Move Over Darling (1963)

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Suppose Mr Arden’s wife came back, like Irene Dunne done. Did. Five years after her disappearance at sea, Nicky Arden (James Garner) is in the process of having his wife declared dead so he can marry his new fiancée Bianca (Polly Bergen) when Ellen (Doris Day) materialises and the honeymoon is delayed but Nick finds out Ellen wasn’t alone on the island after the shipwreck after all …  A remake of one of the greatest screen comedies starring two of my favourite people? You had me at hello! This got partly remade as Something’s Got To Give with Marilyn Monroe and Dean Martin but got put on hold.  Her premature death led to this iteration of Enoch Arden and My Favorite Wife, which was written by Samuel and Bella Spewack and Leo McCarey (upon whom Cary Grant modelled much of his suave screwball persona for their collaboration on The Awful Truth, another ingenious marital sex comedy.) Arnold Schulman, Nunnally Johnson and Walter Bernstein reworked that screenplay for the Monroe version (she agreed to star in it because of Johnson, and then George Cukor had it rewritten which upset her greatly); and then Hal Kanter and Jack Sher wrote this.  We can blame Tennyson for the original. The set for the Arden home was the same from the Monroe version and it was based on Cukor’s legendarily luxurious Hollywood digs. We even get to spend time at the pool of the Beverly Hills Hotel. Garner and Day are brilliantly cast and work wonderfully well together, making this one of the biggest hits of its year (it was released on Christmas Day). They had proven their chemistry on The Thrill of it All and make for a crazy good looking couple. With Thelma Ritter as Nicky’s mom, Chuck Connors as the island Adam, and Don Knotts, Edgar Buchanan and John Astin rounding out the cast, we’re in great hands. The title song, co-written by Day’s son Terry Melcher and arranged by Jack Nitzsche, was a monster. Terrific, slick, funny blend of farce and sex comedy, this censor-baiting entertainment is of its time but wears it well. Directed by Michael Gordon.

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Flatliners (2017)

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I didn’t know the side effects would show up and start hunting us down.  Five medical students embark on a dangerous experiment to gain insight into the mystery of what lies beyond the confines of life, initiated by super-smart Courtney (Ellen Page) who attempts to regain contact with the younger sister she killed in a car crash when she drove off a bridge. They trigger near-death experiences by stopping their hearts for short periods of time. As their trials become more perilous, each must confront the sins from their past while facing the paranormal consequences of journeying to the other side … Directed by Niels Arden Oplev, this remake of the fabulously trashy 1990 original takes itself a little more seriously – and who wouldn’t, with little Ms Page to be dispatched. Once One Takes The Anatomy Final Very Good Vacations Are Heavenly, she declares to her dumb classmate Sophia (Kiersey Clemons) and she has to explain that it’s a mnemonic. Except she pronounces it pneumonic. What a great idea for a movie, exploring the concept of the afterlife. Except that this turns it into quasi-horror with the ghosts of people’s guilty past coming back to get revenge, thus avoiding any more complex explorations of life beyond biology. When Courtney flatlines she is plunged into the past and her medical knowledge ratchets up several notches impressing their senior doctor Barry Wolfson (Kiefer Sutherland, making us hanker for the original and very good looking cast). Rich kid Jamie (James Norton) lives on a boat and after he flatlines he is haunted by the ghost of his still-living ex, a waitress at his father’s country club whom he impregnated and abandoned the day of her abortion. He becomes more intuitive. Marlo (Nina Dobrev) however is haunted by the ghost of a man whom she killed in the ER. Sophia figures she’ll gain academic advantage but she just becomes a sexpot and then wants to get the forgiveness of a more gifted student she screwed over in high school. Former firefighter Ray (Diego Luna) is the conscience of the group who just doesn’t go under and urges Marlo to come clean over the death she caused. Then things get murky and murderous…  Adapted by Ben Ripley from the 1990 screenplay by Peter Filardi this self-absorbed millennial mindlessness avoids profundity at every opportunity and is satisfied with the minutiae of dull people in darkened apartments which would be a lot less creepy if someone just switched on a light occasionally. Personally when I awoke from my own brief death on the operating table all I could think about was Guinness.  I didn’t even drink it. No insights there! Or here. So it goes.  It’s an awakening. See you later Jesus!

