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Superman IV: The Quest for Peace (1987)
Cannon my beloved
When and why did we ever decide that Superman IV is the worst thing known to man? Granted, it's a disappointing finale to the original run with Cannon's financial troubles severely hampering certain VFX shots and cutting 45 minutes from the runtime certainly not helping matters but for the most part this is a much better film than Superman III. Sidney J. Furie's direction is much more interesting than Richard Lester's, while the breezy 91-minute runtime means you often scarcely notice when plot points are brought up and dropped off at random. The regular players of the series are a joy to watch with a returning Gene Hackman going full ham, Christopher Reeve as usual takes pride in his performance and with a larger degree of creative control means a story tailored specifically to him. Annoyingly, the only one I didn't fully vibe with was Jon Cryer as Lenny Luthor, he doesn't quite have the dynamic that Ned Beatty's Otis had but it's still a decent performance for what it is. Alexander Courage's music is a worthy adaptation of John Williams' timeless themes and it's a much more interesting score than Ken Thorne's efforts for this series. Yes, Golan-Globus were clearly cutting corners to try and keep Cannon afloat but outside of reusing the same shot of Superman flying 11 times, there's a lot of good practical effects work here that aren't worthy of an outright dismissal. Superman IV: The Quest for Peace isn't the worst superhero film ever, it's rather decent and I will fight that corner till the end of time. There's much more effort on display than you'd think with the key players working well to create what is ultimately an extended tribute to the golden age of Superman comics. It being a Cannon film means I can't hate it as there's an endearing terribleness sprinkled throughout, I'm just thanking god it's not Supergirl.
Superman III (1983)
Painful
Everything about Superman III is a joke. A harsh cruel joke trashing everything that Superman was about for the sake of a cheap laugh. Right from the beginning you know they are going for total slapstick with a pratfall routine where telephone booths are toppled over and it just gets worse from there. I'd actually forgotten how much of this film doesn't work as intended until now, one expects romance, humour and grandeur, but only gets a frustrating mixture of failed opportunities and missed chances instead. The plot is nonsensical as if different scenes were written in isolation without any conception of how to link them together ultimately leaving it to the editors to try and jam them together in the editing room. What spoils the fun isn't the incoherent story or even the technophobia, it's simply overloaded. Too many ideas, too many gadgets, too many stars. The wiring all comes loose at the end; an anticlimax, and a rushed one at that. Now, I love Richard Pryor but making him the main focus of the film doesn't work and he struggled to even muster a chuckle out of me. I also like Robert Vaughan but his villainous Ross Webster is an inferior fill-in for Lex Luthor, not Vaughan's fault mind you, as he plays the character exactly how he was written. Christopher Reeve is desperately trying to make the material work, delivering another great performance but ultimately is left hampered by a lack of anything meaningful to do. Perhaps most unfitting of all is Ken Thorne's new score, which is peppered with circusy ditties, sound effects, and musical cues, we're a long way from John Williams... Arguably, Superman III is my least favourite of the original series, Lester was the wrong pick to carry on in place of Donner and it shows tenfold with this film.
Superman II: The Richard Donner Cut (2006)
I believe a man can fly.
The closest approximation to what Richard Donner's Superman II would have looked like, the result, while a bit rough around a couple of edges, is simply remarkable. The new version is paced much better but more importantly, however, is the dramatic weight that some of the restored scenes add to the film, so many scenes have now got their intended payoff, showing that happiness doesn't come without a price. The best bits of the theatrical version are here in full force with minimal scraps added later, marking the film itself as the remarkable artistic accomplishment it should have been upon initial release. Lester's laboured slapstick has been all but excised and in its place is a film that's closer in tone to the original and offers a more consistent balance between adventure and romance. The whole cast is on top form, Reeve especially, delivering his best performance as Krypton's last son, Hackmen is again fantastic when he hasn't been hampered by the rough edits of the theatrical cut, while Stamp once again steals the film as Zod with Brando being a more than welcome addition to provide a closure. John Williams' music is another winner despite the reused nature of certain scenes, his music was just made for the Man of Steel. While you can't technically classify The Richard Donner Cut as the complete version of Superman II, it's certainly the more well-rounded and emotionally resonant of the two cuts and easily my preferred version. There's really no other way to conclude this review without saluting Michael Thau and his efforts in bringing Donner's vision back to the masses without whom we would have never seen a man fly.
