Oh, you shouldn't think of her as being a woman. No, that would be a mistake.

Haywire

(2011)

Typically cool (as in, distancing) approach from Soderbergh to his first attempt at an actioner.

It's replete with his usual tricksiness in respect of time (flashbacks within flashbacks) which can indicate a lack of confidence in the material (the flawed The Limey - which I like, and this is also written by Lem Dobbs) or be the icing on the cake (Out of Sight, still his best film by some distance). There's also an imposing David Holmes score (too much for one of the people I saw this with).

Soderbergh takes his time between the clearly choreographed action sequences, such that for a 90 minute film it feels on the long side. Mixed martial artist star Gina Carano isn't going to win any acting awards, but she's a more natural screen presence than many of the non-thesps who've become action icons. And the support from the likes of Douglas, Fassbender and Banderas is solid.

Enjoyable, and when the action kicks in the tension is well-sustained. But the plot itself isn't strong enough to support Soderbergh's more indie sensibilities

***

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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.

So you want me to be half-monk, half-hitman.

Casino Royale (2006)
(SPOILERS) Despite the doubts and trepidation from devotees (too blonde, uncouth etc.) that greeted Daniel Craig’s casting as Bond, and the highly cynical and low-inspiration route taken by Eon in looking to Jason Bourne's example to reboot a series that had reached a nadir with Die Another Day, Casino Royale ends up getting an enormous amount right. If anything, its failure is that it doesn’t push far enough, so successful is it in disarming itself of the overblown set pieces and perfunctory plotting that characterise the series (even at its best), elements that would resurge with unabated gusto in subsequent Craig excursions.

For the majority of its first two hours, Casino Royale is top-flight entertainment, with returning director Martin Campbell managing to exceed his excellent work reformatting Bond for the ‘90s. That the weakest sequence (still good, mind) prior to the finale is a traditional “big” (but not too big) action set piece involving an attempt to…

I just hope my death makes more cents than my life.

Joker (2019)
(SPOILERS) So the murder sprees didn’t happen, and a thousand puff pieces desperate to fan the flames of such events and then told-ya-so have fallen flat on their faces. The biggest takeaway from Joker is not that the movie is an event, when once that seemed plausible but not a given, but that any mainstream press perspective on the picture appears unable to divorce its quality from its alleged or actual politics. Joker may be zeitgeisty, but isn’t another Taxi Driver in terms of cultural import, in the sense that Taxi Driver didn’t have a Taxi Driver in mind when Paul Schrader wrote it. It is, if you like, faux-incendiary, and can only ever play out on that level. It might be more accurately described as a grubbier, grimier (but still polished and glossy) The Talented Ripley, the tale of developing psychopathy, only tailored for a cinemagoing audience with few options left outside of comic book fare.

Remember, you're fighting for this woman's honour – which is probably more than she ever did.

Duck Soup (1933)
(SPOILERS) Not for nothing is Duck Soup acclaimed as one of the greatest comedies ever, and while you’d never hold it against Marx Brothers movies for having little in the way of coherent plotting in – indeed, it’s pretty much essential to their approach – the presence of actual thematic content this time helps sharpen the edges of both their slapstick and their satire.

Afraid, me? A man who’s licked his weight in wild caterpillars? You bet I’m afraid.

Monkey Business (1931)
(SPOILERS) The Marx Brothers’ first feature possessed of a wholly original screenplay, Monkey Business is almost brazenly dismissive towards notions of coherence, just as long as it loosely supports their trademark antics. And it does so in spades, depositing them as stowaways bound for America who fall in with a couple of mutually antagonistic racketeers/ gangsters while attempting to avoid being cast in irons. There’s no Margaret Dumont this time out, but Groucho is more than matched by flirtation-interest Thelma Todd.

You killed my sandwich!

Birds of Prey (and the Fanatabulous Emancipation of One Harley Quinn) (2020)
(SPOILERS) One has to wonder at Bird of Prey’s 79% fresh rating on Rotten Tomatoes. I mean, such things are to be taken with a pinch of salt at the best of times, but it would be easy, given the disparity between such evident approval and the actually quality of the movie, to suspect insincere motives on the part of critics, that they’re actually responding to its nominally progressive credentials – female protagonists in a superhero flick! – rather than its content. Which I’m quite sure couldn’t possibly be the case. Birds of Prey (and the Fanatabulous Emancipation of One Harley Quinn) isn’t very good. The trailers did not lie, even if the positive reviews might have misled you into thinking they were misleading.

On account of you, I nearly heard the opera.

A Night at the Opera (1935)
(SPOILERS) The Marx Brothers head over to MGM, minus one Zeppo, and despite their variably citing A Night at the Opera as their best film, you can see – well, perhaps not instantly, but by about the half-hour mark – that something was undoubtedly lost along the way. It isn’t that there’s an absence of very funny material – there’s a strong contender for their best scene in the mix – but that there’s a lot else too. Added to which, the best of the very funny material can be found during the first half of the picture.

You’re a disgrace to the family name of Wagstaff, if such a thing is possible.

Horse Feathers (1932)
(SPOILERS) After a scenario that seemed feasible in Monkey Business – the brothers as stowaways – Horse Feathers opts for a massive stretch. Somehow, Groucho (Professor Quincy Adams Wagstaff) has been appointed as the president of Huxley University, proceeding to offer the trustees and assembled throng a few suggestions on how he’ll run things (by way of anarchistic creed “Whatever it is, I’m against it”). There’s a reasonably coherent mission statement in this one, however, at least until inevitably it devolves into gleeful incoherence.

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…

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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