Don't you tell me about Africa. I know all about suffering in Africa!

Carnage

(2011)

Little attempt is made to disguise the stage origins of Polanski's latest, but I found that to be part of the pleasure. The number of times that Kate Winslet and Christopher Waltz attempt to leave Jodie Foster and John C Reilly's apartment becomes predictably amusing. The premise; the son of Winslet and Waltz hits the son of Foster and Reilly with a stick, busting his teeth. We join the aftermath, as the parents discuss events in an initially civilised manner. But relations quickly deteriorate, as congenial exteriors reveal not particularly likeable individuals underneath.

The casting is the greatest asset here, allowing the film to sail over some fairly predictable circular arguments and plot devices (vomiting, indulgence in alcohol, the fate of a mobile phone). Foster is scarily convincing as an uptight finger-pointing liberal while Waltz walks away with all the best lines as the distracted, blasé attorney.

Winslet and Reilly are good too, the former expelling a hilariously powerful projectile vomit while the latter is at his best when his easy-going exterior drops to reveal some decidedly un-PC views. At only 80 minutes, it knows the best moment to exit the proceedings; something of a rarity.

****

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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.

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.

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…

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.

Reindeer-goat cheese pizza?

Hudson Hawk (1991)
A movie star vanity project going down in flames is usually met with open delight from press and critics alike. Even fans of the star can nurse secret disappointment that they were failed on this occasion. But, never mind, soon they will return to something safe and certain. Sometimes the vehicle is the result of a major star attaching themselves to a project where they are handed too much creative control, where costs spiral and everyone ends up wet (Waterworld, The Postman, Ishtar). In other cases, they bring to screen a passion project that is met with derision (Battlefield Earth). Hudson Hawk was a character created by Bruce Willis, about whom Willis suddenly had the post-Die Hard clout to make a feature.

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…

Old Boggy walks on Lammas Eve.

Jeeves and Wooster 2.5: Kidnapped (aka The Mysterious Stranger)
Kidnapped continues the saga of Chuffnell Hall. Having said of 2.4 that the best Wodehouse adaptations tend to stick closely to the text, this one is an exception that proves the rule, diverging significantly yet still scoring with its highly preposterous additions.

Jeeves: Tis old boggy. He be abroad tonight. He be heading for the railway station.
Gone are many of the imbroglios involving Stoker and Glossop (the estimable Roger Brierley), including the contesting of the former’s uncle’s will. Also gone, sadly, is the inebriated Brinkley throwing potatoes at Stoker, which surely would have been enormous fun. Instead, we concentrate on Bertie being locked aboard Stoker’s yacht in order to secure his marriage to Pauline (as per the novel), Chuffy tailing Pauline in disguise (so there’s a different/additional reason for Stoker to believe Bertie and she spent the night together, this time at a pub en route to Chufnell Hall) and …

Barbarians? You call us barbarians?

The Omega Man (1971)
(SPOILERS) Chuck Heston battles albino mutants in 1970s LA. Sure-fire, top-notch B-hokum, right? Can’t miss? Unfortunately, The Omega Man is determinedly pedestrian, despite gestures towards contemporaneity with its blaxploitation nods and media commentary so faint as to be hardly there. Although more tonally subdued and simultaneously overtly “silly” in translating the vampire lore from Richard Matheson’s I am Legend, the earlier The Last Man on Earth is probably the superior adaptation.

They say if we go with them, we'll live forever. And that's good.

Cocoon (1985)
Anyone coming across Cocoon cold might reasonably assume the involvement of Steven Spielberg in some capacity. This is a sugary, well-meaning tale of age triumphing over adversity. All thanks to the power of aliens. Substitute the elderly for children and you pretty much have the manner and Spielberg for Ron Howard and you pretty much have the approach taken to Cocoon. Howard is so damn nice, he ends up pulling his punches even on the few occasions where he attempts to introduce conflict to up the stakes. Pauline Kael began her review by expressing the view that consciously life-affirming movies are to be consciously avoided. I wouldn’t go quite that far, but you’re definitely wise to steel yourself for the worst (which, more often than not, transpires).

Cocoon is as dramatically inert as the not wholly dissimilar (but much more disagreeable, which is saying something) segment of Twilight Zone: The Movie directed by Spielberg (Kick the Can). There, OAPs rediscover their in…

I think it’s gratuitous, but whatever.

The MCU Ranked Worst to Best
This is an update of a ranking previously published in 2018. I’d intended to post it months ago but these things get side-tracked. You can find the additions of Captain Marvel, Avengers: Endgame, Spider-Man: Far From Home and a revised assessment of Ant-Man and the Wasp. There are also a few tweaks here and there.

Now In Full Color, with a Happier Ending

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