The Vanishing (2018)

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Aka Keepers. In 1900, three lighthouse keepers, James (Gerard Butler), Thomas (Peter Mullan) and the newcomer Donald (Connor Swindells) depart for their six-week long sojourn at the remote Flannan Isles lighthouse. After a storm, they find a boat with an apparently dead man who’s been flung out of it. But when Donald tries to winch up a heavy trunk that’s fallen out, the man rises out of the water and tries to kill the youngster – before he defends himself. Thomas is the first one to open the trunk and finds it filled with gold ingots. Then the dead man’s friends Locke (Søren Malling) and Boor (Ólafur Darri Ólafsson) turn up … Written by Joe Bone and Celyn Jones, and adapted from a true-ish story of the disappearance of three men from Eilean Mor Lighthouse, this admirably dour outing has a surprisingly effective psychological mechanism, one that was used to similar effect by John Huston decades earlier in Treasure of the Sierra Madre, itself a masterpiece of greed, guilt and amoral behaviour. It has that and old-school brutal violence going for it in a narrative stripped to the bone. The landscape may be different but the murderousness is of a highly vicious quality. Shot around the Mull of Galloway, Port Logan harbour, Killantringan Lighthouse near Portpatrick and Corsewall Lighthouse  near Stranraer.  Directed by Kristoffer Nyholm.

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Aquaman (2018)

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He is living proof our peoples can co-exist. Once home to the most advanced civilisation on Earth, the city of Atlantis is now an underwater kingdom ruled by the power-hungry King Orm Marius/Ocean Master (Patrick Wilson). With a vast army at his disposal, Orm plans to conquer the remaining oceanic people – and then the surface world. Standing in his way is Arthur Curry/Aquaman (Jason Momoa), Orm’s half-human, half-Atlantean brother, the son of lighthouse keeper Tom Curry (Temura Morrison) and Atlanna Queen of Atlantis (Nicole Kidman) and the true heir to the kingdom’s throne. With help from royal counsellor Vulko (Willem Dafoe) who advises caution, and Princess Mera (Amber Heard), who urges him to take on his half-brother, Aquaman must retrieve the legendary Trident of Atlan and embrace his destiny as protector of the deep… I solve my problems with my anger and my fists. I’m a blunt instrument and I’m damn good at it. I’ve done nothing but get my ass kicked this whole trip. I’m no leader. Technically, the dog days of summer ended two weeks ago but it seems right now like they’ll never end. So, to matters nutty and comic book, a film that didn’t need to be made, a mashup of every action/superhero trope with ludicrously good visual effects, a plot contrived from many old and new stories and a big surly but charismatic guy obsessed with his mom. So far, so expected. Except that this works on a level that’s practically operatic while also plundering sympathies of Pisceans such as myself for creatures like seahorses, who have their own army, not to mention an octopus with a fondness for percussion. Got me right there. And then some – with frogman David Kane reinventing himself as supervillain Black Manta (Yahya Abdul Mateen II), pirates, messages in bottles, gladiatorial combat, wormholes, the centre of the earth … For those who care about this kinda stuff, Arthur/Aquaman first showed up in Batman Vs. Superman and then materialised in Justice League but here he’s part of a Freudian under the sea show that’s quite batty and compelling. Obviously Dolph Lundgren shows up, as King Nereus. Written by David Leslie Johnson-McGoldrick and Will Beall, from a story by Geoff Johns, director James Wann and Beall, adapting the Mort Weisinger and Paul Norris story/character. Directed with no-holds-barred gusto by Wan. A total hoot from start to finish about evolution, equality and what lies beneath. Crazy fish people, mostly.  Jules Verne once wrote: “Put two ships in the open sea, without wind or tide… they will come together”. That’s how my parents met: like two ships destined for each other

Oklahoma Crude (1973)

