Skip to main content

Reviews Archive - E


FEATURING:

 Eastern Promises
Easy A
Edge of Darkness (2010)
8 1/2
Elizabeth: The Golden Age
Enchanted
The Expendables
Eastern Promises
(2007) 

Cronenberg's back on the form he was in during the late '80s. He may have switched to the thriller genre, but his visceral obsessions are intact, and I love that he's still making economical films when everyone else seems to think you have to make a movie that's two hours plus if it's going to bear the mark of quality. Viggo Mortensen gives a tremendous performance and the bathhouse scene is rivetingly nasty.

****

Easy A  
(2010) 

First tier teen comedy in which Emma Stone gains a (false) reputation as the school bike. The performances and dialogue are wonderful, and if it never reaches Heathers-levels of satire, this is still a rare high school flick that’s brimming with smarts. Particularly striking are the characterisations of the adults; Stanley Tucci and Patricia Clarkson as Stone's witty, understanding parents and Thomas Hayden Church as one of her teachers.

****
Edge of Darkness
(2010)

It may not have any of the resonance of the original, but this is a well-made, well-acted conspiracy thriller. Mel Gibson's very good in sombre mode, and he and Ray Winstone spark off each other nicely. Winstone's character, in particular, gets some great dialogue and decent character strokes.

****

8 1/2 
(1963) 

A bit redundant to call this indulgent, but while it's intermittently engaging, I much prefer Woody Allen's direct rip-off, Stardust Memories.

***

Elizabeth: The Golden Age 
(2007) 

Kind of crap, particularly when Clive Owen's riding on the bow of a ship when he should have been on dry land, but strangely watchable. It's generally been critically torn apart because of the shameless disinterest in historical accuracy, but what damages it the most is that it's more a collection of scenes than a coherent film. Still, Blanchett is excellent, and Samantha Morton steals the film in her underwritten cameo as Queen Mary.

***

Enchanted 
(2007) 

Surprisingly intelligent deconstruction of fairy tales from the Mouse House, with Amy Adams (see also her arse's starring role in A Night at the Museum 2) getting thrown from cartoon to real world, with attendant fish-out-of-water incidents ensuing. 

 James Marsden all but seals the film with a great comic turn as the cartoon prince made real (a shock because he often appears to be approximating a plank of wood in other roles) and Timothy Spall and a squirrel lend support.

****

The Expendables
(2010) 

Rubbish, and it becomes tiresome in the middle section, but there's enough stupid action and clunky semi-thesping to maintain a decent entertainment level. 

 It says something that the Stat comes out of this looking like a proper actor, and that Stallone wipes the floor with Arnie in their scene together. I was most tickled by Dolph, though, and his gun that blows upper torsos into pulverised juices. And, given his character's "arc", the final scene with him is hysterically nonsensical.

**1/2

Labels:

Comments

Post a comment

Popular posts from this blog

She was addicted to Tums for a while.

Marriage Story (2019)
(SPOILERS) I don’t tend to fall heavily for Noah Baumbach fare. He’s undoubtedly a distinctive voice – even if his collaborations with Wes Anderson are the least of that director’s efforts – but his devotion to an exclusive, rarefied New York bubble becomes ever more off-putting with each new project. And ever more identifiable as being a lesser chronicler of the city’s privileged quirks than his now disinherited forbear Woody Allen, who at his peak mastered a balancing act between the insightful, hilarious and self-effacing. Marriage Story finds Baumbach going yet again where Woody went before, this time brushing up against the director’s Ingmar Bergman fixation.
Post a comment
Read more

You're not only wrong. You're wrong at the top of your voice.

Bad Day at Black Rock (1955)
I’ve seen comments suggesting that John Sturges’ thriller hasn’t aged well, which I find rather mystifying. Sure, some of the characterisations border on the cardboard, but the director imbues the story with a taut, economical backbone. 
Post a comment
Read more

Poor Easy Breezy.

Once Upon a Time… in Hollywood (2019)
(SPOILERS) My initial reaction to Once Upon a Time… in Hollywood was mild disbelief that Tarantino managed to hoodwink studios into coming begging to make it, so wilfully perverse is it in disregarding any standard expectations of narrative or plotting. Then I remembered that studios, or studios that aren’t Disney, are desperate for product, and more especially, product that might guarantee them a hit. Quentin’s latest appears to be that, but whether it’s a sufficient one to justify the expense of his absurd vanity project remains to be seen.
Post a comment
Read more

Haven’t you ever heard of the healing power of laughter?

