A Dog’s Way Home (2019)

A Dogs Way Home.png

As a puppy, Bella (played by Shelby and voiced by Bryce Dallas Howard) finds her way into the arms of med student Lucas (Jonah Hauer-King) a young man who with girlfriend Olivia (Alexandra Shipp) finds her in a demolition site with her friend Mother Cat and her kittens and gives her a good home with him and his mother Terri (Ashley Judd) a military vet who volunteers at the local Veterans’ Administration assisting the rehabilitating of fellow vets with PTSD and physical injuries. When Bella becomes separated from Lucas in an encounter with Animal Control, she is transported to the home in New Mexico of his Olivia’s family. She escapes and soon finds herself on an epic 400-mile journey across mountains and forest to reunite with her beloved owner. Along the way, the lost but spirited dog touches the lives of an orphaned cougar cub whom she calls Big Kitten, surviving hunters and predators, is kept in chains by a down-on-his-luck homeless alcoholic veteran Axel (Edward James Olmos) and briefly has a home with some friendly strangers, a gay couple (Barry Watson, Motell Gyn Foster) who happen to cross her path during an avalanche.  After two long years away from Lucas what will happen when she reaches her destination? … A reworking perhaps of Disney’s  The Incredible Journey, this had me at Woof. And in between the times I was blinking away tears and outright crying, it’s scary, tender, heartfelt and full of compassion. You might quibble with a CGI Big Kitten and the over-sentimentalising but there is real peril and some nasty human behaviour as well as an issue over how a dog should be classified when it comes to having a pit bull for a parent:  well, what’s new. And what’s not to love about a dog separated from her mother who finds a mother in a cat family?  And then a human family? And comforts soldiers suffering the after-effects of service? And who then befriends an orphaned cougar? At the end of the day, there’s no place like home. Sob. Adapted by W. Bruce Cameron and Cathryn Michon from Cameron’s book and directed by Charles Martin Smith, an actor who will always be Toad in American Graffiti here at Mondo Movies as well as Farley Mowat in that splendid wilderness film Never Cry Wolf. I knew now that my journey was much longer than I’d ever imagined

Otley (1968)

Otley.jpg

If they are the cowboys we’re supposed to be the Indians. Gerald Arthur Otley (Tom Courtenay) is a petty crook and wannabe antique dealer mistaken for a British secret agent when he sleeps on a couch belonging to his friend Eric Lambert (Edward Hardwicke) who’s really a suspected influence pedlar and document smuggler and who is found murdered while Otley wakes up two days on the runway at Gatwick. Otley trails double agents and double martinis at a posh cocktail party before discovering the villains have the cooperation of top government officials. He’s pegged to pose as a possible defector to oust the criminal mastermind who plans to sell stolen documents vital to national security to any enemy agent with the most money. British secret agent Imogen (Romy Schneider) first has Otley beaten up by her thugs before combining forces to go after the real villains …  I was last year’s winner of the Duke of Edinburgh Award for Lethargy. Directed by Dick Clement and co-written with his regular collaborator Ian La Frenais, this adaptation of a novel by Northern Irish author Martin Waddell is funny and characterful, laced with real wit and a bright British cast including James Bolam (from Clement and La Frenais’ The Likely Lads), Alan Badel as MI5 overlord Hadrian, James Villiers as the resurrecting spy Hendrickson, Phyllida Law (Emma Thompson’s mum and you can see the shared mannerisms), Geoffrey Bayldon as a police superintendent, Freddie Jones as an epicene gallerist, the dulcet tones of radio DJs Pete Murray and Jimmy Young, and Leonard Rossiter – as a hitman! Great mileage is got out of the mistaken identity scenario, everyone changing sides constantly, with Courtenay wonderfully charismatic as the feckless cheeky chappie protagonist street trader in way over his head between teams of rival spies who believe everyone has a price, while Schneider has fun as the perky intelligence agent. With fantastic location shooting (by Austin Dempster), the action scenes are atypical of the spy genre although the golf course sequence will remind you of a certain Bond movie, a titles sequence in Portobello Road market shows uncooperative shoppers staring into the camera as it tracks back from Courtenay strolling among the stalls and shops, there’s a rumble among the houseboats at Cheyne Walk, a sequence at the Playboy Club and a disastrous driving test that turns into a nutty car chase. This comic approach to the wrong man spy thriller is uniquely entertaining. Damian Harris, Robin Askwith and Kenneth Cranham play kids and the music and theme song are by Stanley Myers. I’m Gerard Arthur Otley and I’ve had enough

