Reviews Archive

Reviews Archive - D

FEATURING:

Daywatch

Death Proof

Despicable Me

Doctor Zhivago

Dogma

Dougal and the Blue Cat

Dr. No

Dr. Strangelove

Duplicity

Daywatch

(2006)

Director Timur Bekmambetov is tremendously talented but, while the script has imagination in spades, it is also frequently narratively incoherent (and gets bogged down in stuff that's just not that interesting; the whole scene at the party).

***

Death Proof

(2007)

Tarantino at his self-indulgent worst. The man who rediscovered Travolta now introduces us to Zoe Bell, a stuntwoman who cannot act for toffee.

The first half is aimless, meandering and worst of all boring. It seems to be there so Quentin can “prove” to us he can write for women. Rather than, y’know constructing a solid story. Even the car chases aren't all that. The more time goes by, the more I think Roger Avary should be getting a lot more credit for Pulp Fiction than he does.

Despicable Me

(2010)

Occasionally impressive set pieces, but mostly this is a rather laborious riff on Dr Evil. Except, instead of having a child he adopts three of them. The premise reeks of potential for milking mawkishness and cutsey kids, and true to form it's not shy in that department.

**1/2

Doctor Zhivago

(1965)

As engrossing and beautifully made as you expect from David Lean, but it falls short of his very best work.

The documentaries on the blu-ray comments on how it was the intention for Zhivago to be a passive character, but it has the counter-mechanism of puncturing some of the film's energy. It's the '60s darlings that really make a mark; Tom Courtney and Julie Christie. Alec Guinness looks like he's auditioning for Grand Moff Tarkin in the framing scenes.

****

Dogma

(1999)

A sloppy mess, like the faecal creature. Fertile subject matter from which to mine laughs, but ham-fisted and (surprise!) puerile in execution. The Weinsteins got cold feet because it was controversial? They should have got cold feet because it was shit.

Dougal and the Blue Cat

(1970)

The feature length Magic Roundabout that isn't a misbegotten CGI remake, this showcases Eric Thompson's wit and imagination wonderfully.

Dougal is up against evil Buxton and must endure his friends' rapture with the titular moggy, resist a room full of sugar and take a trip to the Moon. Fenella Fielding's Blue Queen occupies the disused treacle factory at the top of the hill and all manner of strangeness ensues.

*****

Dr No

(1962)

Fairly undercharged first Bond outing, and considerably more entertaining before the titular character makes his entrance. The cold-blooded Connery moments are especially enjoyable (killing Dent). Quarrel's demise is particularly unfair (but so was MacNee's in A View to a Kill) since he's a winning sidekick.

***

Dr Strangelove

(1964)

It’s difficult to find anything new to say about Kubrick’s apocalyptic satire, except that the Russian ambassador is clearly corpsing when Strangelove is struggling with his uncontrollable arm.

The best scene is probably Muffley's call to the Russian premier, all played on Sellers' reactions. But I love Keenan Wynn's utterly thick Colonel Bat Guano.

*****

Duplicity

(2009)

Nice to see a caper for movie for adults, but for all of the tricksiness with the plotting it's not as clever as it would like to be.

The twists are fairly transparent, but Gilroy's direction, as with the superior Michael Clayton, is refreshingly crisp and clear in style. The leads are dependable but don’t have the chemistry of the classic couples that Gilroy is hearkening back to.

***1/2

Comments

Why would I turn into a filing cabinet?

Captain Marvel (2019)
(SPOILERS) All superhero movies are formulaic to a greater or lesser degree. Mostly greater. The key to an actually great one – or just a pretty good one – is making that a virtue, rather than something you’re conscious of limiting the whole exercise. The irony of the last two stand-alone MCU pictures is that, while attempting to bring somewhat down-the-line progressive cachet to the series, they’ve delivered rather pedestrian results. Of course, that didn’t dim Black Panther’s cultural cachet (and what do I know, swathes of people also profess to loving it), and Captain Marvel has hit half a billion in its first few days – it seems that, unless you’re poor unloved Ant-Man, an easy $1bn is the new $700m for the MCU – but neither’s protagonist really made that all-important iconic impact.

