Miss Bala (2019)

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They’re all dirty. And they’re coming after me. Los Angeles makeup artist and Mexican emigrée Gloria Fuentes (Gina Rodriguez) asks the police for help when cartel hit men kidnap her friend Suzu Ramos (Cristina Rodio) from a nightclub in Tijuana, Mexico. She soon finds herself in big trouble when a corrupt cop hands her over to the same goons who shot up the place in an attempted hit on Police Chief Saucedo (Damian Alcazar). Gang leader Lino (Ismael Cruz Cordova) decides to use Gloria for his dirty work to avoid detection from the Drug Enforcement Administration one of whom Brian Reich (Matt Lauria) puts a tracking device on her to entrap the gang who get her to transport drugs across the border to San Diego where she’s met by gangster Jimmy (Anthony Mackie) who is actually an undercover CIA agent. Determined to get away, Gloria must now play a dangerous game to outwit not only the cartel but the DEA agents who now suspect her of complicity and she winds up finding out the hard way that she’s been sold out – in the middle of a shootout – and has to choose sides …  You thought I was a bad guy?  I’m just playing their game. This action thriller remake of a 2011 Spanish-language film from director Catherine Hardwicke has everything going for it except characterisation:  sometime, someone, somewhere will remember that character is also action, it’s not enough in the #MeToo era to just put a woman in the protagonist’s role and have her run from bullets (and that’s what ‘bala’ means, not that you’d know it) and sell it as a female-oriented film. And, in yet another ad for Mexico’s tourism industry – drugs, guns, cross-border crime, female intimidation, endless non-stop murders – the best thing you could possibly do on that front is to keep well away. And what on earth has that poster got to do with anything? Oh, when the plot finally kicks in after 70 minutes our heroine has to take part in a beauty pageant (Miss Baja) which leads to a rather good twist ending but it’s all too little, rather late. There is some interesting architecture however. Yawn. Written by Garrett Dunnet-Alcocer. Everyone works for us now. Play your part

Nosferatu the Vampyre (1979)

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Aka Nosferatu:  Phantom der Nacht. Ready my horse. I have much to do. Jonathan Harker(Bruno Ganz) is sent away to Count Dracula’s (Klaus Kinski) castle to sell him a house in Virna, where he lives. But Count Dracula is a vampire, an undead ghoul living off men’s blood. Inspired by a photograph of Lucy Harker (Isabelle Adjani), Jonathan’s wife, Dracula moves to Virna, bringing with him death and plague… Death is not the worst. There are things more horrible than death. Werner Herzog’s adaptation of F.W. Murnau’s 1922 silent classic Nosferatu, a haunting interpretation of Bram Stoker’s 1897 character (that became subject of a lawsuit), functions all at once as tribute, homage, pastiche, anti-horror, sombre literary work and a travelogue that treats seriously this Mitteleuropäischer world of vampires, dallying with Freud around the time Sigmund was developing his own ecstatic fantasy narratives. Kinski is a perfect Count, grotesque, funny and sympathetic and done up to resemble Max Schreck’s animalistic version, Ganz is great as the idiot husband prey to his client, while Adjani’s luminous beauty is put to perfect use and she gets a great payoff at sunrise in a transcendent scene. No less notable is Roland Topor as the maniacal Bremen realtor Renfield.  It’s not really a horror, in fact it feels in its elongated melancholy macabre mood closer to fairytale, but it is really Herzog at his most morbidly and poetically effective, with one of the best music scores you will ever hear (from Florian Fricke aka Popol Vuh) and unforgettable work by production designer Henning Von Gierke’s, costumier Gisela Storch and cinematographer Jorg Schmidt-Reitwein. A haunting and spectacular dance of death. Listen. The children of the night make their music

The Predator (2018)