Lure of the Wilderness (1952)

Lure of the Wilderness.jpg

I was in here six years afore I found my way out. In the early 1900s, Zack Tyler (Tom Tully) and his son Ben (Jeffrey Hunter) are fur trappers living near Georgia’s Okefenokee Swamp. In the course of searching for their dog in the swamp they discover Jim Harper (Walter Brennan), a fugitive who has been unjustly accused of a killing, and his daughter, Laurie (Jean Peters), who has developed very few social skills due to her 8 years spent living in the wild. Zack becomes convinced of Jim’s innocence and attempts to set up a proper criminal defence, while Ben and Laurie begin to fall in love. But Dave Longden (Jack Elam) smells a rat and starts to think like the lynch mob that drove out the Harpers all those years ago…  What did we ever do to you ones on the outside to get this?Adapted by Louis Lantz from Vereen Bell’s 1941 novel Swamp Water (previously adapted by Jean Renoir and also starring Brennan, Walter Huston, Dana Andrews and Anne Baxter), this is a colourful, lyrical action-adventure tale, getting the full-blooded Twentieth Century-Fox treatment including an OTT score by Franz Waxman. Director Jean Negulesco always had an eye for the worthy visual (even if the Technicolor might mute the Southern Gothic sensibility) but he was not noted for his interaction with performers.  However Brennan is always worth watching and hearing him perform a song and witnessing him wrestle a ‘gator is worth the price of admission. Irish actress Constance Smith has a small but meaty role as Zack’s feisty jilted girlfriend and the fight she inspires between Hunter and her new beau helps the film attain the kind of liveliness this material demands. The midpoint sequence is the best – the murk of the swamp comes to wild life as Hunter and the darkly enchanting Peters get to know each other a little better. Just like coming back to life

 

Rampage (2018)

Rampage 2018.jpg

What are you, some kind of international man of mystery? Primatologist Davis Okoye (Dwayne Johnson) a man who keeps people at a distance but shares an unshakable bond with George, the extraordinarily intelligent, incredibly rare albino silverback gorilla who has been in his care since he rescued the young orphan from poachers in Africa. They joke in sign language. A rogue genetic experiment gone awry in outer space with the deadly pathogen falling into wildlife parks in California and Florida and mutate this gentle ape into a raging creature of enormous size. There are other similarly altered animals – starting with a grey wolf who takes out the soldiers sent to kill him. As these newly created alpha predators tear across North America, communicating via sonar and destroying everything in their path, Okoye teams with discredited geneticist Kate Caldwell (Naomie Harris) to secure an antidote, fighting his way through an ever-changing battlefield to halt imminent catastrophe commencing among the skyscrapers of Chicago.  Luckily his training in Special Forces gives him the ability to confront the dangers they face but he must also save the now fearsome creature that was once his friend….. Of course – a wolf that can fly!  Or, gorilla goes ape, in this interspecies mutant/hybrid cross between King Kong and Godzilla only it’s neither as serious nor as silly as those classics. The third collaboration between Johnson and director Brad Peyton (which presumably qualifies as a kind of auteurist effort) this starts in a space station with a giant rat, an explosive scene sequence which used up a lot of the FX budget and shards of an exploded rocket with this dangerous pathogen wind up all over the shop, as you do. Hence the shonky CGI mayhem. Jeffrey Dean Morgan turns up as a good ol’ boy Other Government Agent (I always knew they existed) and after their plane is wrecked by a growing George, he and the big friendly giant (The Rock) and Harris go after the brother and sister gene manipulator team (Malin Akerman and Jake Lacy) responsible for this lunatic experiment. Adapted from an Eighties video game, by Ryan Engle and Carlton Cuse & Ryan J. Condal and Adam Sztykiel, this is never quite as fun as it should be but you might just shed a tear from that rheumy worldweary eye at the fight to the death. If animals hate you they eat you. You always know where you stand

Doctor Dolittle (1967)

