The Lost Moment (Martin Gabel, 1947) 9/10
A gothic mansion on the canal in Venice. An unscrupulous publisher (Robert Cummings) seeking out long-lost love letters written by a long-dead poet to his lover (Agnes Moorehead) who is the 105 year old owner of the mansion. Her schizophrenic, neurotic niece (Susan Hayward), outwardly a stern tight-lipped spinster, who mysteriously transforms at night into a beautiful lovelorn maiden pining for her lover while fondling his letters. Superb adaptation of Henry James' "The Aspern Papers" - the film gives the story a strong touch of noirish romanticism - strikingly directed by Gabel invoking memories of Max Ophül's lush style and broodingly shot by Hal Mohr. The film's memorable production design enhances the grim, musty but deliriously romantic mood of the story.
Last Seen Movie - The Latest Movie You Have Seen; ratings
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The Thirteenth Tale (James Kent, 2013) 3/10
An old novelist (Vanessa Redgrave) describes her childhood to a writer (Olivia Colman) while on her deathbed. One of numerous films with Redgrave playing an infirm character looking back at her life - here a wild and carefree childhood spent in a haunted house with her mentally unbalanced twin sister. The house burns down and there is a ghost but this superbly produced film - shot on location in Yorkshire - is disjointed, uninvolving and deathly slow. Christopher Hampton adapts Diane Setterfield's gothic novel.
An old novelist (Vanessa Redgrave) describes her childhood to a writer (Olivia Colman) while on her deathbed. One of numerous films with Redgrave playing an infirm character looking back at her life - here a wild and carefree childhood spent in a haunted house with her mentally unbalanced twin sister. The house burns down and there is a ghost but this superbly produced film - shot on location in Yorkshire - is disjointed, uninvolving and deathly slow. Christopher Hampton adapts Diane Setterfield's gothic novel.
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Fracture (Gregory Hoblit, 2007) 5/10
A courtroom drama with a screenplay full of glaring potholes pits a cool and calculated murderer (Sir Anthony Hopkins) against a cocky attorney (Ryan Gosling) who is intent on leaving the D.A. office for a promising career with a law firm. A rich old man shoots his unfaithful wife (Embeth Davidtz) in the head putting her in a coma. She was having a fling with a cop who happens to arrive on the murder scene and is shocked to discover that the wounded woman is his mistress. The old man confesses to the shooting and requests that he defend himself in court. With the gun missing the case appears to be in favour of the old man who hopes to be let off on that technicality. The story keeps going off into a tangent involving the attorney and his girlfriend (Rosamund Pike) which not only wastes the talents of Pike but distracts from the main plot which finally ends on a very flimsy premise. Hopkins has a field day playing his character as a variation of "Hannibal Lecter" - sneering, winking and delightfully hissing out his lines at Gosling, not unlike his confrontations with Jodie Foster in "The Silence of the Lambs". He is the whole show as he struts about taunting the young attorney. This is strictly B-film material with a plot that relies far too many times on ridiculous coincidences.
A courtroom drama with a screenplay full of glaring potholes pits a cool and calculated murderer (Sir Anthony Hopkins) against a cocky attorney (Ryan Gosling) who is intent on leaving the D.A. office for a promising career with a law firm. A rich old man shoots his unfaithful wife (Embeth Davidtz) in the head putting her in a coma. She was having a fling with a cop who happens to arrive on the murder scene and is shocked to discover that the wounded woman is his mistress. The old man confesses to the shooting and requests that he defend himself in court. With the gun missing the case appears to be in favour of the old man who hopes to be let off on that technicality. The story keeps going off into a tangent involving the attorney and his girlfriend (Rosamund Pike) which not only wastes the talents of Pike but distracts from the main plot which finally ends on a very flimsy premise. Hopkins has a field day playing his character as a variation of "Hannibal Lecter" - sneering, winking and delightfully hissing out his lines at Gosling, not unlike his confrontations with Jodie Foster in "The Silence of the Lambs". He is the whole show as he struts about taunting the young attorney. This is strictly B-film material with a plot that relies far too many times on ridiculous coincidences.
