Not much sun in my story.

Jane Got a Gun

(2016)

(SPOILERS) Movies with the turbulent production history of Jane Got a Gun invariably end up flopping, as often as not because the studio involved, having lost all faith, dumps them. Director Lynne Ramsay dropped out over control issues, Michael Fassbender had already dropped out over Lynne Ramsay issues, Joel Edgerton flipped from bad guy to good guy, Jude Law, Bradley Cooper and finally Ewan McGregor were cast as the villain, and competent journeyman Gavin O’Connor took over the reins. Natalie Portman remained just where she was, though, as did the title, rather suggesting a revenger this is not, at least tonally.

When O’Connor came on board, Edgerton and Anthony Tambakis (the upcoming Bad Boys for Life) rewrote Brian Duffield’s screenplay. One wonders at its state in the first place, as there’s little here that is strikingly different or remarkable. If you’ve seen the likes of 3:10 to Yuma and Open Range (to name a couple of examples from just this century), you’ll recognise the long, slow build-up to the climactic shootout, and the bad guys wanting to get the good guys (or gals) is about as traditional as it comes. What Jane Got a Gun, obviously from the title, boasted was a female lead, although this doesn’t have the pop rewiring or sensibility of Bad Girls or The Quick and the Dead.

Portman’s Jane fails to becomes a shit-hot markswoman, employing Edgerton’s ex-Dan Frost to provided gunslinging skills when hubby Noah Emmerich falls foul of the dread Bishop gang (led by McGregor’s John Bishop) and lies mortally imperilled. What follows, during the planning for the inevitable, is a sometimes-ungainly flashback structure detailing how it was that Jane and Dan became estranged and how she finished up where she is. While scenes involving her encounter with the Bishops, and in particular a sequence where Emmerich bursts in on a brothel, are effective, those with Dan mostly aren’t, including a particular fetid hot air balloon sequence.

The main upside to the flashbacks is McGregor’s remarkably strong performance. With a Tom Selleck moustache and his grin firmly curtailed, along with a decent stab at an accent (an area where he generally falters), he makes for a convincingly steely rotter, and is ably assisted by Boyd Holbrook as his slightly m-m-mad younger brother.

En route to a well-staged climax are several altercations and classic (or clichéd, depending on your tastes) exchanges (“Pain you to take a life like that?” asks Jane; “Pain me a lot more to let him do it to me” replies Dan – if it was Clint in this exchange, it would have carried better), and O’Connor seems to have more affinity for the desert environs, even given his short-notice attachment to the project, than for earlier fully-fledged vehicles (the likes of Miracle, Pride and Glory and Warrior are competent but unremarkable movies).

Jane’s cathartic encounter with Bishop is a little on the pedestrian side, but you knew it was heading that way; the cop out regarding the presumed dead daughter is a really quite terrible cheat, though, suggestive of a slew of studio-mandated changes; the truncated running time too may be indicative of scenes ending up on the cutting room floor. Nevertheless, Jane Got a Gun doesn’t deserve to have been roundly ignored the way it was. It’s a serviceable little western, well-performed all round and delivering where it counts.

Agree? Disagree? Mildly or vehemently? Let me know in the comments below.

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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…

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Crazy Rich Asians (2018)
(SPOILERS) The phenomenal success of Crazy Rich Asians – in the US at any rate, thus far – might lead one to think it's some kind of startling original, but the truth is, whatever its core demographic appeal, this adaptation of Kevin Kwan's novel taps into universally accepted romantic comedy DNA and readily recognisable tropes of family and class, regardless of cultural background. It emerges a smoothly professional product, ticking the expected boxes in those areas – the heroine's highs, lows, rejections, proposals, accompanied by whacky scene-stealing best friend – even if the writing is sometimes a little on the clunky side.

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Screamers (1995)
(SPOILERS) Adapting Philip K Dick isn’t as easy as it may seem, but that doesn't stop eager screenwriters from attempting to hit that elusive jackpot. The recent Electric Dreams managed to exorcise most of the existential gymnastics and doubts that shine through in the best versions of his work, leaving material that felt sadly facile. Dan O'Bannon had adapted Second Variety more than a decade before it appeared as Screamers, a period during which he and Ronald Shusett also turned We Can Remember It For You Wholesale into Total Recall. So the problem with Screamers isn't really the (rewritten) screenplay, which is more faithful than most to its source material (setting aside). The problem with Screamers is largely that it's cheap as chips.