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Businessmen do this to each other all the time. Headstrong lone wildcatter Lena Doyle (Faye Dunaway) accepts the assistance of her ne’er do well father Cleon (John Mills) and hired gun, oilfield drifter Noble Mason (George C. Scott), in defending her oil derrick from businessman Hellman (Jack Palance) and his associates in the Pan-Oklahoma Oil Trust in 1913 …Women are even worse; they try to be like men, but they can’t cut it. I’d like to be a member of a third sex. Producer Stanley Kramer makes a broad comedy far removed from his usual solemn and socially conscious films with a vulgar, funny screenplay by Marc Norman (which he later adapted into a novel) complete with throwaway lines on sexual politics. The leads play mostly against type and Dunaway and Scott are superb bouncing off each other. They offer fascinating, stylised performances with Dunaway doing a kind of Jane Fonda impression in her dyed ‘do. A highly enjoyable frontier outing enhanced by Henry Mancini’s score and song, Send a Little Love My Way which he co-wrote with Hal David, performed by Anne Murray. Beautifully shot by Robert Surtees.  Isn’t that just like a woman? She wants to be treated like a man… and then she cries!

Blood from the Mummy’s Tomb (1971)

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The meek shall NOT inherit the earth. They can’t be trusted with it.  British archaeologist Professor Julian Fuchs (Andrew Keir) and his team bring the preserved mummy of Egyptian royal Queen Tera (with a severed hand) back from their latest expedition. Fuchs’ rival Corbeck (James Villiers) persuades the archaeologist’s daughter Margaret (Valerie Leon) to get the expedition members to hand over missing relics but each time one is handed over the person holding it dies because Margaret is possessed by Tera’s evil spirit since her father gave her a bejewelled ring from the tomb.  Her nightmares about the expedition seem have now come to life … The late great Chris Wicking adapted (more, or less) Bram Stoker’s The Jewel of the Seven Stars but was banned from the set by producer Howard Brandy and continued working with director Seth Holt in the evenings. Peter Cushing was supposed to play Fuchs but dropped out when his wife became seriously ill. Five weeks into shooting Holt died in the arms of a cast member. He was replaced by Hammer boss Michael Carreras who found that Holt’s work didn’t cut together. This extraordinary backstory (the mummy’s real revenge?!) to one of the best of that studio’s late films is incidental to what is a canny interpretation of Stoker making this modern story seem entirely plausible because of the realistic and sometimes ironic approach. Bond girl Leon is fantastic in the dual role of Margaret and the tragic Queen who turned to evil – both are sexy, of course and Keir does very well as her father. The atmosphere of dread is well sustained while there is some genuinely gruesome action. More than a curio and not quite the mother of all mummy movies but pretty close.

The Equalizer 2 (2018)

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A piece of advice: always be nice to anyone who has access to your toothbrush.  Retired elusive ex-CIA operative, widower Robert McCall (Denzel Washington), is whiling away his time driving a taxi and delivering vigilante justice on behalf of neighbours and customers in Boston. However his past cuts close to home when thugs kill Susan Plummer (Melissa Leo) – his best friend and former colleague. Now out for revenge, McCall has to take on a crew of highly trained assassins who’ll stop at nothing to destroy him and he suspects their leader is a former colleague…  There are no good or bad people any more. No enemies. Just unfortunates. Per the law of diminishing returns, the more of these actioners Washington makes the less effective he becomes as a leading man, doesn’t he? In the first of these films, adapted from the Edward Woodward TV series, he was outshone by the astonishing Marton Csokas, who was the villain par excellence, albeit for obvious reasons he’s not back here. McCall is still working out his grief by helping out anyone he can like some kind of Fury or ninja empath. You’ll spot the troublemaker a mile off and the final shootout is inevitable and tedious. Director Antoine Fuqua has now made sadism a part of his aesthetic brand without any especially redeeming features other than the resolution of an underdeveloped subplot – care home resident Orson Bean trying to find a painting stolen from his family by the Nazis, a line of narrative mirrored in the aspiring artist who McCall is trying to direct back to the straight and narrow starting with remaking a piece of Islamic street art. Written by Richard Wenk. You died

I Know Where I’m Going (1945)