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Dhadak (Shashank Khaitan, 2018) 6/10
Dharma Productions (Karan Johar) uses this Hindi remake of the Marathi film, "Sairat", to launch two new actors in Bollywood. Nepotism be damned as Karan "introduces" Janhvi Kapoor (the daughter of producer Boney Kapoor and the late screen goddess Sridevi) and Ishaan Khattar (the son of actors Rajesh Khattar and Neelima Azeem and half-brother of Bollywood superstar Shahid Kapoor). The effort results in a star being born - Ishaan Khattar, whose sensational performance as the love struck young man is absolutely delightful. He is superb in every scene and perfectly captures the euphoria of first love and gives a startlingly mature performance showing himself adept in every happy, comic and sad moment. The original film's message about honour killing gets a shortshrift here despite the ending which is a somewhat departure from the original Marathi film - the ending here, although on similar lines, seems jarring as the screenplay seems to be leading upto a shocking finalé but suddenly veers sharply to the left leaving a few plot points unresolved. It is as if they decided to change the ending at the last minute in order to be different. The main plot borrows heavily from "Romeo and Juliet" and Bollywood's own "Qayamat Say Qayamat Tak" (1988) - two lovers from different castes and social strata fall in love, face tremendous opposition from their families (Ashutosh Rana, with his snake-like eyes, perpetual smirk and sleazy moustache plays the girl's "evil" politician father), run off together, live in abject poverty, fight, reconcile, get married, have a baby and then arrives a shocking twist in their lives. With Karan Johar as producer the film is a superb mélange of song and dance. The cute young leads are both swooningly photographed as they frolic and make love dressed to their teeth in Manish Malhotra outfits. Most of all the film is an ode to the city of Udaipur with its lake palace, the waterfront and narrow alleys and the picturesque views from the rooftops. Janhvi Kapoor's much anticipated film debut - the film is a massive hit - is a personal triumph for her although she comes up a bit short in the acting stakes. She carries off the arrogance and bemused emotions of her character during the early part of the film but she is a little stiff during the more emotional moments. It is a fine debut performance but compared to her exhuberant co-star she comes up short. Nevertheless the success of this film should make her late mother Sridevi extremely proud as she was the one grooming this young actress for screen stardom. There is nothing really new in this film. Watch it to see two young actors who will be the next generation superstars in Bollywood and to marvel at the beauty and charm of the city of Udaipur.
Dharma Productions (Karan Johar) uses this Hindi remake of the Marathi film, "Sairat", to launch two new actors in Bollywood. Nepotism be damned as Karan "introduces" Janhvi Kapoor (the daughter of producer Boney Kapoor and the late screen goddess Sridevi) and Ishaan Khattar (the son of actors Rajesh Khattar and Neelima Azeem and half-brother of Bollywood superstar Shahid Kapoor). The effort results in a star being born - Ishaan Khattar, whose sensational performance as the love struck young man is absolutely delightful. He is superb in every scene and perfectly captures the euphoria of first love and gives a startlingly mature performance showing himself adept in every happy, comic and sad moment. The original film's message about honour killing gets a shortshrift here despite the ending which is a somewhat departure from the original Marathi film - the ending here, although on similar lines, seems jarring as the screenplay seems to be leading upto a shocking finalé but suddenly veers sharply to the left leaving a few plot points unresolved. It is as if they decided to change the ending at the last minute in order to be different. The main plot borrows heavily from "Romeo and Juliet" and Bollywood's own "Qayamat Say Qayamat Tak" (1988) - two lovers from different castes and social strata fall in love, face tremendous opposition from their families (Ashutosh Rana, with his snake-like eyes, perpetual smirk and sleazy moustache plays the girl's "evil" politician father), run off together, live in abject poverty, fight, reconcile, get married, have a baby and then arrives a shocking twist in their lives. With Karan Johar as producer the film is a superb mélange of song and dance. The cute young leads are both swooningly photographed as they frolic and make love dressed to their teeth in Manish Malhotra outfits. Most of all the film is an ode to the city of Udaipur with its lake palace, the waterfront and narrow alleys and the picturesque views from the rooftops. Janhvi Kapoor's much anticipated film debut - the film is a massive hit - is a personal triumph for her although she comes up a bit short in the acting stakes. She carries off the arrogance and bemused emotions of her character during the early part of the film but she is a little stiff during the more emotional moments. It is a fine debut performance but compared to her exhuberant co-star she comes up short. Nevertheless the success of this film should make her late mother Sridevi extremely proud as she was the one grooming this young actress for screen stardom. There is nothing really new in this film. Watch it to see two young actors who will be the next generation superstars in Bollywood and to marvel at the beauty and charm of the city of Udaipur.