Superman II (1980)
KNEEL BEFORE ZOD
As much as I love elements of Superman II, there's no denying the whole film is a complete mess, seemingly made from discarded scraps retrieved from the wastepaper basket at the Daily Planet. It's too unwieldy to maintain any consistency of humour or tone, where everything you loved about the original feels off. Veering too far into over-the-top slapstick rather than the subtle camp of the original, whenever the relationships start to develop, the film has to break away for a stunt, leaving you feeling depressed and depleted. It's lost the heroic exuberance. The extreme contrasts between the material shot by Donner and Lester are often at conflicting odds, their approaches are drastically different, Donner emphasising the grandiose myth while Lester prefers the unexpected silliness. I will say that the cast is very much why this film gets so much love, Terrence Stamp is utterly fantastic as Zod with Sarah Douglas' Ursa is just as deliciously evil as her General, Gene Hackman continues to excel as Lex Luthor and Reeve's gallant and endearing efforts as the Man of Steel give the film so much heart. Ken Thorne's score does the job, especially when reusing the material conducted by Williams for the original, but it's far from his best. For what it's worth, Superman II is an entertaining follow-up that made good on the promise of evil-doers who'd challenge the man of steel for all he's worth, one that should be soaring above its predecessor but sadly fails in execution, thanks large in part to the infamous production fallout between Richard Donner and the producers.
Superman (1978)
Christopher Reeve IS Superman
Defying gravity and taking flight straight into the imagination, Superman is a pure delight, a wondrous combination of all the things we never really get tired of; adventure and romance, heroes and villains, earthshaking special effects and wonderous storytelling. Perfectly paced and tremendously directed by Richard Donner, delivering action and humour for kids and adults alike, it's something that could have only grown from one of Smallville's sun-kissed cornfields. By keeping the spectacular possibilities open, through the opening scenes of the destruction of Krypton, and the subsequent growth to the manhood of the planet's only son on the plains of the Midwest, the film allows naivety and knowingness to coexist. Granted, there's the odd narrative contrivance that I still can't get over, but for what it's worth they are minuscule in such a comforting and colourful old-school adventure yarn. The emotional core of this film for me has, and always will be, Christopher Reeve, he is pitch-perfect, both in his dignified portrayal of the last son of Krypton and his subtly humourous impersonation of mild-mannered clumsy Clark Kent, managing to play the open honestness and naivete without losing any credibility. He IS Superman. All supported by Gene Hackman's tremendous portrayal of Lex Luthor and Margot Kidder's wonderfully coy Lois Lane alongside plenty of other noteworthy and heavy-hitting performances, yes even a sleepwalking Marlin Brando. With John Williams' magnificent musical score in tow, Superman remains a visually stunning and faultlessly cast superhero film, one that broke cinematic ground upon its release, setting the benchmark for the Man of Steel and still soaring high above the clouds today.
The Day of the Dolphin (1973)
The Thinking Man's Flipper
The Day of the Dolphin is a real oddity. It's a cinematic time capsule of a goofier time that might be accused of lacking any real sense of porpoise. An atypical mix of ecological drama and political thriller, the film is truly ridiculous but works because of the values it celebrates: communication and love. Despite their material, Director Mike Nichols and George C Scott have given us a film that reminds us what love and care can do not so much for the object of affection, but for the person who tenders it. Scott, usually the most intense of actors, is rather subdued in his part here. To observe him betray moments of stricken regret is truly touching to see, all the more so for his typical appearance of such unshakable gravitas. He carries this film on his shoulders. Having trouble comprehending why anyone would want to put such creatures in harm's way, to that extent, the dolphins are the real show, the true innocents in a corrupt world. They are positively impossible to hate. The other major point of contention is the hauntingly beautiful musical score by Georges Delerue, lilting and graceful, moving through the air the way the dolphins move through the water. You may laugh at The Day of the Dolphin, but you'll feel just as guilty simultaneously, one that has you suffer utterly irreparable heartbreak.
