Subway in the Sky (1959)

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Baxter Grant (Van Johnson) an American military doctor in West Berlin, deserts and goes on the run from the Military Police when faced with false drug trafficking and murder charges. He takes shelter in the apartment his wife rented not realising it’s been sublet – so he finds himself hold up with cabaret singer Lilli Hoffman (Hildegarde Knef) who he manages to persuade to help prove his innocence. He is being hunted down by the military, his wife (Katharine Kath) is the sole person to be able to help but he suspects her of black market involvement while his estranged son (a soldier) wants to hang him out to dry … Directed by the estimable Muriel Box this is of interest principally as a Cold War tale but it’s hamstrung by the lack of location filming (it was shot in Shepperton and the only exteriors look like North Kensington). Essentially it’s a chase movie that mostly takes place in the apartment. Knef comes off best here and while she’s no Dietrich she’s no slouch either in her nightclub singer role with that gravelly voice coming into its own.  There’s a nice supporting performance by Albert Lieven as Carl, her lawyer. Adapted from Bruce Birch’s book and Ian Main’s play by Jack Andrews.

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Personal Shopper (2016)

 

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So we made this oath… Whoever died first would send the other a sign. A young American in Paris Maureen Cartwright (Kristen Stewart) works as a personal shopper for a celebrity, Kyra (Nora von Waldstatten). She seems to have the ability to communicate with spirits, like her recently deceased twin brother Lewis. They share a congenital heart defect. She hangs around Paris near the villa where he lived hoping to receive a sign from him from the other side – he was a spiritualist. She indulges her interest in art by pursuing knowledge about a previously unknown Swedish female abstract artist.  She proclaims her distaste for her job to her boyfriend with whom she communicates via Skype in Muscat but is clearly tempted by its benefits. Soon, she starts to receive ambiguous text messages from an unknown source… Stewart always seemed to me to be pretty one-dimensional in her American films with a limited capacity to convey joy. But the issues of her expressivity are perfectly exploited by French auteur Olivier Assayas in their second collaboration even as he maintains a distance within a genre-touching exercise where emotion and excess are mostly avoided (imagine if Argento had made this!).  There is a great mood of sadness and mystery when it gets going (and it takes a while) and if Stewart isn’t this generation’s Jean Seberg she is evolving into a determinedly individualistic performer.  The enigmatic narrative has a fragility that occasionally bursts with the threat of violence real and imagined. Oddly compelling and stylish and proof that there is great potential for this American in Paris.

The Spiral Staircase (1945)

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Murderer, you killed them. You killed them all. It’s 1906. Helen is a young mute woman (Dorothy McGuire) working in a New England mansion as a domestic to bedridden Mrs Warren (Ethel Barrymore) who lives with her professor stepson Albert (gorgeous George Brent), a secretary Blanche (Rhonda Fleming) who used to be his girlfriend and is now romancing her newly returned son Steven (Gordon Oliver), verbally abused Nurse Barker (Sara Allgood), drunken housekeeper Mrs Oates (Elsa Lanchester) and her husband (Rhys Williams).  A maniac is killing off people with disabilities. After Mrs Warren warns her of the danger to her personal safety she makes plans to leave the dark old house with her boyfriend Dr Parry (Kent Smith), but it is too late. The maniac is in the house, and she is his prey… Mel Dinelli made his screenwriting debut with this adaptation of Ethel Lina White’s 1933 novel Some Must Watch – the  idea for the staircase came from a Mary Roberts Rinehart novel.  It’s a beautifully mounted gripping Gothic suspenser with an ideal setting, atmosphere and occasional flashes of director Robert Siodmak’s Expressionist roots by DoP Nicholas Musuraca, underscoring the murderousness at its core. Spinechilling from start to finish. 