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Did you not see the new Predator? It’s evolving. The universe’s most lethal hunters are stronger, smarter and deadlier than ever before, having genetically upgraded themselves with DNA from other species. Only a ragtag crew of ex-Marines (Keegan-Michael Key, Trevante Rhodes, Alfie Allen,Thomas Jane, Augusto Aguilera) led by renegade Army Ranger sniper Quinn McKenna (Boyd Holbrook), whose autistic son (Jacob Tremblay) with estranged wife Emily (Yvonne Strahovski) accidentally triggers the Predator’s (Brian A. Prince) return to Earth, can stop the end of mankind.  With the help of kick-ass evolutionary biologist Casey Brackett (Olivia Munn) they launch an all-out attempt to tackle this new hybrid alien but also have to deal with treacherous Government agent Will Treager (Sterling K. Brown), director of The Stargazer Project ... Fuck me in the face with an aardvark. Part Four in the franchise and not just a sequel but a remake/reboot of the first one (1987) which was a rite of passage in the Eighties, one of the era’s defining films and auteur Shane Black was in it (in the supporting role of Rick Hawkins). And he brings to it his typical brand of smarts – witty dialogue, generic tropes souped up and remade faster and shinier while the Predator hunts and he himself is hunted. As we know from his other movies, Black likes kids and here he’s a bullied savant (upgraded with the very current condition of autism); instead of Christmas we have Halloween (bringing to mind E.T.); and the motley crew of mentally ill soldiers remind us of The Dirty Dozen except they’re not as nasty although that won’t save them. Beneath the message – re-design human DNA at your peril, appreciate the accidental genius Nature occasionally creates – it’s fast-moving, funny and most unusually for an actioner these days comes in at a trim 95 minutes. Bliss, of sorts.  Written by Fred Dekker & Black, from characters created by Jim Thomas and John Thomas. Nice reverse psychology. I can do that, too. Don’t go fuck yourself

Here and Now (2018)

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Aka Blue Night. I’m not done yet. Jazz singer/songwriter Vivienne (Sarah Jessica Parker) has just received a cancer diagnosis. She spends the day walking around New York City, meeting up with her manager Ben (Common) to discuss her upcoming tour, rehearsing with her backing band, telling her ex-husband Nick (Simon Baker) who has custody of their daughter Lucie (Gus Birney), dealing with her overbearing French-speaking mother Jeanne (Jacqueline Bisset), arguing with a taxi driver (Waleed Zuaiter), having an assignation with her drummer and romantic interest Jordan (Taylor Kinney) and reflecting on her life as she comes to terms with her mortality … First a tragedy, then a miracle. An homage to (if not a direct remake of) the late Agnès Varda’s 1962 nouvelle vague classic Cléo from  5 to 7, this is written by Laura Eason and capitalises on Parker’s association with NYC, that city which became so important televisually with Sex and the City in the same way that it has always been for cinema. Reconciling this star’s iconicity with latterday roles is proving problematic. Essentially this is about a woman in a state of perpetual avoidance (even in the course of just one day) and for a character and public persona notable for costume it will be a vast disappointment that until the very last scene she wears the same outfit throughout – save for a session in a boutique in a metaphorical attempt to alter her situation then she presents the dress as a gift to her truculent teenage daughter. This is an indication of a script that’s not altogether in tune with its somewhat dithering protagonist: Parker is not given enough to do and that is quite literally fatal considering this is a film concerning something going on in her head but despite the internalising of the dramatic performance at its centre there are some pithy lines. Vivienne (the irony extends to her name) is about to perform an anniversary gig at Birdland where 25 years earlier great things were forecast but a broken engagement last year somehow triggered a retreat. All of my albums have been triggered by all of my broken engagements, she deadpans to a noxious journalist who has never heard of Donald O’Connor. Renée Zellwegger as her friend Tessa brings a sharpness to a character which makes it more interesting than the scene that perhaps was written, while the scenes between Parker and Bisset are horribly convincing. The feature debut of commercials director Fabien Constant, this is notable for Parker’s quite odd performance of Rufus Wainwright’s marvellous song Unfollow the Rules, indicating that she’s not a jazz singer at all but a different animal entirely, a thread the narrative might have pursued (she still loves Belgian pop singer Lio), just like she should have kicked off her heels and got real, delving deeper into that fascinating hinterland where several interesting signposts are left dangling. I’d like to change the destination

Down and Out in Beverly Hills (1986)

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He’s gonna give the dog fleas. Unlucky homeless guy Dave (Nick Nolte) decides to call it quits, and so sneaks into a stranger’s backyard in the posh enclave of Beverly Hills and tries to drown himself in the pool. However, Jerry’s plans are stopped by the pool’s owner, white-collar businessman Dave (Richard Dreyfuss), who pulls the tramp out of the water and into the pool house. But Dave’s hospitality and his status-obsessed wife Barbara (Bette Midler), don’t impress Jerry, who ignores them and first makes their crazy dog Matisse (Mike!) take his instructions and then pursues the family’s maid, Carmen (Elizabeth Peña) who is Jerry’s lover. Then Barbara succumbs to him during a massage. As he insinuates himself into the family they each think he’s solely devoted to them. Things finally come to a head at the New Year’s party when Dave is trying to impress potential Chinese buyers and his anorexic daughter Jenny (Tracy Nelson) reveals the reason she’s eating again … I went shopping for gratification. But it was like sex without a climax. Paul Mazursky’s remake of the 1932 Renoir film Boudu Saved From Drowning (itself adapted from a French play) is a sprightly screwball farce with some very funny performances in this story of a one-man home invasion who seduces all before him, starting with the dog, who has his own psychiatrist. Taking potshots at midlife crises, below-stairs relationships, race relations, wellness fads, consciousness raising and silly people who have more money than sense, it might not be the vicious satire you expect from Mazursky but it’s hilarious from start to finish with some really smart verbal transitions from scene to scene. Co-written with Leon Capetanos. I knew that bum was trouble

