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George Sanders is The Falcon

The Gay Falcon

(1941)

George Sanders, forced to jumps ship on Simon Templar, lands a new series that had Leslie Charteris suing RKO as being The Saint in all but name.

A fair complaint, but this is breezier and lively than all but Sander’s first Saint outing. He’s called upon to investigate jewel thieves working insurance frauds while at the same time acting something of a cad (surprise!) in respect of his fiancé (Elinor Beford, very funny); whenever her back is turned he’s smooth-talking the ladies including former Saint star Wendy Barrie.

As such, the plot’s really secondary to the interactions between the characters, be it plodding police, high society or criminal lowlifes. Sanders is a rakish delight as ever, but (again, as with The Saint) it’s his sidekick who steals the spotlight. Allen Jenkins as Jonathan G “Goldie” Locke.

Cop: You know me, I gotta heart.

Goldie: Yeah, Michael, I know you have, and I only wish you hadda brain to go wid it.

As for the title, Gay is the Falcon’s first name (his last is Lawrence).

***1/2

A Date with the Falcon

(1942)

Second Falcon outing sees the Falcon on the trail of a gang that has kidnapped a scientist with a formula for creating synthetic diamonds. Wendy Barrie and Allen Jenkins return, but the highlights this time are all Sanders’.

These include getting himself arrested to evade his captors and climbing out onto a ledge five stories up to avoid the police; the onlookers seem very keen for him to jump. By the time Sanders meets Mr Big, solving the case is firmly in second place to comic set pieces and as such it’s a bit of a letdown.

***

The Falcon Takes Over

(1942)

The best of Sander’s Falcon films involves him in a plot partly inspired by Chandler’s Farewell My Lovely. Setting events in motion is a none too bright wrestler, Moose Malloy, busted out of prison and looking for a dame who said she’d wait for him. Before long there’s a trail of bodies and a fortune telling racket to investigate.

Moose is clearly played by an actor in a padded costume (reminiscent of Russ Abbot’s gangster character), but the more atmospheric scenes are highly effective and there’s a clearer divide between the serious plot and the larks than in previous installments.

Allen Jenkins is on great form as sidekick Goldie, in perpetual fear of Moose putting his hands round his neck and squeezing the life out of him. And, as with the first film, his grillings by the police result in some highly amusing exchanges. Inspector O’ Hara’s repartee with his dimmer than dim assistant Detective Bates also provides yuks. As for the Falcon, he’s engaged here but not averse to disreputable behaviour whenever the situation provides an opportunity.

***1/2

The Falcon’s Brother

(1942)

Disappointing final outing for Sanders. He’s bashed on the head early on, and his brother Tom (played by Tom Conway, Sanders’ actual brother) takes over the investigation.

Conway’s at best passable and he doesn’t even have the support of Goldie to lessen the blow. Instead we get the going through the motions Lefty (Don Barclay). Inspecter O’Hara’s also gone, with only Detective Bates remaining. Keye Luke plays the Falcon’s butler, who speaks pigeon English to anyone he doesn’t wish to take a telephone call from. The plot involves German spies, which should be entertaining but isn’t. The Falcon makes a very decisive exit from the series, but in a peculiarly badly staged manner.

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Prepare the Heathen’s Stand! By order of purification!

Apostle (2018)
(SPOILERS) Another week, another undercooked Netflix flick from an undeniably talented director. What’s up with their quality control? Do they have any? Are they so set on attracting an embarrassment of creatives, they give them carte blanche, to hell with whether the results are any good or not? Apostle's an ungainly folk-horror mashup of The Wicker Man (most obviously, but without the remotest trace of that screenplay's finesse) and any cult-centric Brit horror movie you’d care to think of (including Ben Wheatley's, himself an exponent of similar influences-on-sleeve filmmaking with Kill List), taking in tropes from Hammer, torture porn, and pagan lore but revealing nothing much that's different or original beyond them.

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…

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Hold the Dark (2018)
(SPOILERS) Hold the Dark, an adaptation of William Giraldi's 2014 novel, is big on atmosphere, as you'd expect from director Jeremy Saulnier (Blue Ruin, Green Room) and actor-now-director (I Don’t Want to Live in This World Anymore) pal Macon Blair (furnishing the screenplay and appearing in one scene), but contrastingly low on satisfying resolutions. Being wilfully oblique can be a winner if you’re entirely sure what you're trying to achieve, but the effect here is rather that it’s "for the sake of it" than purposeful.