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The Predator (2018)
(SPOILERS) Is The Predator everything you’d want from a Shane Black movie featuring a Predator (or Yautja, or Hish-Qu-Ten, apparently)? Emphatically not. We've already had a Shane Black movie featuring a Predator – or the other way around, at least – and that was on another level. The problem – aside from the enforced reshoots, and the not-altogether-there casting, and the possibility that full-on action extravaganzas, while delivered competently, may not be his best foot forward – is that I don't think Black's really a science-fiction guy, game as he clearly was to take on the permanently beleaguered franchise. He makes The Predator very funny, quite goofy, very gory, often entertaining, but ultimately lacking a coherent sense of what it is, something you couldn't say of his three prior directorial efforts.

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It Couldn't Happen Here (1987)
(SPOILERS) "I think our film is arguably better than Spiceworld" said Neil Tennant of his and Chris Lowe's much-maligned It Couldn't Happen Here, a quasi-musical, quasi-surrealist journey through the English landscape via the Pet shop Boys' "own" history as envisaged by co-writer-director Jack Bond. Of course, Spiceworld could boast the presence of the illustrious Richard E Grant, while It Couldn't Happen Here had to settle for Gareth Hunt. Is its reputation deserved? It's arguably not very successful at being a coherent film (even thematically), but I have to admit that I rather like it, ramshackle and studiously aloof though it is.

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Ghostbusters (2016)
(SPOILERS) Paul Feig is a better director than Ivan Reitman, or at very least he’s savvy enough to gather technicians around him who make his films look good, but that hasn’t helped make his Ghostbusters remake (or reboot) a better movie than the original, and that’s even with the original not even being that great a movie in the first place.

Along which lines, I’d lay no claims to the 1984 movie being some kind of auteurist gem, but it does make some capital from the polarising forces of Aykroyd’s ultra-geekiness on the subject of spooks and Murray’s “I’m just here for the asides” irreverence. In contrast, Feig’s picture is all about treating the subject as he does any other genre, be it cop, or spy, or romcom. There’s no great affection, merely a reliably professional approach, one minded to ensure that a generous quota of gags (on-topic not required) can be pumped out via abundant improv sessions.

So there’s nothing terribly wrong with Ghostbusters, but aside from …

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The Avengers 2.23: The Positive-Negative Man
If there was a lesson to be learned from Season Five, it was not to include "man" in your title, unless it involves his treasure. The See-Through Man may be the season's stinker, but The Positive-Negative Man isn't far behind, a bog-standard "guy with a magical science device uses it to kill" plot. A bit like The Cybernauts, but with Michael Latimer painted green and a conspicuous absence of a cool hat.

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The Avengers 5.24: Mission… Highly Improbable
With a title riffing on a then-riding-high US spy show, just as the previous season's The Girl from Auntie riffed on a then-riding-high US spy show, it's to their credit that neither have even the remotest connection to their "inspirations" besides the cheap gags (in this case, the episode was based on a teleplay submitted back in 1964). Mission… Highly Improbable follows in the increasing tradition (certainly with the advent of Season Five and colour) of SF plotlines, but is also, in its particular problem with shrinkage, informed by other recent adventurers into that area.

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Pirates of the Caribbean: Salazar’s Revenge (aka Pirates of the Caribbean: Dead Men Tell No Tales) (2017)
(SPOILERS) The biggest mistake the Pirates of the Caribbean sequels have made is embracing continuity. It ought to have been just Jack Sparrow with an entirely new cast of characters each time (well, maybe keep Kevin McNally). Even On Stranger Tides had Geoffrey Rush obligatorily returning as Barbossa. Although, that picture’s biggest problem was its director; Pirates of the Caribbean: Salazar’s Revenge has a pair of solid helmers in Joachim Rønning and Espen Sandberg, which is a relief at least. But alas, the continuity is back with a vengeance. And then some. Why, there’s even an origin-of-Jack Sparrow vignette, to supply us with prerequisite, unwanted and distracting uncanny valley (or uncanny Johnny) de-aging. The movie as a whole is an agreeable time passer, by no means the dodo its critical keelhauling would suggest, albeit it isn’t even pretending to try hard to come up with …

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Beyond the Black Rainbow (2010)

If Panos Cosmatos’ debut had continued with the slow-paced, tripped-out psychedelia of the first hour or so I would probably have been fully on board with it, but the decision to devolve into an ‘80s slasher flick in the final act lost me.

The director is the son of George Pan Cosmatos (he of The Cassandra Crossing and Cobra, and in name alone of Tombstone, apparently) and it appears that his inspiration was what happened to the baby boomers in the ‘80s, his parents’ generation. That element translates effectively, expressed through the extreme of having a science institute engaging in Crowley/Jack Parsons/Leary occult quests for enlightenment in the ‘60s and the survivors having become burnt out refugees or psychotics by the ‘80s. Depending upon your sensibilities, the torturously slow pace and the synth soundtrack are positives, while the cinematography managed to evoke both lurid early ‘80s cinema and ‘60s experimental fare.

Ultimately the film takes a …

Now In Full Color, with a Happier Ending

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