Doctor Dolittle 1967.jpg

There’s no doubt about it – animals are far more interesting than people.  In early Victorian England, Dr. John Dolittle (Rex Harrison) lives in a small village where he much prefers the company of animals to humans.  He trains as a veterinarian and specialises in caring for and verbally communicating with animals. When Dr. Dolittle is unjustly sent to an insane asylum for freeing lovesick circus seal Sophie from captivity so she can return to her husband at the North Pole, his animals and two closest human friends, Matthew Mugg (Anthony Newley) and Tommy Stubbins (William Dix), liberate him. Afterwards they join Emma Fairfax (Samantha Eggar) and set out by boat to find a famed and elusive creature: the Great Pink Sea Snail, fetching up on an island where the natives prove a challenge…  How do you make money with a Pushmi-Pullyu? Songwriter Leslie Bricusse adapted Hugh Lofting’s classic children’s books and Harrison and Newley take their theatrical shtick to the screen with zest. A witty, whimsical delight, this was a controversial flop following some disastrous choices of location shooting which led to huge production overruns and Harrison’s loathsome behaviour made filming a chore for the human cast.  The songs are fun, the action marvellous (Harrison’s love scene with Sophie the Seal has to be seen to be appreciated) and it’s a wonderfully colourful musical directed with some flair by Richard Fleischer.  I have nothing in common with the human race

The Plague of the Zombies (1966)

The Plague of the Zombies.jpg

Please take care not to stray from the path.  In 1860 young local doctor Peter Tompson (Brooks Williams) cannot stop the spread of an epidemic in his Cornish village. He contacts his old professor Sir James Forbes (Andre Morell) who arrives with his daughter Sylvia (Diane Clare). She notices that Peter’s sister Alice (Jacqueline Pearce) is unwell. When the men disinter coffins and find them empty they link the plague to Squire Clive Hamilton (John Carson) and his voodoo practices which he learned in his time in the West Indies so when the men act against him it’s time to assemble his zombie army … Do you believe in life after death? A terrifically effective thriller from Hammer, beautifully made and endlessly influential:  the green-tinted zombie ‘mare an hour in is chillingly convincing. Screenwriter Peter Bryan had already written the studio’s Hound of the Baskervilles and The Brides of Dracula and the conventions of the graveyard standoff, the doctor’s intervention and the possessed women are all here in this restrained horror. Carson does a good vocal impersonation of James Mason. Stylish as heck. Directed by John Gilling.  I dreamed I saw the dead rise

Golden Salamander (1950)

Golden Salamander.jpeg

You defeat evil not by ignoring it but by going to meet it. English archaeologist David Redfern (Trevor Howard) is sent to Tunisia to recover artifacts from a shipwreck. He arrives during a storm and encounters a landslide which stops his hire car in its tracks, witnessing a transaction involving gunrunners that include Rankl (Herbert Lom). While romancing the lovely Anna (Anouk Aimée) whom he meets in the hotel where he’s staying he runs afoul of what amounts to a criminal conspiracy led by Serafis (Walter Rilla) and Rankl knows he saw what happened in the landslide. Torn between minding his own business and completing his job, and the opportunity to overthrow the criminals who are terrorising the locals, Redfern takes on the near-impossible task of bringing the gun runners to justice when young Max (Jacques Sernas) is murdered … Victor Canning’s novel gets a poorly paced adaptation but still manages to work because of the plot and the performances – Aimée is impossibly young to be Howard’s love interest and she’s ridiculously striking compared with his relative ordinariness. The action in unexpectedly florid African settings and on treacherous cliff faces compensates for shortcomings in the structure and there’s Wilfrid Hyde-White trying to do Hoagy Carmichael in the Casablanca-knock off bar scenes. Rilla makes a great impression as the villain – in real life he wrote a very good manual on screenwriting. What a shame this rare British film shot on African locations wasn’t made in colour! Directed by Ronald Neame who co-wrote the screenplay with Canning and Leslie Storm.