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I haven’t heard any intelligent female nonsense for months. Plucky and stubborn Englishwoman Joan Webster (Wendy Hiller) travels to the remote islands of the Scottish Hebrides in order to marry a wealthy industrialist many years her senior. Trapped by inclement weather on the Isle of Mull and unable to continue to her destination, Joan finds herself charmed by the place and becomes increasingly attracted to naval officer Torquil MacNeil (Roger Livesey), who is also marooned in the house of childhood friend Catriona (Pamela Brown).  He holds a secret that may change Joan’s life forever and may make her want her to stay on Kiloran … We live off the country. Rabbits, deer, a stray hiker or two. This Powell and Pressburger production has a kind of mystical aspect that has long made it a cult favourite and turned Mull into an unlikely tourist hotspot for the more discerning film fan. A romcom of a different order with an unexpected cast for such a story, and an appeal that lies directly in something almost erotic that seems to seep up from the very landscape and the misty air. Count them before you go to sleep and your wish’ll come true

Sweet Home Alabama (2002)

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In my entire life I have never met anyone so manipulative, so deceitful. And I’m in politics!  New York fashion designer and socialite Melanie Carmichael (Reese Witherspoon) suddenly finds herself engaged to the city’s most eligible bachelor Andrew Hennings(Patrick Dempsey) whose mother just happens to be Mayor (Candice Bergen). But Melanie’s past holds many secrets, including Jake Perry (Josh Lucas), the redneck husband she married in high school, who refuses to divorce her seven years after being sent the papers. Determined to end their relationship once and for all, Melanie sneaks back home to Alabama to confront him, only to discover that you can take the girl out of the South, but you can’t take the South out of the girl…. I don’t care if he’s a Yankee. At least he’s sober! Douglas J. Eboch’s story was developed as a screenplay by C. Jay Cox and it’s a tour de force for Witherspoon whose astonishing charm keeps this Southern-fried screwball show on the road as she gets to pick between two smouldering romantic interests:  her good ol’ boy sort-of ex who deep down is as polished as the sand struck by lightning that makes those glass sculptures of his;  and the smooth city charmer who really loves her despite his overbearing mom warning him off since she sees him as the next JFK. The story is nicely buoyed by turning Deep South tropes on their head and having a lot of fun with Civil War re-enactments – Fred Ward has a ball as Mel’s enthusiastic dad and it’s nice to see Mary Kay Place getting a turn as her mother who wants more for her than the life she had. At the heart of this story is a smalltown girl made good who once blew up the local bank and now struggles with her identity and this grounds the fairytale-fish out of water narrative as it comes back to haunt her in the most amusing way. Reverting to type never seemed so entertaining. You will certainly know the songs. Directed by Andy Tennant.  How many times does your only daughter get married? Other than before …

 

Experiment Perilous (1944)

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If any man had one moment of sanity, in that one moment, he would take himself out of this world. When psychiatrist Hunt Bailey (George Brent) encounters elderly Clarissa ‘Cissie’ Bedereaux (Olive Blakeney) during a violent storm on a cross-country train trip in 1903, his unusual relationship with the strange Bedereaux family begins with an introduction by his friend on arrival in New York. Suspicious of Cissie’s sudden death by heart attack at her brother’s house just hours after they parted and entranced by a painting he sees of Allida (Hedy Lamarr), the gorgeous but troubled wife of Nick Bedereaux (Paul Lukas), Hunt sets out to discover if Allida is really insane, as her husband claims – or if Nick is the disturbed one. He finds a he said-she said scenario but starts to believe Nick is gaslighting Allida when he overhears a suspicious conversation between Nick and their young son whom the man appears to have imprisoned at the top of a spiral staircase.  He now believes Nick is mad and Allida is in danger … Life is short and the art long. Decision difficult, experiment perilous.  Warren B. Duff’s screenplay (adapting a novel by Margaret Carpenter) is an efficient entry in the Gothic genre that took off during WW2. Director Jacques Tourneur handles it well enough but it doesn’t have the kind of tension that marks out the classics. Lukas is never as threatening as you would hope and Brent is as usual the classy caring handsome gent we all know and love but the action has no compelling line. It’s worth seeing for Lamarr, that stunning and poorly deployed actress who takes on a type of role made famous by Ingrid Bergman and applies her own particularly distanced interpretation, with the maternal focus lending it a poignancy.  That Lukas is the older husband who groomed a much younger wife for society has its echoes in Lamarr’s own biography. The strangers on a train inciting incident is well constructed and the social scene nicely established but the cod-psychiatry might irritate.

