T2 Trainspotting (2017)

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You’re a tourist in your own youth. That’s how I felt too, when I sat down in an empty cinema for this – a far cry from the wild reaction that I expressed and experienced when the Godhead of Nineties movies made its debut. Wow! What a rush that was! Twenty years ago. Which is the real shocker. And age is what this is all about – age and betrayal and memory (or nostalgia) and payback. Renton is back – after making away with all that dosh in London. Sickboy – call him Simon now – ain’t too happy and beats him up. He rescues tragic Spud from certain death. Franco’s just had himself stabbed in prison so he can escape and lure his teenage son away from hotel management and into a life of crime … Revenge? Yes, please. There’s tragedy, fun and kickbacks to spare in this blackly comic outing with portions of Porno mixed up with a narrative carved from the original novel and several flashbacks to the old action and new-old footage of the guys as kids. Edinburgh like the rest of the British Isles is now afloat in Eastern European whores, one of whom has her claws into Simon but whom Renton fancies. Then there’s a scheme to set up Simon’s pub as a rival brothel to a chain of ‘saunas’ which invites interest from the proprietor. And in between bizarre music videos – check out Your Dad’s Best Friend by Rubberbandits! – a hilarious excursion picking pockets at a Loyalist club and digressions on George Best at Hibs, the rhythm section of director Danny Boyle, writer John Hodge and the superb cast (with the obvious exception of Tommy) is reassembled with a sense of style and a closing of the book, as it were. Spud gets a great storyline and there’s a nod to his precursor when Irvine Welsh turns up as chief car booster. Stick to the day job, dude. And there’s a brilliant payoff with a toilet bowl. Whew, it’s okay then. All is right with the world. Choose this.

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Gallipoli (1981)

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How fast can you run? How fast are you going to run? How odd that in 1981 two period  films about athletes should have a contemporary soundtrack for the running sequences … for this was the year that also brought Britflick Chariots of Fire with a Vangelis score, released 6 months earlier. It’s World War 1. Teenage Western Australian sprinter Archy (Mark Lee) persuades rival Frank (Mel Gibson) to join up with him and an extended period of time focuses on their training for the ANZACs in Egypt. When we get to the Turkish battlefield we can feel the heat and dust and our immersion is in no little part due to the production and sound design and editing, a marvel of achievement. There might be those who carp at some historical inaccuracies about the Battle of the Nek but for Australians this episode of senseless killing looms large in the psyche and was revisited recently by Russell Crowe in his directing debut, The Water Diviner. Playwright David Walliamson’s screenplay was inspired by a book by Bill Gammage on the subject: we can infer that the purpose of the sprinters in the trenches to communicate with the Poms has an allegorical function beyond the immediately dramatic. Jean-Michel Jarre’s Oxygene is used to extraordinary effect amongst all the other classical pieces and new music by Brian May (the Australian composer who scored Mad Max). Russell Boyd’s cinematography is simply superb. Gibson of course became a megastar on the strength of this and Mad Max. It was a tough film to get funded and Weir’s initial proposed story did not go down well. Rupert Murdoch came to the rescue. Peter Weir is a great director who makes incredibly poetic mainstream films and doesn’t work enough as far as I’m concerned. I love everything he does. You will not forget the freeze frame finale in a hurry.