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Death Wish (Eli Roth, 2018) 4/10
Slick but formulaic remake of the Charles Bronson film - it was a potboiler then and in some circles, 44 years later, is considered to be a "classic" spawning various sequels for the star. Bruce Willis inherits the part, here a surgeon, who finds his life suddenly change when his wife (Elisabeth Shue) and daughter (Camila Morone) are viciously attacked by three thugs during a robbery at their home. As time goes by and the police have no leads the doctor decides to take the law into his own hands and turns vigilante (the media terms the mysterious killer "the grim reaper") as he goes into tough Chicago neighborhoods wearing a hoodie and shooting down petty criminals. Willis, stuck in a seriously dramatic role, is bereft of his patented quips and smirks and looks most uncomfortable throughout. The shootings are no longer "crowd pleasing" moments - far too many real-life tragic shootings around the world make the plot very queasy and reeks of exploitation. Lovely Shue is a breath of fresh air in her brief moments on screen as is Vincent D'Onofrio as the doctor's concerned brother. Skip this film unless you are a fan of Willis.
Slick but formulaic remake of the Charles Bronson film - it was a potboiler then and in some circles, 44 years later, is considered to be a "classic" spawning various sequels for the star. Bruce Willis inherits the part, here a surgeon, who finds his life suddenly change when his wife (Elisabeth Shue) and daughter (Camila Morone) are viciously attacked by three thugs during a robbery at their home. As time goes by and the police have no leads the doctor decides to take the law into his own hands and turns vigilante (the media terms the mysterious killer "the grim reaper") as he goes into tough Chicago neighborhoods wearing a hoodie and shooting down petty criminals. Willis, stuck in a seriously dramatic role, is bereft of his patented quips and smirks and looks most uncomfortable throughout. The shootings are no longer "crowd pleasing" moments - far too many real-life tragic shootings around the world make the plot very queasy and reeks of exploitation. Lovely Shue is a breath of fresh air in her brief moments on screen as is Vincent D'Onofrio as the doctor's concerned brother. Skip this film unless you are a fan of Willis.
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The Secret Heart (Robert Z. Leonard, 1946) 6/10
Glossy MGM melodrama - sensitive young girl (June Allyson) grows up idol worshiping her dead father (Robert Sterling) and resenting her stepmother (Claudette Colbert). Matters come to a head when she falls in love with her late father's friend (Walter Pidgeon) who is courting her mother. Overwrought emotions get a spin here and acted out to perfection by a wonderful cast in the studio's typical artificial manner. Colbert's charming lead performance holds it all together.
Glossy MGM melodrama - sensitive young girl (June Allyson) grows up idol worshiping her dead father (Robert Sterling) and resenting her stepmother (Claudette Colbert). Matters come to a head when she falls in love with her late father's friend (Walter Pidgeon) who is courting her mother. Overwrought emotions get a spin here and acted out to perfection by a wonderful cast in the studio's typical artificial manner. Colbert's charming lead performance holds it all together.
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Pearl of the South Pacific (Alan Dwan, 1955) 5/10
Colorful South Seas hokum with three crooks looking for black pearls on an uncharted island. Two beachcombers (Dennis Morgan & David Faraar) hook up with a woman (Virginia Mayo), try to con the innocent natives on an island and try to steal their pearls. It all goes predictably wrong for the trio. Sultry Mayo and the spectacular Hawaiian locations are highlights in what is basically pure corn.