Daddy’s Home 2 (2017)

Daddy's Home  2.png

You know, I’m just getting the feeling maybe you guys would like some privacy. Father Dusty (Mark Wahlberg) and stepfather Brad (Will Ferrell) join forces to make Christmas perfect for the children. Their newfound tolerant partnership soon gets put to the test when Dusty’s old-school, macho dad Kurt (Mel Gibson) and Brad’s gentle father Don (John Lithgow) arrive to turn the holiday upside down. After a sudden change in plans, the four men decide to take the kids to a luxury resort for a fun-filled getaway that turns into a hilariously chaotic adventure with Kurt’s competitiveness creating domestic chaos and Don concealing a terrible secret that unravels everyone’s idea of him … His total lack of masculinity, I mean his weak chin and soft underbelly bothers you not a bit? Written by director Sean Anders and John Morris from characters by Brian Burns, this sequel is an advert for toxic masculinity, shoplifting and avoiding the in-laws. Kurt’s enthusiasm for hunting inadvertently turns little Megan into a demon shot while Brad’s wife’s (Linda Cardellini) paranoia about Dusty’s wife’s (Alessandra Ambrosio) books is leavened by learning about her penchant for shoplifting. A funny sequence is a film-within-a-film starring Liam Neeson, sending himself up rather neatly (albeit he’s done it on every chat show he’s been on since the first Taken movie). This sequel has two wonderful actors (Gibson and Lithgow) and a modern day fool (Ferrell) and they do rather well with pretty thin gruel. I blame the parents.

Gone to Earth (1950)

Gone to Earth.jpg

Aka The Wild Heart. He put a spell on me, he did. Hazel Woodus (Jennifer Jones) is an innocent child of nature in the Shropshire countryside on the Welsh borders in 1897. She loves and understands all the wild animals more than the people around her. Whenever she has problems, she turns to the book of spells and charms left to her by her late gypsy mother.  Local fox-hunting squire Jack Reddin (David Farrar) sees Hazel and wants her, but she has already promised herself to the Baptist minister, Edward Marston (Cyril Cusack). She brings up a fox cub (Foxy) and is mother to him, insisting that he be part of her bridal party in the church. A struggle for her body and soul ensues and she turns to superstition to deal with her problems… Adapted from Mary Webb’s 1917 bodice-ripper, this is one of Powell and Pressburger’s odder films.  Given producer David O. Selznick’s involvement it’s no surprise that it stars his famously sibilant-averse wife Jones, who never seemed to age. She’s like a feral Scarlett O’Hara, feisty and strong-willed but ignorant in all essentials. Farrar makes a return to the P&P troupe, while Sybil Thorndike is excellent support playing mother to Cusack’s parson, a fine role for the Irish character actor. Hugh Griffith (as the wicked squire’s faithful man servant), Esmond Knight and George Cole get some good moments in the ensemble.  This is a stunning, full-blooded work in lush Technicolor with startling cinematography by the great Christopher Challis, relishing the opportunity to capture the strangeness and beauty of a very lovely part of the world which some readers might recall was the setting for some of Malcolm Saville’s Lone Pine series of books for adolescents. Narrated by Joseph Cotten.

 

The Thirty Nine Steps (1978)

The Thirty Nine Steps 1978.jpg

By the way – I’ve brought you the announcement of your death. South African engineer visiting London, Richard Hannay (Robert Powell) gets caught up in an intricate spy plot when a British secret agent Scudder (John Mills) takes shelter in his apartment after witnessing a political assassination. When the spy is killed by a secret organisation, Hannay becomes its next target, and must flee to Scotland, where he may be able to uncover the mystery by locating a black book lost by Scudder.  He is pursued by the police and the killers and it is only when Chief Superintendent Lomas (Eric Porter, Soames from TV’s The Forsyte Saga) gets bona fides from Hannay’s employers that the Government tries to save him – by using him as lure. Aided by the lovely Alex Mackenzie (Karen Dotrice), Hannay figures out the organisation’s sinister scheme to launch WW1 and attempts to halt it… John Buchan’s classic novel has such good bones that any alteration merely enhanced its reputation, as Hitchcock’s adaptation proved. This, the third version, is a different proposition – more straightforwardly faithful and dramatic, less comedic, and very suspenseful indeed. Michael Robson’s interpretation cleaves to the novel and it’s still an exercise in tension using trains, boats, planes, taxis and bikes in a travelogue that spans from London to the Scottish moors. Hannay is a bit of a cold fish to begin with but defrosts when the bullets start skimming his legs and he meets Alex. It’s tautly told and acted and ironically there is a fantastically Hitchcockian climax on the face of Big Ben concluding a literal race against time. Directed by Hammer veteran Don Sharp, with a very tasteful score by Ed Welch.