Dinner for Schmucks (2010)

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Any one of you would throw me under the bus for a bigger bonus, but Barry would throw himself under a car to protect a mouse… that was already dead. Tim (Paul Rudd) a rising executive, works for cut-throat boss Lance Fender (Bruce Greenwood) who hosts a monthly event in which the guest who brings the biggest idiot gets a career boost. Though he declines the invitation at first, he’s ambitious and he changes his mind when he meets IRS employee Barry (Steve Carell), a man who builds dioramas using stuffed mice. He must be the biggest moron of all time! The scheme backfires when Barry’s blundering good intentions send Tim’s life into a downward spiral, inviting an old one-night stand Darla (Lucy Punch) over not realising she’s Tim’s stalker.   It all  threatens a major business deal and possibly scuttles Tim’s romantic relationship with Julie (Stephanie Szostak).  Then it’s dinner time … Directed by Jay Roach who knows his way around comedy, this remake of the French film Le Dîner des cons treads a fine line between mockery and viciousness pretty deftly. Partly this is down to the writing (screenplay by Michael Handelman and David Guion from Francis Veber’s original) and party it’s down to the sweetness and nobility that Carell brings to his particular spin on stupidity and the niceness Rudd brings to his potentially nasty piece of work. In other words, either of these guys could be a schmuck. The original is excruciating:  this is somewhat milder, a black comedy with a heart, sporting a cast of lesser and greater American (and some Brit) comic actors. Wait for the dinner!

Going in Style (2017)

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These banks practically destroyed this country. They crushed a lot of people’s dreams, and nothing ever happened to them. We three old guys, we hit a bank. We get away with it, we retire in dignity. Worst comes to the worst, we get caught, we get a bed, three meals a day, and better health care than we got now. Lifelong friends Willie (Morgan Freeman), Joe (Michael Caine) and Albert (Alan Arkin) decide to buck retirement and step off the straight-and-narrow when their pension funds become a casualty of corporate financial misdeeds. They’re living on social security and eating dog food so what have they got to lose by taking a little action? Desperate to pay the bills and come through for their loved ones, they risk it all by knocking off the very bank that absconded with their money … The original had Art Carney, George Burns and  Lee Strasberg but in Theodore Melfi’s screenplay from the 1979 story by Edward Cannon, director Zach Braff appeals to the grey dollar audience with some of our favourite Sixties and Seventies performers with Freeman for good measure. Why wouldn’t you want to see this aged crew carry out a heist?! It’s conventionally made but has a resonance maybe moreso than the Seventies’ film did, with the banking crisis still having the ripple effect into everyone’s lives as a life’s work and savings vanish. It’s a lot of fun but says things about society and also the effect that participating in such a crime might have while quietly acknowledging that serial administrations simply permitted corporate criminals to ruin lives on an unprecedented scale and nine years later the effects are still being felt.  The guys have some good repartee and it’s pleasing to see a bunch of geezers making off with bags of swag.  Plus there’s Matt Dillon as an FBI guy and Ann-Margret for the Grumpy Old Men/Viva Las Vegas demographic.  What’s not to like?! For a comedy with a message this is a lot of fun.

The Mummy (2017)

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People don’t realize that London is a giant graveland. A modern city built on centuries of death. Nick Morton (Tom Cruise) is a soldier of fortune who plunders ancient sites for timeless artifacts and sells them to the highest bidder. When Nick and his partner Chris (Jake Johnson) come under attack in the Middle East, the ensuing battle accidentally unearths Ahmanet (Sofia Boutella) a betrayed Egyptian princess who was entombed under the desert for thousands of years. As her powers constantly evolve Morton has tostop the resurrected monster as she embarks on a furious rampage through the streets of London …  Hell hath no fury like an ancient princess scorned! This remake of the old Universe horror movie owes little to its origins (more’s the pity) and much to the contemporary taste for drained grayscale mindless action visuals (whose taste is the question – I want colour! Colour! Colour!) Beyond that there’s a bit of fun. Russell Crowe is the antagonist/expert Dr Henry Jekyll (get the name… this Dark Universe is crossing the protagonists and characters from film to film, literally making a monster mash) joining another heroic franchise (if it comes to pass); and Cruise is paired with another in a long line of terrifically feisty females, Jenny (Annabelle Wallis) this being a welcome staple character in his M: I series – not to mention a screeching harpie villainess who wants to get with him and rule the world. There ain’t a lot of chemistry here but it moves fairly quickly through some shonky sequences so you don’t care too much. This is not entirely the mess some reviews would have you believe but then I’m a sucker for all things archaeological and groovy destructive women!  The universe I’m concerned with is the previous remake  – the wonderful 1999 iteration starring Brendan Fraser which was tonally perfect (the other two, not so much) but like the subject matter here that’s a thing of the past. Screenplay by David Koepp, Christopher McQuarrie and Dylan Kussman from a story by Jon Spaihts, director Alex Kurtzman & Jenny Lumet.

