You don't even have to be guilty, they'll hang you for anything these days, that's because they're so very fond of hangin'!

Oliver Twist

(2005)

Roman Polanski does Dickens, just as he has previously tackled Shakespeare and Hardy, and the result is a respectable production lacking any real vigour or reason to exist. For all its drawbacks the David Lean version is far superior, both in its sense of atmosphere and the performances of its young leads.

Polanski’s film has more time to breathe than Lean’s but, instead of using this to its advantage, at times it feels sluggish and unable to gather any momentum. It also leaves out all of Oliver’s backstory which may have the benefit of simplifying the telling and the number of characters required but crucially it also eliminates the mystery and intrigue.

Ben Kingsley’s Fagin is memorable, as is Mark Strong (relishing the chance to play a character who isn’t just dark and moody) as Toby Crackit. But Jamie Foreman makes a weak Bill Sikes and it says a lot that the scene where he confronts Nancy is much more shocking in the version completed 60 years previously.

***

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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…

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…

I don’t think you will see President Pierce again.

The Ballad of Buster Scruggs (2018)
(SPOILERS) The Ballad of Buster Scruggs and other tall tales of the American frontier is the title of "the book" from which the Coen brothers' latest derives, and so announces itself as fiction up front as heavily as Fargo purported to be based on a true story. In the world of the portmanteau western – has there even been one before? – theme and content aren't really all that distinct from the more familiar horror collection, and as such, these six tales rely on sudden twists or reveals, most of them revolving around death. And inevitably with the anthology, some tall tales are stronger than other tall tales, the former dutifully taking up the slack.

You look like an angry lizard!

Bohemian Rhapsody (2018)
(SPOILERS) I can quite see a Queen fan begrudging this latest musical biopic for failing to adhere to the facts of their illustrious career – but then, what biopic does steer a straight and true course? – making it ironic that they're the main fuel for Bohemian Rhapsody's box office success. Most other criticisms – and they're legitimate, on the whole – fall away in the face of a hugely charismatic star turn from Rami Malek as the band's frontman. He's the difference between a standard-issue, episodic, join-the-dots narrative and one that occasionally touches greatness, and most importantly, carries emotional heft.

He mobilised the English language and sent it into battle.

Darkest Hour (2017)
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I am so sick of Scotland!

Outlaw/King (2018)
(SPOILERS) Proof that it isn't enough just to want to make a historical epic, you have to have some level of vision for it as well. Say what you like about Mel's Braveheart – and it isn't a very good film – it's got sensibility in spades. He knew what he was setting out to achieve, and the audience duly responded. What does David Mackenzie want from Outlaw/King (it's shown with a forward slash on the titles, so I'm going with it)? Ostensibly, and unsurprisingly, to restore the stature of Robert the Bruce after it was rather tarnished by Braveheart, but he has singularly failed to do so. More than that, it isn’t an "idea", something you can recognise or get behind even if you don’t care about the guy. You’ll never forget Mel's Wallace, for better or worse, but the most singular aspect of Chris Pine's Bruce hasn’t been his rousing speeches or heroic valour. No, it's been his kingly winky.

It seemed as if I had missed something.

Room 237 (2012)
Stanley Kubrick’s meticulous, obsessive approach towards filmmaking was renowned, so perhaps it should be no surprise to find comparable traits reflected in a section of his worshippers. Legends about the director have taken root (some of them with a factual basis, others bunkum), while the air of secrecy that enshrouded his life and work has duly fostered a range of conspiracy theories. A few of these are aired in Rodney Ascher’s documentary, which indulges five variably coherent advocates of five variably tenuous theories relating to just what The Shining is really all about. Beyond Jack Nicholson turning the crazy up to 11, that is. Ascher has hit on a fascinating subject, one that exposes our capacity to interpret any given information wildly differently according to our disposition. But his execution, which both underlines and undermines the theses of these devotees, leaves something to be desired.

Part of the problem is simply one of production values. The audio tra…

There's something wrong with the sky.

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.

Believe me, Mr Bond, I could shoot you from Stuttgart und still create ze proper effect.

Tomorrow Never Dies (1997)
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The Bond series’ flirtations with contemporary relevance have a…

Yes sir, that is how it is happening, all times.

The Owl Service
Episode Two
Huw tells the story of the Mabinogion (“Yes sir, that is how it is happening, all times”). Roger takes on both an investigatory position and a reluctant one (he conceals Alison’s scratch with a plaster, perhaps embarrassed by the carnal passions it implies). And no one seems all that concerned about the vanishing plate designs (although the others think Alison must have done it).

The tensions between the trio have started to mount up. Most effective is the scene where Gwyn confronts Alison. Clad in a bikini, she lies on a sun lounger reading the Mabinogion. As Gwyn angrily sends the book flying, we see quick cuts of her painted face (“You shouldn’t have done that!”) and the sound of fluttering pages/birds as he flees, apparently pursued by something. And then they make up, as if all is fine and it was just a lover’s tiff. Now Roger, wearing, Alison’s sunglasses and with an impassive expression suggesting subdued jealousy, observes them. Roger gets many of the …

Now In Full Color, with a Happier Ending

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