at first, once things get moving the film draws you in much like the victims of the government sting at it's centre. Are they putting the confidence in con man? It may be a ridiculous thing to say, but because of that perhaps it's a perfectly suitable opening line.


Beginning with a Goofellas-esque narration, the story starts with a fairly standard rags to riches approach as Irving goes through childhood antics, small business ownership and later into stolen art and loan cons. It's here he teams up with Sydney (Amy Adams) who has a similar story of a past she wants to escape. Through his business front and her shaky British accent they grow to become something more which leads them to fall into an FBI fraud investigation. It's here the bulk of the story spirals from as they are coerced into doing their work for the benefit of others. The most interesting part of all this is how the crime is approached without ever being black and white. These are not thinly drawn characters but people with a variety of issues - all of them are faking it or putting on a show. Even Bradley Cooper's federal agent isn't quite the big man he hopes to be, and as it progresses the veneer of their egos begins to crack. Irving begins to doubt his choices once he's in the bureau's pocket and befriends their target Carmine Polito (Jeremy Renner) a politician who seems genuinely interested in the greater good rather than the corrupt bribe taker that was expected. This mix of torment and conflicting loyalties is where the best elements of the film come together as Irving balances more than one plan against domestic issues with his reclusive yet unpredictable wife (Jennifer Lawrence). But whether the pieces hold together strongly during the lengthy 138 minute running time is another question.

The story does feel it's length despite all of the parts being played by some great talent. Detractors have noted that the over improvised style of the performances is a little grating, and while some scenes could have been more tightly constructed I found the naturalistic dialogue to be a strength. The same cannot be said of the scheme underpinning this material though, and as things spiral out of control and the targets grow in size I didn't feel that this side of the story has as cohesive as it could have been. That being said this is still a fun and entertaining drama with some great moments. The blend of sweeping camera work and period music is done very well, and there are even some genuinely tense moments as the plan attracts some bigger fish than perhaps anyone was expecting. Under further scrutiny it may not all tie together perfectly, but it's enjoyable to see them try.

4/5


BONUS REVIEW
THE LEGO MOVIE (2014)


In a surprising move, the film all about children's building blocks isn't a big money grab and offers a layer of biting satire on top of the eye-popping, multicoloured adventure. I am disappointed that there isn't more to the story though, and while it's great to see fun being poked at people with no imagination and those in favour of homogenised corporate brands, there isn't much else going on here. The big threat is something which is the opposite of creativity, and that's great - but they ride this single joke for far too long and reveal it way too early. It has to be said that this is entertaining and I appreciate how good it looks (the detail and realistic look of the plastic is very impressive) but I'd have liked stronger sense of humour beyond the obvious. It's hard to be cynical with this kind of message but I'd prefer if it was a little less simplistic.

3/5

Weekend Retrospective - Beware of ... Scorpio

A WEEKEND WITH CLINT

"Where have you been? Does Escobedo ring a bell? Miranda? I mean, you must have heard of the Fourth Amendment. What I'm saying is that man had rights."


"Well, I'm all broken up over that man's rights!"

This originally started out as a fresh look at the Dirty Harry series, but prompted me to take a slight detour along the way, which I will get to. I had seen all of these before so it was interesting to see how much of it, if any, had stood the test of time. As you can imagine certain elements don't quite hold up having not seen most of them for a number of years.

The original loose cannon himself, Inspector 71 spins a few good lines and a few duds in the course of the hunt for the Scorpio killer. It does seem a little bizarre in the knowledge that this is the same real life case portrayed by the movie Zodiac - one that was never solved of course, but something that was still in the public eye at the time of it's release. Potentially poor taste in story material aside it's a fun thriller. Whether it's a truly great film is questionable, but it's an entertaining film nonetheless.


This is mainly thanks to two elements, Andy Robinson as "Scorpio", plus the other big character... Lalo Schifrin's score. Now you're probably expecting me to cite the big man himself as a part of the appeal here. Of course it's part of the fun, but I found re-watching it that the scene stealer was the killer. It's a a wild eyed, manic, and high pitched performance. Clint on the other hand has done far better elsewhere, and he comes off as a little wooden up until the finale where things start to really get him angry, and the that line has some appropriate malice behind it. The soundtrack helps a lot as you'd expect from the composer that worked on Enter the Dragon and Mission Impossible. It's atmospheric and very 70s, but I particularly like the bassy tunes and the voice work in the killer's theme.