Colorful South Seas hokum with three crooks looking for black pearls on an uncharted island. Two beachcombers (Dennis Morgan & David Faraar) hook up with a woman (Virginia Mayo), try to con the innocent natives on an island and try to steal their pearls. It all goes predictably wrong for the trio. Sultry Mayo and the spectacular Hawaiian locations are highlights in what is basically pure corn.
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The Desert Song (H. Bruce Humberstone, 1953) 6/10
Sigmund Romberg operetta has shades of both "Zorro" and "Superman" with a nerdy archeologist (Gordon MacRae wearing a set of Clark Kent specs) in Africa who moonlights as the mysterious El Khobar (wearing flowing Arab robes) helping the local tribesmen against the evil Sheik (Raymond Massey) who pretends to be the ally of the French Foreign Legion. The General's flighty daughter (Kathryn Grayson) falls for the charms (and songs) of the dashing Khobar. Silly but fun film has the great voices of Grayson and MacRae and enough desert action scenes to keep it all moving at a swift pace. Sexy Allyn Ann McLerie plays the exotic "Azurie" and her harem dance number is straight out of a Bollywood film. Striking colour photography by Robert Burks and a rousing Max Steiner score are highlights in between the action and songs. Pure hokum.
Sigmund Romberg operetta has shades of both "Zorro" and "Superman" with a nerdy archeologist (Gordon MacRae wearing a set of Clark Kent specs) in Africa who moonlights as the mysterious El Khobar (wearing flowing Arab robes) helping the local tribesmen against the evil Sheik (Raymond Massey) who pretends to be the ally of the French Foreign Legion. The General's flighty daughter (Kathryn Grayson) falls for the charms (and songs) of the dashing Khobar. Silly but fun film has the great voices of Grayson and MacRae and enough desert action scenes to keep it all moving at a swift pace. Sexy Allyn Ann McLerie plays the exotic "Azurie" and her harem dance number is straight out of a Bollywood film. Striking colour photography by Robert Burks and a rousing Max Steiner score are highlights in between the action and songs. Pure hokum.
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Skyscraper (Rawson Marshall Thurber, 2018) 6/10
If you cross "The Towering Inferno" with "Die Hard" you get this film - tall building, fire, terrorists. Saving the day is an ex-FBI officer (mighty Dwayne Johnson), now minus a leg after a disastrous rescue operation, who has to enter the burning building teeming with deadly terrorists to rescue his trapped wife (Neve Campbell) and kids. Done-to-death plot gets yet another once-over and the formula manages to drum up enough suspense and excitement to make this solid summer fare. Johnson is kick-ass fun performing outlandish stunts as he battles the deadly goons and the raging fire. The ending is lifted off fromthe mirror sequence in "The Lady From Shanghai". Avoid the film if you suffer from acrophobia.
If you cross "The Towering Inferno" with "Die Hard" you get this film - tall building, fire, terrorists. Saving the day is an ex-FBI officer (mighty Dwayne Johnson), now minus a leg after a disastrous rescue operation, who has to enter the burning building teeming with deadly terrorists to rescue his trapped wife (Neve Campbell) and kids. Done-to-death plot gets yet another once-over and the formula manages to drum up enough suspense and excitement to make this solid summer fare. Johnson is kick-ass fun performing outlandish stunts as he battles the deadly goons and the raging fire. The ending is lifted off fromthe mirror sequence in "The Lady From Shanghai". Avoid the film if you suffer from acrophobia.