Outstanding. Now, let’s bite off all the heads and pile them up in the corner.

Venom (2018)
(SPOILERS) A 29% fresh rating on Rotten Tomatoes can't be wrong, can it? To go by the number of one-star reviews Sony’s attempt to kick-start their own shred of the Marvel-verse has received, you’d think it was the new Battlefield Earth, or Highlander II: The Quickening. Fortunately, it's far from that level of ignominy. And while it’s also a considerable distance from showing the polish and assuredness of the official Disney movies, it nevertheless manages to establish its own crudely winning sense of identity.

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Tully (2018)
(SPOILERS) A major twist is revealed in the last fifteen minutes of Tully, one I'll happily admit not to have seen coming, but it says something about the movie that it failed to affect my misgivings over the picture up to that point either way. About the worst thing you can say about a twist is that it leaves you shrugging.

Well, you did take advantage of a drunken sailor.

Tomb Raider (2018)
(SPOILERS) There's evidently an appetite out there for a decent Tomb Raider movie, given that the lousy 2001 incarnation was successful enough to spawn a (lousy) sequel, and that this lousier reboot, scarcely conceivably, may have attracted enough bums on seats to do likewise. If we're going to distinguish between order of demerits, we could characterise the Angelina Jolie movies as both pretty bad; Tomb Raider, in contrast, is unforgivably tedious.

If you want to have a staring contest with me, you will lose.

Phantom Thread (2017)
(SPOILERS) Perhaps surprisingly not the lowest grossing of last year's Best Picture Oscar nominees (that was Call Me by Your Name) but certainly the one with the least buzz as a genuine contender, subjected as Phantom Thread was to a range of views from masterpiece (the critics) to drudge (a fair selection of general viewers). The mixed reaction wasn’t so very far from Paul Thomas Anderson's earlier The Master, and one suspects the nomination was more to do with the golden glow of Daniel Day-Lewis in his first role in half a decade (and last ever, if he's to be believed) than mass Academy rapture with the picture. Which is ironic, as the relatively unknown Vicky Krieps steals the film from under him.

The whole thing should just be your fucking nose!

A Star is Born (2018)
(SPOILERS) A shoe-in for Best Picture Oscar? Perhaps not, since it will have to beat at very least Roma and First Man to claim the prize, but this latest version of A Star is Born still comes laden with more acclaim than the previous three versions put together (and that's with a Best Picture nod for the 1937 original). While the film doesn't quite reach the consistent heights suggested by the majority of critics, who have evacuated their adjectival bowels lavishing it with superlatives, it's undoubtedly a remarkably well-made, stunningly acted piece, and perhaps even more notably, only rarely feels like its succumbing to just how familiar this tale of rise to, and parallel fall from, stardom has become.

I will unheal the shit out of you!

Hotel Artemis (2018)
(SPOILERS) Hotel Artemis is all set up. It's solid set up, undoubtedly – a heightened, John Wick-esque criminal world by way of John Carpenter – but once it has set out its wares, it proceeds to pulls its punches. One's left more impressed by the dependable performances and Drew Pearce's solid footing as a (debut feature) director than his ability to develop a satisfying screenplay.

I take Quaaludes 10-15 times a day for my "back pain", Adderall to stay focused, Xanax to take the edge off, part to mellow me out, cocaine to wake me back up again, and morphine... Well, because it's awesome.

The Wolf of Wall Street (2013)
Along with Pain & Gain and The Great Gatsby, The Wolf of Wall Street might be viewed as the completion of a loose 2013 trilogy on the subject of success and excess; the American Dream gone awry. It’s the superior picture to its fellows, by turns enthralling, absurd, outrageous and hilarious. This is the fieriest, most deliriously vibrant picture from the director since the millennium turned. Nevertheless, stood in the company of Goodfellas, the Martin Scorsese film from which The Wolf of Wall Street consciously takes many of its cues, it is found wanting.

I was vaguely familiar with the title, not because I knew much about Jordan Belfort but because the script had been in development for such a long time (Ridley Scott was attached at one time). So part of the pleasure of the film is discovering how widely the story diverges from the Wall Street template. “The Wolf of Wall Street” suggests one who towers over the city like a behemoth, rather than a guy …

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