My issue is that under the layers of pop culture nostalgia it feels a little bit like a TV pilot. There are a number of great pieces of camera work - particularly the stadium shot where Callahan does his police brutality bit - but at times I though this kind of thing could be in any number of detective killer of the week shows. It's not to say that it isn't well done, but there's a general vibe from the whole thing that I couldn't shake. On the plus side there are a lot of really moody sequences and it definitely keeps the tension building once Scorpio's plan's get out of control. I thought the idea of him going to a back alley crook to pay for a beating to prevent Harry's investigation particularly striking, and the school bus race against time at the end is a good finale. But as everyone knows this isn't a one off, even when it seems as though Harry is out of a job once the credits roll.


I seemed to recall that the subsequent outings varied in quality but were not all that bad. It was immediately apparent however that these were not so great after all and involved a lot of unimaginative rehashing. Even the "go ahead make my day" line in Sudden Impact lost it's spark by the time I'd got to the 4th installment. If only they were as fun as the amusingly macho titles; especially Magnum Force! But it was not to be, they didn't recapture that original sense of urgency. It's not that they aren't inventive in some ways.

The first of the sequels has a new, harder hitting breed of vigilantes on the streets in contrast to the fascist overtones in the original - but it never gains any real momentum. The Enforcer has another attempt at going in another direction and the casting of Tyne Daly has a lot of promise, but in the end it's a bit of a damp squib with an uninspiring Alcatraz showdown. By the time I reached The Dead Pool it was getting a bit beyond a joke as they wheeled out silly accents, sillier lines and a appearance from a certain James Carrey. Even the music is out of place despite the original composer making another appearance. It does feel as though they put some effort into a story about hero worship and sensationalist media; but this is the film with a remote control car doing jumps over the San Francisco streets. They never get past the murder mystery TV feeling either despite Eastwood directing one of them himself. These aren't a total disaster by any means, but I'd prefer a few episodes of Columbo instead.


All of this stuff is played up a lot during the urban drama Gran Torino, and it's amazing the plot was never written with Clint in mind. It's probably not meant to be as amusing as I have found it with this in mind, and while there are many heavy themes and unnerving moments I can't help but give a knowing smile as the guns get pulled and the local hoods lose their attitude when confronted by Mr Kowalski's grimace. There's a certain level of self awareness, a sly sense of humour that must be intentional. While on the subject of anti heroes however, I thought it was time for a viewing of something a little different. An anti Western. Clint's own Unforgiven.

With a number of great casting choices this reflection on the genre as a whole, and also the history it has been based on is a slow burning character piece. I particularly liked Gene Hackman's sheriff Little Bill, but eccentric gunslinger English Bob played by Richard Harris also gets scenes that are all very memorable. It's a story which never plays to the usual archetypes, as Bill's calm and logical demeanor early on descends into brutality when he feels it's justified, and Bob's celebrity facade is stripped away to reveal a man that is all ego and tall tales.


They all have some kind of depth, the expected tropes are painted in many shades of grey rather than simple caricatures. This is certainly true of the bounty hunters led by Clint's William Munny, a man who often claims that he's "not like that an more" but perhaps is simply trying to escape his past. He struggles with getting back into the saddle, literally, but there's no heroic arc or catharsis here as the bloody showdown closes in. Morgan Freeman's Ned on the other hand seems full of confidence but comes apart at the seams a little once he comes to the job in hand; he's lost the taste for it - but perhaps he didn't like it that much to begin with.

It's full of interesting moments and defies tradition to create a story where even the music is sparse. Where you'd expect a full on score with Morricone style themes and overplayed riffs, there are just a few simple and atmospheric tunes. It isn't all bleak though - in spite of the dark subject matter it's a film that looks particularly nice; offering a number of panoramic scenes with a backdrop of Alberta making a stunning double for the American frontier. It has all the hallmarks of a last hurrah, and while Eastwood would go on to make many more films this is a fitting bookend to his career as a figure in the Western genre.