Girl Flu (2017)

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I’m never going to have kids. I already have my mom. Robin aka (Baby) Bird (Jade Pettyjohn) moves from the San Fernando Valley burbs to the hipster Echo Park neighbourhood to housesit her grandmother’s home with her selfish stoner waitress mom Jenny (Katee Sackhoff). She has to become a woman whether she wants to or not when she gets her first period in the middle of a sixth grade picnic and the meanest of the mean girls Rachel (Isabella Acres) bullies her. She finds herself abandoned in ignorance and finds out how to deal with the blood letting from Mom’s friend Lili (Heather Matarazzo).  Mom’s boyfriend Arlo (Jeremy Sisto) tries to help the flaky Jenny to grow up:  it’s not happening to you!  he tells her as she wallows in self-indulgence, fatally unsuited to being a mother.  Bird finds out that she’ll never be able to return to the Valley but she has new friends here, against the odds even as she goes through the worst week in living memory … Sharp and funny on a gross-out topic, the writing and directing debut of actress and story consultant Dorie Barton is a refreshing and very impressive blast boasting seriously charming performances in a new twist on mother-daughter dramedy. While Grandma is blithely Skyping from an ashram in India (ensuring we know why her daughter is useless at being a mother) Jenny leaves Arlo to pick up the family’s pieces and even pretend to be Bird’s boyfriend when the bullies threaten. My mother is a narcissist and my father is a workaholic, he tells Lilli. That figures, she retorts. Smart, well written and a really authentic comedy of embarrassment and growing up the hard way. I want a real mom.

Planes Trains and Automobiles (1987)

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I really don’t care for the way your company left me in the middle of fucking nowhere with fucking keys to a fucking car that isn’t fucking there. And I really didn’t care to fucking walk, down a fucking highway, and across a fucking runway to get back here to have you smile in my fucking face. I want a fucking car… right… fucking… now. Advertising executive Neal Page (Steve Martin) is something of a control freak. Trying to get home to Chicago to spend Thanksgiving with his wife (Laila Robins) and kids, his flight is rerouted to a distant city in Kansas because of a freak snowstorm, and his sanity begins to fray. Worse yet, he is forced to bunk up with talkative slob Del Griffith (John Candy), a shower curtain ring salesman, whom he finds extremely annoying. Together they have to overcome the insanity of holiday travel to reach their intended destination… John Hughes’ films still tug at our heartstrings because they have a core of humanity beneath the hilarity.  Martin and Candy are perfectly paired – the nutty fastidious guy versus the relaxed nice guy, a kind of Odd Couple on a road trip with some outrageously good banter balancing the physical silliness. Martin’s descent into incivility is a joy:  anyone who’s ever been desperate to pick up their rental car will relate to how Neal loses it at the hire desk! I remember hearing when Candy had died feeling a terrible sorrow and thinking that of all the larger than life actors out there he was the one I most wanted to have around a very long time. I haven’t changed my mind. This is still very funny indeed.

Silkwood (1983)

 

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You think I contaminated myself, you think I did that?  Karen Silkwood (Meryl Streep) works at a plutonium processing plant, along with her boyfriend, Drew Stephens (Kurt Russell), and their roommate, Dolly Pelliker (Cher). When Karen becomes concerned about safety practices at the plant, she begins raising awareness of violations that could put workers at risk. Intent on continuing her investigation, Karen discovers a suspicious development: She has been exposed to high levels of radiation, probably intentionally because of her union activism. Her decision to follow up on the cause jeopardises her life … Nora Ephron and Alice Arlen’s screenplay is a dramatisation of what actually happened to the real Karen Silkwood and there is much to cherish about this film, not least the brilliant performances. What may have happened in November 1974 after Silkwood went to meet with a reporter from The New York Times has been well documented but this is a very human portrayal of friendships, romance and labour relations, a rare combination in cinema and never done so sympathetically. Mike Nichols does an impeccable job of finding the right tone in what is basically a noir-ish conspiracy thriller but laced into the narrative are hints of a Lesbian relationship between Karen and Dolly, complicating their home life with Drew and deepening the surrounding texture which is political and social, growing out of the problems around unions and workers and the knotty issues in the nuclear industry. Streep’s most likeable performance to date.

How to Lose a Guy in 10 Days (2003)