Urutoraman Daina (1997)
History repeats. But... it changes for the better, little by little.
A sequel to Ultraman Tiga was always going to be an uphill battle and Ultraman Dyna was a struggle initially. Still, Dyna fought that battle hard, never giving up and winning me over by the journey's end. Yes, it's a bit of a step down in quality, probably not helped by the budget cuts in contrast to its predecessor, but that doesn't stop the series from giving it its all when it matters and ending on one of the most gut-punching, haunting and melancholic finales I've seen from any of the Ultra shows.
One of my major gripes with this series is its tone. Unlike Tiga, Dyna is more comedically focused, and that tone often undercuts any sense of tension or emotional beats. This frequently left me rather annoyed and disconnected in some of the more outrageous stories, but the series soon managed to find its way to getting the balance right and delivering the best of both. The lack of an overarching story for the majority of the series' runtime isn't necessarily a bad thing as there are some real standout episodes sprinkled throughout, it just lacks the drive to maintain the momentum in the sillier episodes which dominate the series.
My other gripe was with its main cast of characters, they aren't nearly as memorable as the Tiga gang, yet they all have clearly defined personalities and their headlining episodes allow them much more growth than initially expected but they still manage to feel undeveloped as a result. Asuka made for a fascinating watch as the series went on, starting as a real annoyance but pulling a massive 180 and becoming a true hero by the end. However, I don't think the reliance on the Tiga gang helped matters as they tend to crop up repeatedly throughout the series and steal the spotlight from our main team. Hell, Diago makes an appearance in the finale to inspire Asuka to keep fighting as he had done before.
I do have to applaud the production team and all their efforts on the series. The direction is usually great, the odd episode notwithstanding, I do wish we had more than one Akio Jissoji-directed episode. The model and suitmation effects are still up to the high standard of Tiga even if the CG is notably more frequent. While Tatsumi Yano delivers another fantastic score that rivals that of his work on Tiga.
Because I did it for Tiga, here are my favourite episodes from the series:
1. A New Shadow / Solar System Annihilation / Toward Tomorrow...
2. The Smile of Destruction
3. Bird of the Phantom Dream
4. Monster Drama
5. Tear of Churasa
6. The Snow of Venus
7. The 3000 Degree Heat Radiating Monster
8. The Time of Resolution
9. Captain Long-Legs
10. Soldier of Tsukuyo
I have my moans but Ultraman Dyna is still a fabulous show, it does struggle to escape the shadow of Tiga often falling back on it as a safety net, but the whole experience leaves you incredibly satisfied and notably saddened by the end. There's always hope among the darkness and Dyna provides the light even in the most dire of situations.
Ultraman Dyna: The Return of Hanejiro (2001)
I would die for Hanejiro
In many ways, The Return of Hanejiro feels similar toTiga Gaiden, but unlike Gaiden, Return of Hanejiro feels closer to the tone and content of its parent show. A last gasp of the sillier elements before the finale, this film lays the jokes on thick and fast, giving a large focus to the bumbling Miji trio. However, the silliness is in earnestness and the special is a fun little side venture, one I certainly enjoyed more than Warriors of the Star of Light, it's much better paced for one thing. Set just after Hanejiro's farewell to the cast but produced 3 years later, it ultimately means the continuity between the two is very off as everyone has noticeably aged between projects, especially Mai who is practically unrecognisable. The production values are still fantastic though, Masaki Harada's direction is great, the cast is all fun to watch and Tatsumi Yano's music is always a winner. For everything that The Return of Hanejiro does well, it does still feel like an expensive DVD extra more than its own entity, regardless... I would die for Hanejiro and I'm sure many more of us would to.