She writes Twilight fan fiction.

Vampire Academy (2014)
My willingness to give writer Daniel Waters some slack on the grounds of early glories sometimes pays off (Sex and Death 101) and sometimes, as with this messy and indistinct Young Adult adaptation, it doesn’t. If Vampire Academy plods along as a less than innovative smart-mouthed Buffy rip-off that might be because, if you added vampires to Heathers, you would probably get something not so far from the world of Joss Whedon. Unfortunately inspiration is a low ebb throughout, not helped any by tepid direction from Daniel’s sometimes-reliable brother Mark and a couple of hopelessly plankish leads who do their best to dampen down any wit that occasionally attempts to surface.

I can only presume there’s a never-ending pile of Young Adult fiction poised for big screen failure, all of it comprising multi-novel storylines just begging for a moment in the Sun. Every time an adaptation crashes and burns (and the odds are that they will) another one rises, hydra-like, hoping…

Trouble’s part of the circus. They said Barnum was in trouble when he lost Tom Thumb.

The Greatest Show on Earth (1952)
(SPOILERS) Anyone of a mind that it’s a recent development for the Oscars to cynically crown underserving recipients should take a good look at this Best Picture winner from the 25thAcademy Awards. In this case, it’s generally reckoned that the Academy felt it was about time to honour Hollywood behemoth Cecil B DeMille, by that point into his seventies and unlikely to be jostling for garlands much longer, before it was too late. Of course, he then only went and made a bona fide best picture contender, The Ten Commandments, and only then pegged it. Because no, The Greatest Show on Earth really isn’t very good.

Can you float through the air when you smell a delicious pie?

Spider-Man: Into the Spider-Verse (2018)
(SPOILERS) Ironically, given the source material, think I probably fell into the category of many who weren't overly disposed to give this big screen Spider-Man a go on the grounds that it was an animation. After all, if it wasn’t "good enough" for live-action, why should I give it my time? Not even Phil Lord and Christopher Miller's pedigree wholly persuaded me; they'd had their stumble of late, although admittedly in that live-action arena. As such, it was only the near-unanimous critics' approval that swayed me, suggesting I'd have been missing out. They – not always the most reliable arbiters of such populist fare, which made the vote of confidence all the more notable – were right. Spider-Man: Into the Spider-Verse is not only a first-rate Spider-Man movie, it's a fresh, playful and (perhaps) surprisingly heartfelt origins story.

I don’t think you will see President Pierce again.

The Ballad of Buster Scruggs (2018)
(SPOILERS) The Ballad of Buster Scruggs and other tall tales of the American frontier is the title of "the book" from which the Coen brothers' latest derives, and so announces itself as fiction up front as heavily as Fargo purported to be based on a true story. In the world of the portmanteau western – has there even been one before? – theme and content aren't really all that distinct from the more familiar horror collection, and as such, these six tales rely on sudden twists or reveals, most of them revolving around death. And inevitably with the anthology, some tall tales are stronger than other tall tales, the former dutifully taking up the slack.

What lit the fire that set off our Mr Reaper?

Death Wish (2018)
(SPOILERS) I haven’t seen the original Death Wish, the odd clip aside, and I don’t especially plan to remedy that, owing to an aversion to Charles Bronson when he isn’t in Once Upon a Time in the West and an aversion to Michael Winner when he wasn’t making ‘60s comedies or Peter Ustinov Hercule Poirots. I also have an aversion to Eli Roth, though (this is the first of his oeuvre I’ve seen, again the odd clip aside, as I have a general distaste for his oeuvre), and mildly to Bruce when he’s on autopilot (most of the last twenty years), so really, I probably shouldn’t have checked this one out. It was duly slated as a fascistic, right-wing rallying cry, even though the same slaters consider such behaviour mostly okay if the protagonist is super-powered and wearing a mask when taking justice into his (or her) own hands, but the truth is this remake is a quite serviceable, occasionally amusing little revenger, one that even has sufficient courage in its skewed convictions …

Monster? We’re British, you know.