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Mary Magdalene (Garth Davis, 2018) 5/10
As a film with Jesus Christ as one of the main characters it lacks the spirituality of Pasolini's film, the "passion" of Mel Gibson's vision and dispenses with the "temptation" depicted by Scorsese in his version by way of Nikos Kazantzakis' novel. However, this is a film where we see the Messiah through the eyes of the ultimate groupie, Mary Magdalene (Rooney Mara), slandered in early Church texts as a prostitute but here depicted as a fiercely independent woman much to the wrath of the patriarchal society. This is the politically correct version of Mary. She becomes one of the earliest and most ardent followers (the 13th apostle?) of Jesus Christ (Joaquin Phoenix) who here comes off as a mashup between a bedraggled rock star and ominous cult leader. The screenplay listlessly goes through the oft told (and recognised) events in Christ's life - cures a blind man, raises Lazarus from the dead, the last supper, betrayed by Judas (Tahar Rahim), the kiss, the crucifixion followed by his resurrection and sighting by Mary. One is used to seeing versions of this story with a highly emotional arc bordering on melodrama but here we have every emotion in check with a poker-faced Rooney acting like the proverbial sheep following her "master". Phoenix (and everyone in the cast for that matter and in particular Chiwetel Ejiofor as Peter) is ethnically wrong as Christ - boxoffice demands Hollywood stars, most of whom unfortunately come with blue eyes - but the actor manages a semblance of the man. Director Davis, coming off the emotionally charged "Lion", goes the opposite route here. His interpretation of the story is elegant and serene with outstanding production values - the authentic costumes, cinematography and a lovely score. Pity the film is such a bore.
As a film with Jesus Christ as one of the main characters it lacks the spirituality of Pasolini's film, the "passion" of Mel Gibson's vision and dispenses with the "temptation" depicted by Scorsese in his version by way of Nikos Kazantzakis' novel. However, this is a film where we see the Messiah through the eyes of the ultimate groupie, Mary Magdalene (Rooney Mara), slandered in early Church texts as a prostitute but here depicted as a fiercely independent woman much to the wrath of the patriarchal society. This is the politically correct version of Mary. She becomes one of the earliest and most ardent followers (the 13th apostle?) of Jesus Christ (Joaquin Phoenix) who here comes off as a mashup between a bedraggled rock star and ominous cult leader. The screenplay listlessly goes through the oft told (and recognised) events in Christ's life - cures a blind man, raises Lazarus from the dead, the last supper, betrayed by Judas (Tahar Rahim), the kiss, the crucifixion followed by his resurrection and sighting by Mary. One is used to seeing versions of this story with a highly emotional arc bordering on melodrama but here we have every emotion in check with a poker-faced Rooney acting like the proverbial sheep following her "master". Phoenix (and everyone in the cast for that matter and in particular Chiwetel Ejiofor as Peter) is ethnically wrong as Christ - boxoffice demands Hollywood stars, most of whom unfortunately come with blue eyes - but the actor manages a semblance of the man. Director Davis, coming off the emotionally charged "Lion", goes the opposite route here. His interpretation of the story is elegant and serene with outstanding production values - the authentic costumes, cinematography and a lovely score. Pity the film is such a bore.
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Nouvelle Vague (Jean-Luc Godard, 1990) 4/10
Godard is an acquired taste. Not for everyone. I like most of his films made before 1966 but find many of the later overated, dull, difficult or pretentious. I can't fault the images in his films though which are almost always superbly shot - maybe I need to turn off the sound and just concentrate on the images. Here is another difficult film which took me a while to understand. Almost the entire dialogue consists of quotations from literature or films. Even the actors posturing in front of the camera seems to have been lifted off other films. Or maybe I imagined this. The plot revolves around a drifter (Alain Delon) who is picked up by a rich industrialist (Domiziana Giordano) and becomes her kept man at her lavish estate near Lake Geneva. He dotes on her and is obedient. Other characters pop up followed by a boating incident where he drowns and she refuses to help. Then another man arrives who looks like the first (also Delon) but is shrewd and aggressive. Then there is a second boating incident with roles reversed. The film is gorgeously photographed with lush views of the spectacular Swiss countryside. It is the first film I've seen where Alain Delon looks human - bags under his eyes, sagging neck jowls, frown marks on his forehead and pimples on his chin. The film is a beautiful looking bore.