The Serpent Warriors (1987)
Eartha Kitt plays the queen of a snake cult
The Serpent Warriors seemingly owns its existence to Calamity of Snakes, taking its fair share of footage from the former to create this lowest of the lows Indiana Jones knock-off. It's an American-Hong Kong cinematic oddity that's cursed to be confined to a grotty VHS transfer for the remainder of time and exactly the kind of mess that you'd expect from a film created by three sources, each with their own plot and characters. But could you really turn down a movie in which Eartha Kitt plays the queen of a snake cult? Outside of Kitt as snake priestess, the best thing this re-edit adds to the proceedings is a jazzy, upbeat score by John Lee Sanders, otherwise, the American sequences are mostly plodding, barely-visible confusion. Still, it's one of those fascinatingly odd films that could only come from the money-grubbing world of psychotronic filmmaking, in which unravelling the story is just as compelling as the film itself. Ultimately, The Serpent Warriors is a scattershot, barely coherent mess that only the more hardened exploitation fanatics will even be able to sit through.
Pi li shi jie (1985)
Tired and stagnant
On paper, the premise for Disciples of the 36th Chamber probably sounded promising, sadly this is a disappointing finale to the 36th Chamber trilogy. There's little of the inventiveness and vitality that figured so heavily in the previous films, instead, we're given a sub-standard kung-fu revenge plot tinged with the occasional comedic beats. It feels like a product of yesteryear, marking the passing of the torch when it comes to populist Hong Kong action cinema. One that relegates Gordon Liu to a mere supporting role and focuses on the most annoying Fong Sai-Yuk in the history of Hong Kong cinema as played by Hsiao Ho. That being said, Lau Kar-Leung's direction remains particularly strong but it's his script where the film falls apart, with a few tweaks here and there, it could have been a winner. The usual production values that so epitomise a Shaw Brothers production are all here but ultimately it's at the expense of awfully sluggish pacing, this is the shortest film of the trilogy and yet it feels the longest to the point at which I felt I was zoning out. Sadly, there's not a lot to distinguish Disciples of the 36th Chamber as its own unique experience. It feels tired and stagnant, even with all its traditional Shaw Brothers style, signifying a changing tide for audiences.
Shao Lin da peng da shi (1980)
Fun-filled parody of the original
A bizarre, unconventional, almost anachronistic parody of the original 36th Chamber, Return to the 36th Chamber is just as much fun as its predecessor albeit for very different reasons. Equal parts spoof and as it is a straightforward martial arts actioner, the film recasts Gordon Liu as a down-on-his-luck con artist learning the ropes from the very character he played in the original, one that pushes Liu's comedic chops to the forefront and one he pulls off exceptionally well. The lighter tone and bigger focus on comedy oddly work in the film's favour, it's a welcome change of pace in direct contrast to the original, one that I found myself laughing at consistently. Lau Kar-leung maintains his stunning direction with just as much emphasis here on training sequences versus actual fighting which are once again a fantastic sight to behold. Admittedly, some aspects of the plot don't hold up to intensive scrutiny, but for what it is, Return to the 36th Chamber works. A fun-filled, highly engaging piece with a heightened sense of reality that will please fans and newcomers alike.
Shao Lin san shi liu fang (1978)
World's longest training arc
Offset by the longest training montage known to man, Liu Chia-Liang's trend-setting classic, The 36th Chamber of Shaolin mythologises the true story of a monk who took his martial teaching out of the temple and into the secular world and in turn boiling the revenge drama down to almost abstract levels, one that is often heralded as one of the most influential martial arts films of all time. Leung directs this movie masterfully, making fabulous use of the epic and colourful surroundings while the exceptionally choreographed fights fill the frame. The acting is great all around with Gordon Liu more than carrying his weight but the show is really stolen by Lo Leih's villainous turn as General Tien. The music is nothing overly special but works for the film. Ultimately, it's hard to fault The 36th Chamber of Shaolin regarding its technical and landmarking achievements for the kung fu genre, although granted it does take a little bit too long to get going but once it starts, it doesn't stop.