Horror Express (1972)
(SPOILERS) This berserk Spanish/British horror boasts Hammer titans Christopher Lee and Peter Cushing (both as good guys!) to its name, and cloaked in period trappings (it’s set in 1906), suggests a fairly standard supernatural horror, one with crazy priests and satanic beasts. But, with an alien life form aboard the Trans-Siberian Express bound for Moscow, Horror Express finishes up more akin to The Cassandra Crossing meets The Thing.

Countess Petrovski: The czar will hear of this. I’ll have you sent to Siberia. Captain Kazan: I am in Siberia!
Christopher Lee’s Alexander Saxton, anthropologist and professor of the Royal Geological Society, has retrieved a frozen corpse from Manchuria. Believing it might be the Missing Link he crates it up to transport home via the titular train. Other passengers include his colleague and rival Dr Wells (Cushing), an international spy, and an antic monk called Father Pujardov (Alberto de Mendoza, strikingly lunatic), who for some rea…

You had to grab every single dollar you could get your hands on, didn't you?

Triple Frontier (2019)
(SPOILERS) Triple Frontier must have seemed like a no-brainer for Netflix, even by their standards of indiscriminately greenlighting projects whenever anyone who can’t get a job at a proper studio asks. It had, after all, been a hot property – nearly a decade ago now – with Kathryn Bigelow attached as director (she retains a producing credit) and subsequently JC Chandor, who has seen it through to completion. Netflix may not have attracted quite the same level of prospective stars – Johnny Depp, Tom Hanks, Will Smith, Tom Hardy and Channing Tatum were all involved at various points – but as ever, they haven’t stinted on the production. To what end, though? Well, Bigelow’s involvement is a reliable indicator; this is a movie about very male men doing very masculine things and suffering stoically for it.

I honestly think you ought to sit down calmly, take a stress pill, and think things over.

2001: A Space Odyssey (1968)
(SPOILERS) There isn’t, of course, anything left to say about 2001: A Space Odyssey, although the devoted still try, confident in their belief that it’s eternally obliging in offering unfathomable mystery. And it does seem ever responsive to whatever depths one wishes to plumb in analysing it for themes, messages or clues either about what is really going on out there some around Jupiter, or in its director’s head. Albeit, it’s lately become difficult to ascertain which has the more productive cottage industry, 2001 or The Shining, in the latter regard. With Eyes Wide Shut as the curtain call, a final acknowledgement to the devout that, yes, something really emphatic was going under Stanley Kubrick’s hood and it’s there, waiting to be exhumed, if you only look with the right kind of eyes.

Poor A. A. Milne. What a ghastly business.

Saving Mr. Banks (2013)
The absolutely true story of how P. L. Travers came to allow Walt Disney to adapt Mary Poppins, after 20 years’ persistent begging on the latter’s part. Except, of course, it isn’t true at all. Walt has worked his magic from beyond the grave over a fairly unremarkable tale of mutual disagreement. Which doesn’t really matter if the result is a decent movie that does something interesting or though-provoking by changing the facts… Which I’m not sure it does. But Saving Mr. Banks at least a half-decent movie, and one considerably buoyed by the performances of its lead actors.

Actually, Mr. Banks is buoyed by the performances of its entire cast. It’s the script that frequently lets the side down, laying it on thick when a lighter touch is needed, repeating its message to the point of nausea. And bloating it out not so neatly to the two-hour mark when the story could have been wrapped up quite nicely in a third less time. The title itself could perhaps be seen as rubbi…

Now In Full Color, with a Happier Ending

Search This Blog