Batman (1989)
(SPOILERS) There’s Jaws, there’s Star Wars, and then there’s Batman in terms of defining the modern blockbuster. Jaws’ success was so profound, it changed the way movies were made and marketed. Batman’s marketing was so profound, it changed the way tentpoles would be perceived: as cash cows. Disney tried to reproduce the effect the following year with Dick Tracy, to markedly less enthusiastic response. None of this places Batman in the company of Jaws as a classic movie sold well, far from it. It just so happened to hit the spot. As Tim Burton put it, it was “more of a cultural phenomenon than a great movie”. It’s difficult to disagree with his verdict that the finished product (for that is what it is) is “mainly boring”.

Now, of course, the Burton bat has been usurped by the Nolan incarnation (and soon the Snyder). They have some things in common. Both take the character seriously and favour a sombre tone, which was much more of shock to the system when Burton did it (even…
Post a comment
Read more

He tasks me. He tasks me, and I shall have him.

Star Trek II: The Wrath of Khan
(1982)
(SPOILERS) I don’t love Star Trek, but I do love Star Trek II: The Wrath of Khan. That probably isn’t just me, but a common refrain of many a non-devotee of the series. Although, it used to apply to The Voyage Home (the funny one, with the whales, the Star Trek even the target audience for Three Men and a Baby could enjoy). Unfortunately, its high regard has also become the desperate, self-destructive, song-and-verse, be-all-and-end-all of the overlords of the franchise itself, in whichever iteration, it seems. This is understandable to an extent, as Khan is that rare movie sequel made to transcendent effect on almost every level, and one that stands the test of time every bit as well (better, even) as when it was first unveiled.
Post a comment
Read more

My name is Dr. King Schultz, this is my valet, Django, and these are our horses, Fritz, and Tony.

Django Unchained (2012)
(MINOR SPOILERS) Since the painful misstep of Grindhouse/Death Proof, Quentin Tarantino has regained the higher ground like never before. Pulp Fiction, his previous commercial and critical peak, has been at very least equalled by the back-to-back hits of Inglourious Basterds and Django Unchained. Having been underwhelmed by his post Pulp Fiction efforts (albeit, I admired his technical advances as a director in Kill Bill), I was pleasantly surprised by Inglourious Basterds. It was no work of genius (so not Pulp Fiction) by any means, but there was a gleeful irreverence in its treatment of history and even to the nominal heroic status of its titular protagonists. Tonally, it was a good fit for the director’s “cool” aesthetic. As a purveyor of postmodern pastiche, where the surface level is the subtext, in some ways he was operating at his zenith. Django Unchained is a retreat from that position, the director caught in the tug between his all-important aesthetic pr…
Post a comment
Read more

To defeat the darkness out there, you must defeat the darkness inside yourself.

The Chronicles of Narnia: The Voyage of the Dawn Treader (2010)
Easily the best of the Narnia films, which is maybe damning it with faint praise. 

Michael Apted does a competent job directing (certainly compared to his Bond film - maybe he talked to his second unit this time), Dante Spinotti's cinematography is stunning and the CGI mostly well-integrated with the action. 

Performance-wise, Will Poulter is a stand-out as a tremendously obnoxious little toff, so charismatic you're almost rooting for him. Simon Pegg replaces Eddie Izzard as the voice of Reepicheep and delivers a touching performance.
***
Post a comment
Read more

Once that first bullet goes past your head, politics and all that shit just goes right out the window.

Black Hawk Down (2001)
(SPOILERS) Black Hawk Down completed a trilogy of hits for Ridley Scott, a run of consistency he’d not seen even a glimmer of hitherto. He was now a brazenly commercial filmmaker, one who could boast big box office under his belt where previously such overt forays had seen mixed results (Black Rain, G.I. Jane). It also saw him strip away the last vestiges of artistic leanings from his persona, leaving behind, it seemed, only technical virtuosity. Scott was now given to the increasingly thick-headed soundbite (“every war movie is an anti-war movie”) in justification for whatever his latest carry-on carried in terms of controversial elements, and more than happy to bed down with the Pentagon (long-standing collaborators with producer Jerry Bruckheimer) to make a movie that, while depictinga less than auspicious intervention by the US military (“Based on an Actual Event” is a marvellous catch-all for wanton fabrication), managed to turn it into a parade of heroes pe…
Post a comment
Read more

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…
Post a comment
Read more

How do you like that – Cuddles knew all the time!

The Pleasure Garden (1925)
(SPOILERS) Hitchcock’s first credit as director, and his account of the production difficulties, as related to Francois Truffaut, is by and large more pleasurable than The Pleasure Garden itself. The Italian location shoot in involved the confiscation of undeclared film stock, having to recast a key role and borrowing money from the star when Hitch ran out of the stuff.
Post a comment
Read more