Last Holiday (2006)

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I’m just gonna blow it. Diagnosis of a terminal brain condition prompts introverted saleswoman Georgia Byrd (Queen Latifah) to reflect on what she realizes has been an overly cautious life where the biggest thrill is singing in a choir. Her health plan won’t cover treatment. She withdraws her life savings and jets off to Europe – first class, to a top hotel outside Prague – where she lives like a millionaire for the last three weeks of her life during the Christmas holiday. Upbeat and passionate, she charms everybody she meets, including renowned Chef Didier (Gérard Depardieu). The only one missing from her new life in which her luck suddenly seems to be changing and her fortunes paradoxically altering for the better is her longtime crush Sean Matthews (LL Cool J) and then her medical report is reassessed … This is a remake of the J.B Priestley screenplay which was made in 1950 – starring Alec Guinness! That darkly ironic and witty piece of work is turned into something softer here with a sweetly endearing if occasionally sceptical turn by Latifah as Georgia. (It was originally meant for the late, great John Candy). The twist ending remains but in altogether more positive mode than the original. There’s a lot of fun living out Georgia’s last days doing death-defying winter sports and getting to know a pompous self-help writer. Certainly different from a trip to Dignitas…  Written by Jeffrey Price and Peter S. Seaman and directed by Wayne Wang, who has a way with women.

The Great Gatsby (1974)

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You can’t repeat the past? Of course you can. Nick Carraway (Sam Waterston) is a young man from the Midwest living modestly among the decadent mansions of 1920s Long Island. He becomes involved in the life of the mysterious Jay Gatsby (Robert Redford), a rich man who throws the most lavish parties on the island. But behind Gatsby’s outgoing demeanor is a lonely man who wants nothing more than to be with his old love, Nick’s second cousin-once removed, the beautiful Daisy Buchanan (Mia Farrow). She is married to the adulterous and bullheaded millionaire Tom (Bruce Dern), creating a love triangle that will end in tragedy when a misunderstanding leads Tom’s lover Myrtle (Karen Black) to her death in a road accident and her cuckolded husband seeking revenge … We hear all about Gatsby long before we meet him, even if Nick imagines he sees him on the end of the dock early on, with that green light winking on and off. It’s the perfect way to introduce a character who is a self-made myth. Everyone has a different idea about the protagonist of a novel which itself is a masterpiece of sleight of hand storytelling:  it tells us on page one just how. There are a lot of things to admire about this film which is as hollow with the sound of money as Daisy’s voice:  the design, the tone, the casting, which is nigh-on perfect, but the writing leaves the performances with very little to do. Redford, that enigmatic, elusive, evasive Seventies superstar is the ultimately unknowable, uncommitted actor trying to revivify his past love, even as Daisy cries out to this now-multi-millionaire Don’t you know rich girls don’t marry poor boys? Waterston does his best as the writer/narrator who knows far less than he lets on. Dern probably comes off best as the unfiltered louse Fitzgerald wrote but overall Francis Ford Coppola’s script while faithful cannot replicate symbolic effect and the entire novella represents in the most eloquent language ever written class gone wrong in the ultimate American tragedy. Directed by Jack Clayton.

 

The Letter (1940)

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With all my heart, I still love the man I killed. In Singapore, Leslie Crosbie (Bette Davis), the wife of a rubber plantation administrator, shoots and kills a man, Geoff Hammond, claiming that he tried to take advantage of her. She is arrested and her husband Robert (Herbert Marshall) hires attorney Howard Joyce (James Stephenson) to defend her. Her claim of self-defence is doubted by the locals. During the trial Howard uncovers an incriminating letter that casts doubt on Leslie’s story. The two become embroiled in a blackmail scheme involving a Malayan clerk Ong Chi Seng (Victor Sen Yung) and the dead man’s widow Mrs Hammond (Gale Sondergaard) … One of the great melodramas of the era, this Somerset Maugham adaptation by Howard Koch had already received an interpretation in 1929 with Jeanne Eagels in the leading role and Marshall had played Geoff Hammond. With the dream team of Davis and director William Wyler it became an opportunity for Warners to make an intense, lush festival of emotions concerning race and sex shot by Tony Gaudio, costumed by Orry-Kelly and scored by Max Steiner. Davis is simply unforgettable, as is the opening scene, when a shot rings out under a full moon …

