Movie Reviews: G-H

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 can’t climb a ladder, no. But you can skip like a goat into a bar.

Juno and the Paycock (1930)
(SPOILERS) Hitchcock’s second sound feature. Such was the lustre of this technological advance that a wordy play was picked. By Sean O’Casey, upon whom Hitchcock based the prophet of doom at the end of The Birds. Juno and the Paycock, set in 1922 during the Irish Civil War, begins as a broad comedy of domestic manners, but by the end has descended into full-blown Greek (or Catholic) tragedy. As such, it’s an uneven but still watchable affair, even if Hitch does nothing to disguise its stage origins.

I mean, I am just a dumb bunny, but, we are good at multiplying.

Zootropolis (2016)
(SPOILERS) The key to Zootropolis’ creative success isn’t so much the conceit of its much-vaunted allegory regarding prejudice and equality, or – conversely – the fun to be had riffing on animal stereotypes (simultaneously clever and obvious), or even the appealing central duo voiced by Ginnifier Goodwin (as first rabbit cop Judy Hopps) and Jason Bateman (fox hustler Nick Wilde). Rather, it’s coming armed with that rarity for an animation; a well-sustained plot that doesn’t devolve into overblown set pieces or rest on the easy laurels of musical numbers and montages.

You know what I think? I think he just wants to see one cook up close.

The Green Mile (1999)
(SPOILERS) There’s something very satisfying about the unhurried confidence of the storytelling in Frank Darabont’s two prison-set Stephen King adaptations (I’m less beholden to supermarket sweep The Mist); it’s sure, measured and precise, certain that the journey you’re being take on justifies the (indulgent) time spent, without the need for flashy visuals or ornate twists (the twists there are feel entirely germane – with a notable exception – as if they could only be that way). But. The Green Mile has rightly come under scrutiny for its reliance on – or to be more precise, building its foundation on – the “Magical Negro” trope, served with a mild sprinkling of idiot savant (so in respect of the latter, a Best Supporting Actor nomination was virtually guaranteed). One might argue that Stephen King’s magical realist narrative flourishes well-worn narrative ploys and characterisations at every stage – such that John Coffey’s initials are announcement enough of his…

We live in a twilight world.

Tenet (2020)
(SPOILERS) I’ve endured a fair few confusingly-executed action sequences in movies – more than enough, actually – but I don’t think I’ve previously had the odd experience of being on the edge of my seat during one while simultaneously failing to understand its objectives and how those objectives are being attempted. Which happened a few times during Tenet. If I stroll over to the Wiki page and read the plot synopsis, it is fairly explicable (fairly) but as a first dive into this Christopher Nolan film, I frequently found it, if not impenetrable, then most definitely opaque.

Seems silly, doesn't it? A wedding. Given everything that's going on.

Harry Potter and the Deathly Hallows Part I (2010)
(SPOILERS) What’s good in the first part of the dubiously split (of course it was done for the art) final instalment in the Harry Potter saga is very good, let down somewhat by decisions to include material that would otherwise have been rightly excised and the sometimes-meandering travelogue. Even there, aspects of Harry Potter and the Deathly Hallows Part I can be quite rewarding, taking on the tone of an apocalyptic ‘70s aftermath movie or episode of Survivors (the original version), as our teenage heroes (some now twentysomethings) sleep rough, squabble, and try to salvage a plan. The main problem is that the frequently strong material requires a robust structure to get the best from it.

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.

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…

Old Boggy walks on Lammas Eve.

Jeeves and Wooster 2.5: Kidnapped (aka The Mysterious Stranger)
Kidnapped continues the saga of Chuffnell Hall. Having said of 2.4 that the best Wodehouse adaptations tend to stick closely to the text, this one is an exception that proves the rule, diverging significantly yet still scoring with its highly preposterous additions.

Jeeves: Tis old boggy. He be abroad tonight. He be heading for the railway station.
Gone are many of the imbroglios involving Stoker and Glossop (the estimable Roger Brierley), including the contesting of the former’s uncle’s will. Also gone, sadly, is the inebriated Brinkley throwing potatoes at Stoker, which surely would have been enormous fun. Instead, we concentrate on Bertie being locked aboard Stoker’s yacht in order to secure his marriage to Pauline (as per the novel), Chuffy tailing Pauline in disguise (so there’s a different/additional reason for Stoker to believe Bertie and she spent the night together, this time at a pub en route to Chufnell Hall) and …

That’s a surprising amount of controversy for a gin and lemonade.

The Trial of the Chicago 7 (2020)
(SPOILERS) If The Trial of the Chicago 7 feels like the kind of fare that might once have been prestige Oscar bait, that’s probably because it was intended to be. Doubtless accompanied by numerous speeches about how its subject matter is more relevant than ever. And maybe Paramount and DreamWorks, after more than a decade of development hell, hoped it still had a shot. Maybe, in a year with as little competition as this, it does. The picture finished up on Netflix, of course, which is a good fit for Aaron Sorkin’s lightweight but engaging approach. There’s nothing very much that goes beyond a practised eye for dramatically repurposed biographical fare, as you’d expect from the writer/adaptor of The Social Network, Moneyball and most recently Molly’s Game.

Now In Full Color, with a Happier Ending

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