Review Roundup - Monster mash

WAR OF THE GARGANTUAS (1966)


AKA ‘Frankenstein’s Monsters: Sanda versus Gaira’ 

How exactly this fits as a sequel to "Frankenstein Conquers the World" (Frankenstein vs Baragon) is never clear. I've yet to see that entry in monster studio Toho's back catalogue, but apparently the idea of a direct follow up was dropped somewhere during production, so you get some vague hints this is a continuation of another story but nothing solid is ever set out. Perhaps they just couldn't decide, but you can clearly make out the Japanese actors saying the creatures are "Frankensteins". Obviously they're more hairy and beast-like rather than resembling reanimated people in the vein of Boris Karloff.

Human remains are found in a ship wreck and it seems that a large creature is on the loose, emerging from the sea to feed on people. At first a peaceful giant living on a secluded mountainside is blamed; but after some debate it's decided another more evil, sea dwelling one is the problem. The green and slimy Gaira is brother to the less ugly Sanda, who is a more docile and sympathetic character. The latter has some connection with the female lead, which is hinted as being due to the previous story in a flash back but it's clearly not a scene from that film which had both different monsters and actors. In the end the plot details are not important, the audience is here to see the kaiju wrestling and Tokyo's destruction at the hands of monsters once again.


The reasons for there being two opposing creatures don't make a lot of sense - one was mutated in the sea giving him a weakness to daylight, perhaps just for variety. What you eventually get is a lot of action as the two face off. While the suits are rather messy and hair covered in comparison to the more iconic non-human style creatures, these sequences are consistently entertaining. There are some fun battles and plenty destruction along the way although the ending is far too convenient; I think they had established the "sea shore finale" by this time to avoid killing off any one creature too hastily - it meant characters like Godzilla could just be asleep under water until next time. In this case however, there was never a sequel.

As a side note this is the film that introduced the recurring "mazer" beam weapons which appear in the usual military attack scenes . The model work is up to the usual intricate standard. The evil gargantua gets some surprisingly grim moments along the way thanks to his appetite for human flesh, and it makes for a great scene when his "brother" having saved him from an army trap realises why they were attacking - you can see what he's thinking under all the makeup before preparing to give him a beating. It actually comes as the second film in a double disc set with one of Ishiro Honda's more famous monsters Rodan - but really I don't see where the popularity for this one comes from after so many appearances alongside Godzilla in better movies like Ghidora the Three Headed Monster. The flying is very stiff, the pterosaur design doesn't lend itself well to action, and the ending is an anticlimax. Not one of the best in my opinion despite a promising start. Taking this into account as a double bill it's a fun package overall.

3/5

YONGARY (1967)

(Monster from the Deep)

Yongary (sometimes Yonngary) is a Korean effort which I guess you could call ... endearing? Clearly a mix up of ideas borrowed from Japan, it's design looks like a lot of the creatures you see in the Gamera series with the glowing eyes. It even breathes fire and eats fuel like the big turtle himself. To round it off they gave it a horn that shoots beams identical to those used by Gamera's nemesis Gyaos. The destruction scenes are very cardboard looking in comparison to other contemporary output; obviously it hasn't got the same kind of budget. You can see the gas tube in it's mouth used the fire breathing effect very clearly. Other similarities include a baseball-cap wearing child determined to show everyone that the monster isn't a bad guy... and in this one you kind of see his point at times. There's a weird moment where the creature starts dancing to 50s style rock 'n' roll. I'm not even sure where the music is coming from. I don't know how to describe it.

...Yeah

The story is pretty generic stuff. An atomic bomb test  of rather vague origins causes a strange earthquake which is recorded moving towards Korea. Early on there's a space program story line which is completely dropped afterwards - they go through a lengthy rocket launch just to do some aerial reconnaissance and check out the disturbance. Don't they have satellites? Of course at the epicentre is a large creature that soon wreaks havoc on Seoul's landmarks. They say there's a folk tale of a creature from under the ground similar to this; I've no idea if that's a real story. Framing everything there's a storyline about the child actor and his nerdy scientist relative. His big invention is some kind of flash light that makes people get itchy when you shine it on them (Really). Later he will have to prove he's not a useless geek and devise an idea to stop the creature. There's also a plot thread with the kid's older sister getting married - and conveniently the groom is the astronaut from the space mission and all this trouble delays their romantic plans. Typical. You might have gathered this isn't exactly edge of your seat stuff, it just serves to tie everything together with a "science saves the day" type ending.

