You know what I've noticed, people only say "lighten up" when they're gonna stick their fist up your ass.

Morning Glory

(2010)

Not exactly Harrison Ford's comeback, but he's winningly and consistently grouchy as a one-time prize-winning news reporter reduced to co-anchoring Rachel McAdams' producer's morning TV show.

The film's probably aiming for some kind of Broadcast News-level combination of humour and heartstrings, but McAdams' romance with Patrick Wilson never really engages and the hardships of making the endangered show a hit aren't especially well mapped-out.

McAdams does have chemistry with Ford, though (and luckily there's never a whiff of an icky love angle between them) and there's decent support from an under-used Diane Keaton (who gets the best moments sparring verbally with Ford, but is only ever seen on the TV show set - it's likely the only occasional you'll ever see her dancing with Fiddy Cent for which she deserves either castigation or everlasting sympathy) and the always great Jeff Goldblum as a network executive.

Working against enjoyment is a really rotten soundtrack, oozing the likes of Joss Stone and Natasha Bedingfield used to "amp up" would-be rousing montage sequences.

***

Comments

Maybe the dingo ate your baby.

Seinfeld 2.9: The Stranded The Premise George and Elaine are stranded at a party in Long Island, with a disgruntled hostess.

Nanobots aren’t just for Christmas.

No Time to Die (2021) (SPOILERS) You know a Bond movie is in trouble when it resorts to wholesale appropriation of lines and even the theme song from another in order to “boost” its emotional heft. That No Time to Die – which previewed its own title song a year and a half before its release to resoundingly underwhelmed response, Grammys aside – goes there is a damning indictment of its ability to eke out such audience investment in Daniel Craig’s final outing as James (less so as 007). As with Spectre , the first half of No Time to Die is, on the whole, more than decent Bond fare, before it once again gets bogged down in the quest for substance and depth from a character who, regardless of how dapper his gear is, resolutely resists such outfitting.

Twenty dwarves took turns doing handstands on the carpet.

Bugsy (1991) (SPOILERS) Bugsy is very much a Warren Beatty vanity project (aren’t they all, even the ones that don’t seem that way on the surface?), to the extent of his playing a title character a decade and a half younger than him. As such, it makes sense that producer Warren’s choice of director wouldn’t be inclined to overshadow star Warren, but the effect is to end up with a movie that, for all its considerable merits (including a script from James Toback chock full of incident), never really feels quite focussed, that it’s destined to lead anywhere, even if we know where it’s going.

Just a little whiplash is all.

Duel (1971) (SPOILERS) I don’t know if it’s just me, but Spielberg’s ’70s efforts seem, perversely, much more mature, or “adult” at any rate, than his subsequent phase – from the mid-’80s onwards – of straining tremulously for critical acceptance. Perhaps because there’s less thrall to sentiment on display, or indulgence in character exploration that veered into unswerving melodrama. Duel , famously made for TV but more than good enough to garner a European cinema release the following year after the raves came flooding in, is the starkest, most undiluted example of the director as a purveyor of pure technical expertise, honed as it is to essentials in terms of narrative and plotting. Consequently, that’s both Duel ’s strength and weakness.

These are not soda cans you asked me to get for you.

The Devil’s Own (1997) (SPOILERS) Naturally, a Hollywood movie taking the Troubles as a backdrop is sure to encounter difficulties. It’s the push-pull of wanting to make a big meaningful statement about something weighty, sobering and significant in the real world and bottling it when it comes to the messy intricacies of the same. So inevitably, the results invariably tend to the facile and trite. I’m entirely sure The Devil’s Own would have floundered even if Harrison Ford hadn’t come on board and demanded rewrites, but as it is, the finished movie packs a lot of talent to largely redundant end.

Ours is the richest banking house in Europe, and we’re still being kicked.

The House of Rothschild (1934) (SPOILERS) Fox’s Rothschild family propaganda pic does a pretty good job presenting the clan as poor, maligned, oppressed Jews who fought back in the only way available to them: making money, lots of lovely money! Indeed, it occurred to me watching The House of Rothschild , that for all its inclusion of a rotter of a Nazi stand-in (played by Boris Karloff), Hitler must have just loved the movie, as it’s essentially paying the family the compliment of being very very good at doing their very best to make money from everyone left, right and centre. It’s thus unsurprising to learn that a scene was used in the anti-Semitic (you might guess as much from the title) The Eternal Jew .

You are not brought upon this world to get it!

John Carpenter Ranked For anyone’s formative film viewing experience during the 1980s, certain directors held undeniable, persuasive genre (SF/fantasy/horror genre) cachet. James Cameron. Ridley Scott ( when he was tackling genre). Joe Dante. David Cronenberg. John Carpenter. Thanks to Halloween , Carpenter’s name became synonymous with horror, but he made relatively few undiluted movies in that vein (the aforementioned, The Fog , Christine , Prince of Darkness (although it has an SF/fantasy streak), In the Mouth of Madness , The Ward ). Certainly, the pictures that cemented my appreciation for his work – Dark Star , The Thing – had only a foot or not at all in that mode.

Isn’t sugar better than vinegar?

Femme Fatale (2002) (SPOILERS) Some have attempted to rescue Femme Fatale from the dumpster of critical rejection and audience indifference with the claim that it’s De Palma’s last great movie. It isn’t that by a long shot, but it might rank as the last truly unfettered display of his obsessions and sensibilities, complete with a ludicrous twist – so ludicrous, it’s either a stroke of genius or mile-long pile up.

Sleep well, my friend, and forget us. Tomorrow you will wake up a new man.

The Prisoner 13. Do Not Forsake Me Oh My Darling We want information. In an effort to locate Professor Seltzman, a scientist who has perfected a means of transferring one person’s mind to another person’s body, Number Two has Number Six’s mind installed in the body of the Colonel (a loyal servant of the Powers that Be). Six was the last person to have contact with Seltzman and, if he is to stand any chance of being returned to his own body, he must find him (the Village possesses only the means to make the switch, they cannot reverse the process). Awaking in London, Six encounters old acquaintances including his fiancée and her father Sir Charles Portland (Six’s superior and shown in the teaser sequence fretting over how to find Seltzman). Six discovers Seltzman’s hideout by decoding a series of photographs, and sets off to find him in Austria. He achieves this, but both men are captured and returned to the Village. Restoring Six and the Colonel to their respective bodie

When I barked, I was enormous.

Dean Spanley (2008) (SPOILERS) There is such a profusion of average, respectable – but immaculately made – British period drama held up for instant adulation, it’s hardly surprising that, when something truly worthy of acclaim comes along, it should be singularly ignored. To be fair, Dean Spanley was well liked by critics upon its release, but its subsequent impact has proved disappointingly slight. Based on Lord Dunsany’s 1939 novella, My Talks with Dean Spanley , our narrator relates how the titular Dean’s imbibification of a moderate quantity of Imperial Tokay (“ too syrupy ”, is the conclusion reached by both members of the Fisk family regarding this Hungarian wine) precludes his recollection of a past life as a dog. Inevitably, reviews pounced on the chance to reference Dean Spanley as a literal shaggy dog story, so I shall get that out of the way now. While the phrase is more than fitting, it serves to underrepresent how affecting the picture is when it has c

Now In Full Color, with a Happier Ending

Search This Blog