Dumbo (2019)

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You should listen to your kids more. Struggling travelling circus owner Max Medici (Danny DeVito) enlists a former equestrian star, WW1 amputee Holt Farrier (Colin Farrell) and his two children Milly (Nico Parker) and son Joe (Finley Hobbins) to care for Dumbo, a baby elephant born with oversized ears to Mrs Jumbo. When the family discovers that the animal can fly, it soon becomes the main attraction — bringing in huge audiences and revitalizing the run-down circus. His mother is separated from him leaving him distraught then his magical ability draws the attention of V.A. Vandevere (Michael Keaton) an entrepreneur who wants to showcase Dumbo in his latest, larger-than-life entertainment venture Dreamland where he intends his spirited  Parisian trapeze artiste Colette Marchant (Eva Green) will use the little fellow in her act…  You have something very rare. You have wonder. You have mystique. You have magic. In this latest pointless live-action remake of Disney’s brilliant animated features, Ehren Kruger’s screenplay (welcome back to the big leagues) has to tread a fine line between the exigencies of the House of Mouse with its unadulterated classic sentiment and the Gothic flourishes and flawed excesses of director Tim Burton who reassembles some of his usual actors (DeVito, Green, Keaton) alongside Disney’s latest humanoid fave, Farrell. Dumbo is the greatest animation ever made and a personal favourite, an utterly beguiling story of grave majesty and emotionality. This is never going to reach those heights no matter how many high wire acts, freakshows and armless motherless humans are dramatised as reactive tropes, how many of the circus’ darkest inclinations are exhibited, how many cartoon baddies (with Afrikaaner accents) are on standby, how good Keaton (as the anti-Walt Disney!) and DeVito are, how sweet the family message. The Art Deco interiors and production design are splendid, there is real jeopardy and the CGI elephants are beautiful, but you don’t need elephants to save your blank-eyed expressionless soul (Parker has no acting ability whatsoever) which is this film’s message. It expands on the original adaptation of Helen Alberson’s book and it’s not the anticipated travesty that  the horrific Alice in Wonderland was for the same auteur pairing but that’s not saying much.  If you really want to do something for the plight of their species stop all those vile African natives and American trophy hunters from brutally killing them and ensuring their imminent extinction. Back to the drawing board. Fly, Dumbo … fly

 

Lure of the Wilderness (1952)

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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

 

Against All Odds (1984)

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Guys are crippling themselves for you, lady. I could give a shit what you believe. Having been cut from his professional football team the Los Angeles Outlaws after sustaining a shoulder injury, ageing down-and-out athlete Terry Brogan (Jeff Bridges) is in desperate need of money. Crooked nightclub owner and bookie Jake Wise (James Woods) offers Terry a hefty sum to go to Mexico and find his girlfriend, Jessie Wyler (Rachel Ward) the daughter of team owner Mrs Wyler (Jane Greer). Terry is broke and cannot turn the offer down. When he finds Jessie on an island off Mexico, the two fall in love and he reveals to her his guilt over his points-shaving scam with Jake. Terry reports that he failed to find Jessie but Jake sends someone else – the team trainer Hank Sully (Alex Karras) who reveals that he had identified Terry and other debt-laden players to Jake to make them work for him. When a gun falls into Jessie’s hands during a struggle the twists of the plot start being revealed to Terry, the patsy of all time … You got problems now, Terry. You want trouble too? One of the great Eighties thrillers, this remake of Out of the Past (adapted from Daniel Mainwaring’s novel Build My Gallows High, its alternative title) written by Eric Hughes, this is dangerous, surprising, gorgeous to look at (shot by Donald E. Thorin) and literally drenched in sex (one scene is frequently cut from TV broadcast). The central relationship between Terry and Jessie is one of the most cunningly constructed of all movie pairings, a brilliant homage to Robert Mitchum and Jane Greer, the original amoral noir girl nicely cast here in the role of Jessie’s powerful mother. Key roles are played by Saul Rubinek and Richard Widmark. The action is superb – what about that chickie race down Sunset! The plotting becomes convoluted, its neo-noir narrative nodding to Chinatown with a property/environment conspiracy backdrop but it’s the twists and turns between this sexy couple that’ll have you panting for more. A sensational film that gets better by the year with a performance by Kid Creole and the Coconuts, one of the many acts on a soundtrack distinguished by the famous title song, by Phil Collins. Directed by Taylor Hackford.  Don’t leave without saying goodbye

