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.

***

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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.

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.

To defeat the darkness out there, you must defeat the darkness inside yourself.

The Chronicles of Narnia: The Voyage of the Dawn Treader (2010)
Easily the best of the Narnia films, which is maybe damning it with faint praise.

Michael Apted does a competent job directing (certainly compared to his Bond film - maybe he talked to his second unit this time), Dante Spinotti's cinematography is stunning and the CGI mostly well-integrated with the action.

Performance-wise, Will Poulter is a stand-out as a tremendously obnoxious little toff, so charismatic you're almost rooting for him. Simon Pegg replaces Eddie Izzard as the voice of Reepicheep and delivers a touching performance.
***

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…

Hello Johnny, how are you today?

Twin Peaks 3.10: Laura is the one.
(SPOILERS) I’ve a theory that all it takes to tip a solid episode of Twin Peaks (in any season) into a great one are three or four slices of sublime strangeness. The rest can hum along amiably, in contrast to that electricity the Log Lady has something to say about, but it’s those scenes that define the overall shape and energy. Laura is the one has a good three or four, and maybe the funniest sustained Lynchian visual gag so far.

That comes in the form of the Mitchum brothers, or to be more precise Robert Knepper’s Rodney. He’s aided and abetted by Candie (Amy Shiels), part airhead, part fruit bat, attempting to swat a fly while Rodney examines casino surveillance logs. And like most of the director’s comic gold, this goes on and on and on, and you absolutely know it will end with Rodney getting clobbered. I wasn’t expecting it to be with the TV remote, though.

I’m not certain Candie’s mental state, sustained though it is, is going to be about anyth…

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 Spanleywas 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 cause to be, as does any re…

That Freud stuff’s a bunch of hooey.

Spellbound (1945)
Spellbound is something of a stumbling follow-up to Rebecca, producer David O Selznick’s previous collaboration with Hitchcock. Selznick was a devotee of psychoanalysis, and the idea of basing a film on the subject was already in the mind of the director. To that end, the producer’s own therapist, May Romm, was brought in as a technical advisor (resulting in Hitchcock’s famous response when she pointed out an inaccuracy, “My dear, it’s only a movie”).

I’ve had enough of this 2012 Alamo bullshit.

13 Hours: The Secret Soldiers of Benghazi (2016)
(SPOILERS) Not The Secret Private Military Contractors of Benghazi, as that might sound dubious in some way, and we wouldn’t anything to undermine their straight-shooting heroism. That, and interrogating the politics of the US presence in Libya, official and unofficial, and involvement in the downfall of Gaddafi (Adam Curtis provides some solid nuggets in his rather sprawling HyperNormalisation), is the furthest thing from Michael Bay’s mind. Indeed, it’s a shame 13 Hours: The Secret Soldiers of Benghazi bears the burden of being a tale based on (murky and disputed) facts, as it’s Bay’s most proficient piece of filmmaking in some time.

So, you’re not going to find out what the CIA was actually up to in their Benghazi base (most likely, the dodgiest conclusion you can reach will be the right one). You’ll only be informed that a brave team of ex-military types were there to protect them, and stepped up to the plate, just as soon as they got …

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.

Now In Full Color, with a Happier Ending

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