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I’m going to make you wish you were deadComposure magazine advice columnist Andie Anderson (Kate Hudson) really wants to write about important things like politics but she’s under editorial pressure. She tries pushing the boundaries of what she can do in her new piece about how to get a man to leave you in 10 days after best friend Michelle (Kathryn Hahn) has yet another breakup. Her editor Lana (Bebe Neuwirth), loves it. Advertising executive Ben Berry (Matthew McConaughey) is so confident in his romantic prowess that he thinks he can make any woman fall in love with him and makes a bet with his boss in time for the company ball in 10 days. If he manages it he’ll get the contract for a new diamond company.  His in-house rivals Judy and Judy (Michael Michele and Shalom Harlow) set Ben up to meet Andie after they learn of Andie’s project at a magazine conference. When Andie and Ben wind up meeting their plans backfire and they do everything they can to meet their targets …  You think you know what you’re getting with a battle of the sexes comedy – after all we’ve been here before with some of the screwball greats. However where this falls down in between some very bright comedic action is ironically in the dialogue which has a vicious undertow but isn’t the consistently witty banter we want. Then there’s the meet the family stuff which underscores the sentimental base. Nonetheless Hudson is good as the smart as hell writer with her wicked conniving schemes and that glint in her eye. There’s excellent support including from her Le Divorce co-stars Neuwirth and Thomas Lennon, who’s one of Ben’s entourage. The ending is too sappy by half! This is an adaptation of Michele Alexander and Jeanie Long’s self-help book by Burr Steers, Kristen Buckley and Brian Regan. Directed by Donald Petrie who’s been around the romcom block.

9 to 5 (1980)

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Okay, I’m gonna leave, but let me tell you one thing before I go: don’t you ever refer to me as ‘your girl’ again.  Judy Bernly (Jane Fonda) is forced into the workplace after her divorce from husband Dick (Lawrence Pressman). She is introduced around Consolidated Companies by supervisor and widowed mom Violet Newstead (Lily Tomlin) who is routinely put down by boss Franklin Hart Jr. (Dabney Coleman) who steals her ideas for updating office practice. His married secretary Doralee Rhodes (Dolly Parton) is presumed by everyone to be his mistress – because that’s what he tells them.  The three women spend a night together having drug-induced fantasies of killing him. Doralee panics the following day when she suspects she really has poisoned the tyrant but it’s all a misunderstanding and they then swear revenge on the sexist liar by kidnapping him and running the company themselves… This has a really great premise:  three women take on a male chauvinist sex-harassing idea-stealing embezzling pig and…  forty minutes in it descends into a drug-fuelled fantasy and absurdist farce and everything falls apart. With one of the most charismatic casts you’ll ever encounter and singing star Parton making a fantastic screen debut you’ll wonder how this was so poorly conceived.  It was all Fonda’s idea and Patricia Resnick did the first draft before production and it evolved from a labour drama into a straightforward comedy. We are literally taken away from the scene of the action – the office – and back to Hart’s house where he swings from the ceiling in an apparatus that looks like it’s from an S&M store. Writer-director Colin (Foul Play) Higgins (who rewrote it) wrecks his own movie as he loses the plot but it’s still good-natured and did bonzo box office and even led to a TV series, due in no small part to the amazing title song which Parton composed during filming as she tapped her acrylic nails along to the rhythm of the typewriters.  Higgins said the cast were a joy and he went on to do The Best Little Whore House in Texas with Dolly. All’s well that ends well!

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!

Girls Trip (2017)

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How the fuck could I compete with pillow talk? Best friends lifestyle guru (the new Oprah) Ryan (Regina Hall), gossip journalist Sasha (Queen Latifah), divorced nurse Lisa (Jada Pinkett Smith) and party animal Dina (Tiffany Haddish) are in for the adventure of a lifetime when they travel to New Orleans for the annual Essence Music Festival years after graduation. Along the way, they rekindle their sisterhood and rediscover their wild side by doing enough dancing, drinking, brawling and romancing to make the Big Easy blush.  The ladies discover that Ryan’s husband Stewart (Mike Colter) is cheating on her and he turns up at their hotel but she already knows because they’re in counselling and her brand would be hurt blah blah blah …  Dull, Dumb, Dim and Trite, as I like to call them, are otherwise talented, funny, intelligent fortysomething women but hey this is the movies and they have to renegotiate their friendships in the context of social media, jealousy, money, failed pregnancy, drink, drugs, sex, pissing on people from a height or whatever you’re having yourself. They’re black so portraying them as utterly idiotic sleaze merchants is okay then. It’s equal opportunities for all. Yawn. Is that the time? Yup, time’s up. I’ll say.  A besmirchment upon one of my favourite towns. The absinthe that makes the women hallucinate should be handed out with the movie. Unbearable. Written by Kenya Barris and Tracy Oliver from a story by them with Erica Rivinoja. Directed by Malcolm D. Lee.