Godard is an acquired taste. Not for everyone. I like most of his films made before 1966 but find many of the later overated, dull, difficult or pretentious. I can't fault the images in his films though which are almost always superbly shot - maybe I need to turn off the sound and just concentrate on the images. Here is another difficult film which took me a while to understand. Almost the entire dialogue consists of quotations from literature or films. Even the actors posturing in front of the camera seems to have been lifted off other films. Or maybe I imagined this. The plot revolves around a drifter (Alain Delon) who is picked up by a rich industrialist (Domiziana Giordano) and becomes her kept man at her lavish estate near Lake Geneva. He dotes on her and is obedient. Other characters pop up followed by a boating incident where he drowns and she refuses to help. Then another man arrives who looks like the first (also Delon) but is shrewd and aggressive. Then there is a second boating incident with roles reversed. The film is gorgeously photographed with lush views of the spectacular Swiss countryside. It is the first film I've seen where Alain Delon looks human - bags under his eyes, sagging neck jowls, frown marks on his forehead and pimples on his chin. The film is a beautiful looking bore.
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La kermesse héroïque / Carnival in Flanders (Jacques Feyder, 1935) 10/10
Hilariously sly sex farce is a fairly risqué film for its time and a sharp commentary on human nature. In the early 17th century the Spaniards invade the Flemish town of Flanders. While the town's men all scatter with fright its the women who confront the invaders ready to even give themselves to the soldiers. The town's mayor pretends he is dead while his wily and enterprising wife (the superb Françoise Rosay - director Feyder's wife) gathers together the town's females, dress up in their best outfits and greet the invaders as heroes and shower them with affection, food, sexual favors and hospitality. The result is the invaders leave and also cancel all taxes for a year. Feyder's film is like a painting by the Dutch masters with superb production design and costumes (they bring to mind the renaissance paintings of Pieter Bruegel) and its visual quality is due to the stunning camera work by Harry Stradling who was unique in having not only a celebrated career in Hollywood but also in France where he collaborated with Feyder to equal acclaim. The wicked screenplay gleefully deals with not only adultery, homosexuality and eroticism but also deceit, cowardice and greed. The film proved controversial when during WWII Feyder was accused of endorsing collaboration through this film - the invading Spaniards here substituting for the German invaders during the War. A classic of french cinema and a must-see.
Hilariously sly sex farce is a fairly risqué film for its time and a sharp commentary on human nature. In the early 17th century the Spaniards invade the Flemish town of Flanders. While the town's men all scatter with fright its the women who confront the invaders ready to even give themselves to the soldiers. The town's mayor pretends he is dead while his wily and enterprising wife (the superb Françoise Rosay - director Feyder's wife) gathers together the town's females, dress up in their best outfits and greet the invaders as heroes and shower them with affection, food, sexual favors and hospitality. The result is the invaders leave and also cancel all taxes for a year. Feyder's film is like a painting by the Dutch masters with superb production design and costumes (they bring to mind the renaissance paintings of Pieter Bruegel) and its visual quality is due to the stunning camera work by Harry Stradling who was unique in having not only a celebrated career in Hollywood but also in France where he collaborated with Feyder to equal acclaim. The wicked screenplay gleefully deals with not only adultery, homosexuality and eroticism but also deceit, cowardice and greed. The film proved controversial when during WWII Feyder was accused of endorsing collaboration through this film - the invading Spaniards here substituting for the German invaders during the War. A classic of french cinema and a must-see.
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Ant-Man and the Wasp (Peyton Reed, 2018) 7/10
Silly, convoluted but fast paced action-comedy has Ant-Man (Paul Rudd) team up with the Wasp (Evangeline Lilly) and her father (Michael Douglas) to go into the "Quantum Realm" - one ignores wondering what the hell it is and just goes along for the ride into what looks like the inside of the human body â la "Fantastic Voyage", the movie from way back when. They need to go inside it to look for the Wasp's mom (Michelle Pfeiffer) who got stuck there 30 years before. Mercifully the screenplay does not delve into complicated jargon explaining all the sci-fi mumbo jumbo. Instead we get snappy one-liners between every character on screen - they all seem to have done time with Neil Simon - making this one of the funnier Marvel outings. Black Hollywood is represented by Lawrence Fishburne as an ex-partner of Douglas but now gone rogue with his protegé who, in ghost-like visage, is the main villain and who annoyingly keeps interrupting the main plot. Rudd is a wonderfully goofy presence with Lilly a sexy verbal and romantic combatant for him. The film has spectacular effects with Ant-Man increasing and decreasing in size at the most awkward of moments causing hilarious mayhem. A fun-filled ride.