There are a couple of interesting scenes during the destruction as the young boy hides in the sewers, if only he was there for reasons that made more sense. Instead of him just running off like a brat they could have got some tension building from it. After the monster is done feeding it destroys a chemical store which reveals it's weakness as ammonia. They devise a plan is to bomb it with this in various mixtures until it dies. Honestly this part is kind of creepy as everyone cheers and grins while the poor thing gets burned and tries to rub off the caustic mixture they have made before it bleeds to death. It's not often you get blood in these types of movies unless it's green/blue or those occasions cyborg alien Gigan and his buzz saw are involved. It's awkward. Which kinds of sums up the whole thing; this is harmless enough but there are one too many bizarre moments. 

2/5

Review Roundup - Digital Love

HER (2013)

I guess it's rare these days to see visions of the future that are not down beat dystopias. The popular worn out aesthetic from Brazil and Blade Runner is used a lot, and all these worlds are created where technology is everywhere yet has it never been cleaned and nobody owns anything that looks new. You can use flying cars but no-one seems to own a decent light-bulb. Outside of thematic reasons and storylines, the idea of the high tech meeting low living standards serves a strict purpose; those run down apartments some how feel realistic despite it being an unlikely outcome for people that always want the latest thing. So with Spike Jonze's latest offering it's unusual to see a different type of grounded reality - the glimpses of new technology are background details and subtle changes in fashion. It's hardly Star Trek, but unless you consider the idea of sentient iPhones and motion controls in videogames being normality disturbing it's not really a bleak outlook. While this is a world where bright colours, high pants and mustaches are in fashion, at the heart it's simply a story about the distance between people in a time where social media does anything but bring us closer. And yes, it's a romance involving a guy and a computer. 


Joaquin Phoenix is social outcast Theodore. This isn't because of some deep rooted cliché problem, but that he is going through a divorce - he's losing what he feels is important, and struggles to get involved with existing friends. Instead he's absorbed in his work - in the most on the nose aspect of the story he works for a company that writes letters for people. They may use wireless, voice activated cell phones and flashy computers but now they talk to each other even less. Someone else composes their romantic letters, and their personal family matters are now in the hands of a writer. Things have become hands free and hands off - so when an operating system that features a new intelligence arrives on the market, it seems perfectly plausible that these consumers will become hooked and develop friendships with them. I think only one person in the whole story even blinks an eye at his newly formed romance; his ex wife who feels that Theodore is unwilling to deal with real people. In a way she's right of course, but it questions the idea of what is real as the computer systems advance and mature so rapidly. It challenges this idea as the human half of the couple begins to seem selfish and the artificial personality grows beyond it's physical restraints.

Initially I was a little disappointed that this wasn't in the vein of Jonze's oddball drama Being John Malkovich. It does have a sly sense of humour but isn't in line with that strange world with all the weird characters and fantasy elements. This is more of a companion to his sad robot short I'm Here - a melancholy, romantic character piece. Phoenix is very good as someone having to act in reaction to a bodiless voice and the supporting cast includes Chris Pratt and Amy Adams as his surprisingly relaxed friends as they too learn about this new girlfriend and the operating system itself as it becomes more widespread. Of course equal credit has to go to Scarlett Johansson as the voice of Samantha. They pull of the idea of a real relationship really well as things go through the expected ups and downs as well as the problems of a character without a physical form; ultimately build to a conclusion which is the most sci-fi part of the story. This is also a great looking film with a lot of striking design work and a handful of small futuristic elements that are downplayed. But this sums the story up, a drama that is pretty on the outside but has a lot of food for thought under the surface.

4/5

BONUS REVIEW
JIRO DREAMS OF SUSHI (2011)


One of the few real life documentaries that I have seen in a long time, this surprising movie is something I happened across online just recently (shout out to Scott C's Great Showdowns). The subject matter is really interesting, as master of sushi Jiro Ono and his life are explored. This includes his dreams of course, and yes the title is correct; but they also take time to discuss his ideals and the standards of perfection he is still committed to furthering. The food all looks amazing thanks to some neat photography techniques, even for those without a taste for raw tuna and wasabi it's worth a look. A dry sense of humour and a few somber moments of reflection on life choices and career building help it have a varied tone that is always fascinating.