White Christmas (1954)

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When what’s left of you gets around to what’s left to be gotten, what’s left to be gotten won’t be worth getting, whatever it is you’ve got left.  Years after being demobbed following wartime service in Europe, song-and-dance act Bob Wallace (Bing Crosby) and Phil Davis (Danny Kaye) join sister act Betty (Rosemary Clooney) and Judy Haynes (Vera-Ellen) to perform a Christmas show in rural Vermont where, they run into General Waverly (Dean Jagger), the boys’ commander in World War II.  He is having a hard time adjusting to civilian life and is beset by financial difficulties; his quaint country inn is failing. So what’s the foursome to do but plan a yuletide miracle: a fun-filled musical extravaganza that’s sure to put Waverly and his business in the black by turning it into an entertainment venue! But when Phil and Judy pair off, that leaves Bob and Betty out in the cold … You don’t expect me to get serious with the kind of characters you and Rita have been throwing at me, do you? It’s getting so the PC thought police are making even this jolly time of year a pain in the ass what with songs and carols and anything mentioning the words ‘white’ and ‘Christmas’ causing conniptions. Here at Mondo Towers we are committed to having fun and that includes revisiting this sheerly delightful Technicolor VistaVision explosion of seasonal happiness which is a great taster for the big day. A sort of loose remake of Holiday Inn from a decade earlier, Kaye is teamed with Crosby and they make a great double act, even if this ain’t a Road movie and it was originally intended as the third vehicle for Crosby and Fred Astaire. Kaye’s the goofy romantic, Crosby’s the cynical saddo. Go to Smith? She can’t even spell it! Clooney and Vera-Ellen make perfect sparring partners for the guys, vivacious and sparky and smart, all at once.  Look fast for George Chakiris dancing behind Clooney and you don’t need me to tell you that all the songs are by Irving Berlin (and Clooney sings both parts on Sisters). The photograph of Freckle-Faced (Dog-Faced Boy) Haynes is that of Carl Switzer, who played Alfalfa in The Little Rascals. The screenplay is by Norman Panama, Norman Krasna and Melvin Frank. Directed by Michael Curtiz, who elicits joyful performances from all concerned in what is for the most part an excellently staged production if shot a little flatly, presumably for those huge cameras – and Bob Fosse did the choreography, although he’s uncredited.  Altogether wonderful entertainment, this was the biggest box office hit of its year. The countdown starts here … The crooner is now becoming the comic

 

Lured (1947)

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Would it be against Anglo-American tradition to tell a girl when the next audition is?Sandra Carpenter (Lucille Ball) is a London-based dancer who is distraught to learn that her friend Lucy Barnard (Tanis Chandler) from the nightclub where she’s working has disappeared. She’s approached by Harley Temple (Charles Coburn), a Scotland Yard investigator who believes her friend has been murdered by a serial killer who uses personal ads to find his victims. The lure is poetry along the lines of Charles Baudelaire. Temple hatches a plan to catch the killer using Sandra as bait, and Sandra agrees to help. But complications arise when the mystery appears to be solved and Sandra becomes engaged to a nightclub owner and man about town Robert Fleming (George Sanders) with whom she’s already become acquainted and who shares his home with his business and legal partner Julian Wilde (Sir Cedric Harwicke) …  I’m not interested in references as much as character/I can see that for myself. Director Douglas Sirk commands this gamy mystery with verve, making a total entertainment from Leo Rosten’s screenplay, peopled with performers right in their characterful element delivering edgy lines with great wit. From the opening titles – a torch shining on the names – the mystery is driven with pace and style with running jokes (including a crossword filled in by H.R. Barrett, played by George Zucco) and enormous style.  Boris Karloff has a great supporting role as a formerly successful fashion designer living in a fantasy world while Sanders is suave as you like and Ball is … ballsy! Annette Warren, who dubs blonde club singer Ethelreda Leopold here, would also provides Ball’s singing voice in Fancy Pants and Sorrowful Jones. Gorgeously shot by Billy Daniels, this is a remake of a 1939 French film (Pieges) directed by Robert Siodmak. She’s won her spurs, she deserves to be happy