Cleopatra (1963)

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Nothing like this has come into Rome since Romulus and Remus. The Seventh Queen of Egypt, Cleopatra (Elizabeth Taylor) manipulates and falls in love with both Julius Caesar (Rex Harrison) and Marc Antony (Richard Burton) in her ill-fated attempt to save the Egyptian empire from a takeover by the Roman Empire. This love triangle is one of the most famous ever to be captured on film, with betrayal by trusted Octavian (Roddy McDowall), the murder of Caesar, the escape of Cleopatra who has borne Caesar’s son and the final, terrible defeat at Actium in Greece … What gets lost in the palaver about this truly epic historical saga which ruined Twentieth Century Fox for a while is just how good it is:  how it measures the scale of the action to the depth of performance. Elizabeth Taylor is imperious, vulnerable, scathing, dictatorial, brilliant and moving: What can I do? Where can I go in a world suddenly without you? You believe her. And she is matched by the acerbic Harrison, the slyly snide McDowall (we’re a long way from Lassie!), loyal Rufio (Martin Landau) and what about the very sad end of Burton whose line to Octavian makes you gulp with emotion:  Is there nobody who would grant Antony an honourable way to die? Oh! Based on The Life and Times of Cleopatra by C.M. Franzero and the histories by Plutarch, Appian and Suetonius the much-laboured upon screenplay is by Ranald MacDougall and Sidney Buchman, and director Joseph Mankiewicz who certainly suffered for everybody’s art as the man to take over the botched first attempt aborted in London and relaunched at Cinecitta in Rome. As legendary as this is for its effect on Hollywood, what shouldn’t be forgotten is what a brilliant spectacle it is. It’s quite breathtaking.

Kong: Skull Island (2017)

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Kong’s a pretty good king. Keeps to himself, mostly. This is his home, we’re just guests. But you don’t go into someone’s house and start dropping bombs, unless you’re picking a fight. Scientists, soldiers and adventurers unite to explore a mythical, uncharted island in the Pacific Ocean. Cut off from everything they know, they venture into the domain of the mighty Kong, igniting the ultimate battle between man and nature. As their mission of discovery soon becomes one of survival, they must fight to escape from a primal world where humanity does not belong. Tom Hiddleston is Conrad, the British Special Forces op (retired!) hired by monster hunter Bill Randa (John Goodman) who’s finagled money for the expedition from a disbelieving Senator. Samuel L. Jackson is Lt. Col. Preston Packard, in charge of a special chopper squadron chomping at the bit for a final military excursion. Brie Larson is Mason Weaver (hmm…..) a photographer and anti-war activist. She’s there for the Pulitzer. This is one last op for Nam vets who ain’t too happy at ‘abandoning’ a losing war. A man who believes in monsters. A Bermuda Triangle-type of island where God didn’t get to finesse His creations. Set in 1973, ie the Vietnam era and just before the 1976 remake starring Jessica Lange and Jeff Bridges of the wonderful 1933 classic, this is a kind of gung-ho Apocalypse Now retread with extra monsters and gore. Yeah, right:  if you thought Colonel Kurtz (Marlon Brando) was a gorilla. And there’s more than that because Marlow is played by John C. Reilly and he’s a soldier who’s been hanging on the island for nearly 30 years waiting to be rescued and he knows that Kong is in fact their only hope in this island that is hollow at the centre – and Kong needs to win the turf war against some incredibly frightening creatures who are even worse to humans than he is! So this plugs into modern myths too – all those Japanese soldiers on Pacific islands not aware WW2 ended long ago. The character of Marlow narrates all of Joseph Conrad’s books, including Heart of Darkness, establishing the framing story. Hmm, now you’re talking. With a horrible, unlikeable cast (what is it these days? Why are actors so yucky?) and a screenplay by Dan Gilroy, Max Borenstein and Derek Connolly you might think at some point someone would have pulled the plug or cast people empathetic enough for an audience to perhaps care if they survive an encounter with a gorilla minding his own business in his own home. Nope. They had to do it. They went there. But it is saved by the built-in snark (okay, self-awareness) that is a de facto part of all action blockbusters nowadays, reflecting from early exchanges in the dialogue the knowledge that the monster is …. us.  Sometimes the enemy doesn’t exist till you’re looking for them.  There’s a very high body count and the romance is at a minimum but it looks dazzling and moves quickly – even with a little jungle stealth and camouflage. This takes no prisoners – it eats them. I blame the parents. Golly! Directed by Jordan Vogt-Roberts.