4/5

Review Roundup - Dollhouse

THE GRAND BUDAPEST HOTEL (2014)

Wes Anderson seems to be someone who can rub people the wrong way. However this isn't because of any common complaints - he doesn't make over produced blockbusters, badly written teen melodramas or sleazy, immature popcorn cinema. Here it's a fairly specific issue in that the direction is seen as... pretentious. I don't personally agree but there is sometimes a feeling that with a little nudge in the wrong direction things could veer off into the territory of style over substance. But I do like the style. There's something that appeals to me about all the stage like framing, the weird and neurotic characters, and the off beat, awkward semi seriousness of the acting. So, in a film brimming with intentionally obvious miniatures, gaudy colour schemes and even more odd personalities than usual, does it all fall nicely into place or is all the madness a bit too much for it to manage?


A few new things have been introduced that set this apart from the previous releases by the makers of The Life Aquatic and Moonrise Kingdom. Immediately there is a strange framing narrative, that goes back in time to not one but two settings, where the narration is done by an author who changes in age before it then moves to another character entirely. However the most obvious addition to the style of the film is the use of aspect ratios that are historically accurate in a film that is in no way an attempt at retelling history. Since most of the story takes place in a pre widescreen era, there's a squared off 4:3 visual for much of the plot which can be a little distracting - though many classic films of the period are now available in home release like this. Along with the usual on screen lettering and camera angles, this adds another layer of artificiality to the whole thing. Adding that to the storybook effects shots and intricate dolls house sets mean that it feels a bit too... mechanical. The humanity of those earlier movies is rarely shown as the plot rushes between humour, murder, and stolen painting caper. This isn't to say there is no sense of depth or that it lacks any touches of melancholy along the way, but those moments are rather fleeting.

Fortunately it does have a lot of charm and the characters, while not particularly fleshed out in that broken, depressive Anderson way, are all memorable and entertaining in some degree. The big credit goes to Ralph Fiennes who drops the sneering Voldemort act to become the hotel concierge M. Gustave; a very particular, over perfumed man who's love of his older guests spurs the story on, and a figure who can be surprisingly foul mouthed despite his fussy personality. It's a dry, humorous performance which carries the movie. While Tony Revolori does a fine job as his protegé Zero, at times it seems as though he has become lost amongst the excessive amount of supporting cast members, particularly at the parts in the story in which they become separated. There are a vast number of bit parts and cameos and the movie is full of the usual suspects like Bill Murray, Jason Schwartzman and Owen Wilson. It's an impressive list, but perhaps something that detracts from the central duo at the core. Ultimately like the titular hotel this is a fun, colourful but over elaborate piece of work that goes a little too far in the way of intricate setups at the cost of serious drama. But it has to be said it's still a lot of fun and there are many aspects to admire during the adventure. Perhaps it's fitting there are so many moments about cake decoration.

3/5

BONUS REVIEW
ALL IS LOST (2013)


"....Fuck" ~ Robert Redford



In sharp contrast to the overflowing list of cast members seen in 'Grand Budapest...' this is a one man show. A lean, engaging survival story of one man versus the sea. In a way it's almost a version of Life of Pi that has been stripped of excess fat, or a film that could be seen as an antithesis to Gravity - there is almost no dialogue in comparison to Sandra Bullock's chatty space farer, and it certainly has none of the over played sentimental moments. Without any kind of inessential context or back story, you're left with just a nearly mute protagonist and his immediately problematic situation. Redford's grizzled performance allows for many great moments as you follow his efforts to stay alive as he discovers the limits of his sailing knowledge, and the film has lot of great photography, particularly the beautiful underwater moments amongst all the harrowing disaster. A simple story that is effectively told, what more can you ask for.

4/5

Score Card


JUNE

T2: Judgement Day ☆☆☆☆☆
Tokyo Godfathers ☆☆☆☆☆
Amadeus ☆☆☆☆
The Abyss ☆☆☆☆
The Bourne trilogy ☆☆☆☆
Jurassic Park ☆☆☆☆
Letters From Iwo Jima ☆☆☆☆
Master and Commander ☆☆☆☆
Vampire Hunter D Bloodlust ☆☆☆☆
Dallas Buyers Club ☆☆☆☆
Enter the Dragon ☆☆☆☆
Hunger Games Catching Fire ☆☆☆
Rush ☆☆☆
Blue Jasmine ☆☆☆
Redline ☆☆☆
Angel's Egg ☆☆
Origin Spirits of the Past ☆☆
Postman Fights Back ☆☆
Jack Ryan Shadow Recruit ☆☆
Robocop 2014 ☆