Silly, convoluted but fast paced action-comedy has Ant-Man (Paul Rudd) team up with the Wasp (Evangeline Lilly) and her father (Michael Douglas) to go into the "Quantum Realm" - one ignores wondering what the hell it is and just goes along for the ride into what looks like the inside of the human body â la "Fantastic Voyage", the movie from way back when. They need to go inside it to look for the Wasp's mom (Michelle Pfeiffer) who got stuck there 30 years before. Mercifully the screenplay does not delve into complicated jargon explaining all the sci-fi mumbo jumbo. Instead we get snappy one-liners between every character on screen - they all seem to have done time with Neil Simon - making this one of the funnier Marvel outings. Black Hollywood is represented by Lawrence Fishburne as an ex-partner of Douglas but now gone rogue with his protegé who, in ghost-like visage, is the main villain and who annoyingly keeps interrupting the main plot. Rudd is a wonderfully goofy presence with Lilly a sexy verbal and romantic combatant for him. The film has spectacular effects with Ant-Man increasing and decreasing in size at the most awkward of moments causing hilarious mayhem. A fun-filled ride.
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Sicario: Day of the Soldado (Stefano Sollima, 2018) 8/10
Slick equally violent sequel dispenses with three elements from the original - director Denis Villeneuve, star Emily Blunt as FBI agent Kate Macer and cinematographer Roger Deakins - but retains the element of suspense along with two important cast members. The US government brings in FBI agent Matt Graver (Josh Brolin) after it is established that the Mexican drug cartels are smuggling terrorists across the border into the United States. He, in turn, calls upon Alejandro (Benicio Del Toro) to help start a war amongst the cartels. Highly charged action thriller involves the kidnapping of a cartel leader's teenage daughter, the initiation of young boys into the cartel, numerous double crosses leading to violent death and a gripping sense of dread throughout. Despite a few slow spots gruff Brolin and cool and silent Del Toro carry it all off with aplomb giving us a sequel well worth waiting for.
Slick equally violent sequel dispenses with three elements from the original - director Denis Villeneuve, star Emily Blunt as FBI agent Kate Macer and cinematographer Roger Deakins - but retains the element of suspense along with two important cast members. The US government brings in FBI agent Matt Graver (Josh Brolin) after it is established that the Mexican drug cartels are smuggling terrorists across the border into the United States. He, in turn, calls upon Alejandro (Benicio Del Toro) to help start a war amongst the cartels. Highly charged action thriller involves the kidnapping of a cartel leader's teenage daughter, the initiation of young boys into the cartel, numerous double crosses leading to violent death and a gripping sense of dread throughout. Despite a few slow spots gruff Brolin and cool and silent Del Toro carry it all off with aplomb giving us a sequel well worth waiting for.
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Wings for the Eagle (Lloyd Bacon, 1942) 6/10
One (of many) films for the War effort - this one is set in a Lockheed plant in California that builds the A-29 Hudson light bomber and reconnaisannce plane which were being sent to the RAF before the United States entered the War. The main plot centers around a love triangle as snappy Ann Sheridan fends off her estranged husband (Jack Carson) and his wolf-like best buddy (Dennis Morgan). With these two actors on board it appears the two have something going on with Ann Sheridan as their beard. She comes off best amongst the incessant flag waving and usual clichés. Interesting from the historical perspective with a close view of how planes were manufactured on the asembly line at a time fraught with urgency.
One (of many) films for the War effort - this one is set in a Lockheed plant in California that builds the A-29 Hudson light bomber and reconnaisannce plane which were being sent to the RAF before the United States entered the War. The main plot centers around a love triangle as snappy Ann Sheridan fends off her estranged husband (Jack Carson) and his wolf-like best buddy (Dennis Morgan). With these two actors on board it appears the two have something going on with Ann Sheridan as their beard. She comes off best amongst the incessant flag waving and usual clichés. Interesting from the historical perspective with a close view of how planes were manufactured on the asembly line at a time fraught with urgency.