The Straight Story (1999)

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You don’t think about getting old when you’re young… you shouldn’t.  Retired farmer and widower in his 70s, WW2 veteran Alvin Straight (Richard Farnsworth) learns one day that his distant brother Lyle (Harry Dean Stanton) has suffered a stroke and may not recover. Alvin is determined to make things right with Lyle while he still can, but his brother lives in Wisconsin, while Alvin is stuck in Iowa with no car and no driver’s license because of his frailties. His intellectually disabled daughter Rose (Sissy Spacek) freaks out at the prospect of him taking off. Then he hits on the idea of making the trip on his old lawnmower, so beginning a picturesque and at times deeply spiritual odyssey across two states at a stately pace…  I can’t imagine anything good about being blind and lame at the same time but, still at my age I’ve seen about all that life has to dish out. I know to separate the wheat from the chaff, and let the small stuff fall away Written by director David Lynch’s collaborator and editor Mary Sweeney and John E. Roach, this is perhaps the most ironically straightforward entry in that filmmaker’s output.  He called it his most experimental movie and shot it chronologically along the route that the real Alvin took in 1994 (he died two years later). This is humane and simple, beautifully realised (DoP’d by Freddie Francis) with superb performances and a sympathetic score by Angelo Badalamenti. A lyrical tone poem to the American Midwest, the marvellous Farnsworth had terminal cancer during production and committed suicide the following year. His and Stanton’s scene is just swell, slow cinema at its apex.  The worst part of being old is rememberin’ when you was young

Adrift (2018)

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Come sail with me. In 1983 Tami Oldham (Shailene Woodley) and her new boyfriend Richard Sharp (Sam Claflin) couldn’t anticipate that they would be sailing directly into one of the most catastrophic hurricanes in recorded history. They have met on Tahiti and he is hired to deliver a yacht to San Diego, her hometown, which she had no desire to see any time soon.  In the aftermath of the late season storm, with the boat pitch poled, Tami awakens to find Richard badly injured and the Hazana in ruins. Everything is broken, smashed and scattered, the cabin half-full of water, the masts broken clear off and the sails waterlogged and floating useless nearby;  the navigation system, and the emergency position-indicating radio device, were broken. With no hope of rescue, Tami must now find the strength and determination to save herself and the only man she has ever loved who is lying on the aft deck, ribs broken, leg shattered, guiding her in calculating their position using a sextant and working out the latitude on the ship’s maps. All the time she is trying to avoid the storm that is tagging them to try and make it to Hawaii despite having drifted north in a potential search area of 1,500 miles – and that’s only if anyone has noticed their disappearance…  Since this is adapted from Oldham’s book Red Sky in Mourning: A True Story of Love, Loss and Survival at Sea we know she survived this appalling experience:  this shows us how, more or less. It’s written by David Branson Smith,  Aaron Kandell and Jordan Kandell and their interpretation may be faithful to the account and what Oldham did to survive although it’s somewhat creative in what actually occurred during the 41-day long ordeal. It starts with a shocking scene following the storm and then cuts back and forth from the aftermath to the couple’s meeting on the Pacific island where they fall in love and eventually (and reluctantly on Oldham’s part) take the job to deliver the yacht on behalf of a London couple who know Richard. He is a decade older than Tami and a failed naval cadet who is living his dream sailing the world alone – until he meets her and proposes marriage. Director Baltasar Kormákur’s handling of the alternating scenes is expert – there’s a good balance between the evolving romance and the disastrous trip as we learn how this woman who Richard describes as ‘wild’ uses her every wile to make it. Woodley is happily convincing as the daredevil 23-year old reluctantly caught up in a terrible dilemma due to her relationship .We’ve been here before (to some extent) with Robert Redford in All is Lost but there is a twist which will either make you throw your popcorn at the screen or sigh with relief that you haven’t had to go through this entirely scarifying experience yourself. And it doesn’t overstay its welcome, always a joy. What’s it like sailing out there on your own?