We'll be listening to you.

The Conversation

(1974)

Coppola’s intricate, sure-paced film treads from mundanity to horror while retaining its focus on the “best bugger in the business”. Gene Hackman’s surveillance expert Harry Caul is a meticulous, anal character, quite unlikeable in some respects, but it’s his fussy dedication to his trade that gradually exerts a hold on the audience. That, and the knowledge that he nurses a profound guilt over a previous job that may have resulted in the deaths of surveillance targets (his Catholic background is also repeatedly referenced).

We first see him instructing Stan (John Cazale, playing a standard Cazale type) that it doesn’t matter what the nature of their recording is, or what the people they are listening in on are up to; he only wants to ensure the best quality possible is rendered. But by the end of the film the whys and wherefores are all he can think of, and the crucial twist is the icing on the cake; we have been so focused on the way he has viewed his subjects that we have all missed the wood for the trees.

This is Hackman’s show, but Coppola surrounds him with strong players in small roles; Robert Duvall, an impressively subdued yet threatening Harrison Ford, Frederic Forrest, and Bernie Moran as a fast-talking rival bugger. As Harry’s paranoia increases, so does the subjectivity of what he sees/imagines, and we move into Repulsion territory. I can see that some might consider the film as a whole to be a bit of a bore, but it exerts a hypnotic hold such that it remains in your head long after the end credits.

****1/2

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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…

We’re not owners here, Karen. We’re just passing through.

Out of Africa (1985)
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Django Unchained (2012)
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Rejoice! The broken are the more evolved. Rejoice.

Split (2016)
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Shyamalan has seized on a horror staple – nubile teenage girls in peril, prey to a psychotic antagonist – and, no doubt with the best intentions, attempted to warp it. But, in so doing, he has dragged in themes and threads from other, more meritable fare, with the consequence that, in the end, the conflicting positions rather subvert his attempts at subversion…

If you could just tell me what those eyes have seen.

Alita: Battle Angel (2019)
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Roma (2018)
(SPOILERS) Roma is a critics' darling and a shoe-in for Best Foreign Film Oscar, with the potential to take the big prize to boot, but it left me profoundly indifferent, its elusive majesty remaining determinedly out of reach. Perhaps that's down to generally spurning autobiographical nostalgia fests – complete with 65mm widescreen black and white, so it's quite clear to viewers that the director’s childhood reverie equates to the classics of old – or maybe the elliptical characterisation just didn't grab me, but Alfonso Cuarón's latest amounts to little more than a sliver of substance beneath all that style.

Life is like a box of timelines. You feel me?

Russian Doll Season One
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Starship Troopers (1997)
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You use a scalpel. I prefer a hammer.

Mission: Impossible - Fallout (2018)
(SPOILERS) The latest instalment of the impossibly consistent in quality Mission: Impossible franchise has been hailed as the best yet, and with but a single dud among the sextet that’s a considerable accolade. I’m not sure it's entirely deserved – there’s a particular repeated thematic blunder designed to add some weight in a "hero's validation" sense that not only falls flat, but also actively detracts from the whole – but as a piece of action filmmaking, returning director Christopher McQuarrie has done it again. Mission: Impossible – Fallout is an incredible accomplishment, the best of its ilk this side of Mad Max: Fury Road.

Now In Full Color, with a Happier Ending

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