Kyôryû kaichô no densetsu (1977)
No Dinos or Monster Birds
Taking the formula established by the success of Jaws and combining it with the domestic kaiju film, Legend of Dinosaurs and Monster Birds had a decent amount of potential but ultimately shot itself right in the explosive tank before it could fully realise that. The DNA of the film feels ripped right from Nessie, the tragically cancelled collaboration between Toho and Hammer, with climate anomalies and seismic activity reviving prehistoric reptiles to terrorise the residents around a legendarily monster-haunted lake. One of those creatures is a Plesiosaurus with the film even referring to poor Nessie at a few points during its runtime, Toei was evidently listening at the walls of Toho studios one summer day. Director Junji Kurata seems to have failed to fundamentally grasp the premise of a huge monster operating by stealth and picking off its victims individually in secret, regardless, his direction is nonetheless passable. The film doesn't allow you to bond with the characters, there's little reason to care for them beyond their base archetypes, however, the actors all turn in decent performances at least. The ill-fitting and often hilariously juxtaposed music by Masao Yagi is usually the film's talking point, combining a catchy mixture of disco, funk, and jazz. Despite a healthy dosing of gory violence and some great effects work, Legend of Dinosaurs and Monster Birds is a really outlandish film, odd and sometimes surreal, it's at least capable of keeping your interest from beginning to end.
Skull Soldier (1992)
An endearingly silly DTV toku gem
A clear passion project by guitarist turned actor Masaki Kyomoto, The Skull Soldier is a relatively cheap but hugely stylised little DTV tokusatsu gem from Tsuburaya. Gritty and exploitive, the film's tone can vary wildly mixing elements of horror, comedy and rockabilly funk with graphic violence, sex & nudity. The whole thing is pretty much an unofficial live-action adaptation of Shotaro Ishinomori's The Skull Man, Kyomoto's direction is pretty great given his budgetary limitations and lack of experience. Still, I feel the film runs a bit too long for the material he's got. The comedic moments don't really endear the movie to me as they often come at the expense of an otherwise tightly plotted and well-realised story. However, the action, as brief as it is is brilliantly envisioned, the design of the titular anti-hero is exceptional, big ups Keita Amemiya, the performances are engrossing all around and the soundtrack is a superb selection of rocking synth tunes. The Skull Soldier isn't perfect by any means, but it's a special little film in its own right. Seek it out if you have the time.
Twisters (2024)
Don't face your fear, ride it.
Summoning a storm of spectacle and riding out fear in style, Twisters' forecast is a magnificent hail of familiarity, a high chance of thrills and the gale force wind of Glen Powell. The film resembles a classic 90s blockbuster in all the right ways, populated with likeable characters, great performances terrific visual effects and a killer soundtrack in tow. The self-awareness deployed isn't winking, but knowing, striking the perfect tone for a thriller-comedy that skillfully uses modern techniques to harken back to the better 90s extravaganzas, doubling down on its sound design, music and constant camera movement. Director Lee Isaac Chung is one to watch, crafting a disaster movie with a genuine heart and cinematic swagger that cannot be easily replicated, thanks large in part to the story beats by frigging Joseph Kosinski of all people. It's more than a cash grab or a lesser legacy sequel, it's all primed for a big audience with danger, romance and intrigue all wrapped into one. While the ride may be similar, you still get swept away by Twisters, recapturing the excitement and wonder of the original by building on firm foundations and taking its ideas to the extreme.
Twister (1996)
Exuberant as a roller-coaster ride
Despite its thrilling subject matter, Twister doesn't take itself all that seriously, it's fast, it's ferocious and it's also hilarious, even as it takes your breath away. Unabashed entertainment, an undemanding, full-speed-ahead joyride with tornadoes that are big, loud, violent and awesome. Anchored by an amazing array of great character actors, a surprising variety of action set pieces, outstanding sound design and top-notch effects work, director Jan De Bont and writer Michael Crichton orchestrate an irresistible and absurdly exciting piece of pure 90s joy. The film has no time to waste on character, situation, dialogue and nuance, for whenever the skies clear the film's dramatic scenes stand as holding patterns. Yet the film stays as up-tempo and exuberant as a roller-coaster ride, neatly avoiding the idea of real danger. Coupled with a great score from the severely underrated Mark Mancina, Twister sets out to leave you breathless, a thunderously terrifying blockbuster about one of the most frightening forces of nature. If it dawdles on the ground, it'll blow you away when the winds kick up.
The Monster Club (1981)
Price, Carradine and cheap rubber masks
Low production values ultimately hang over The Monster Club, more so than other Amicus films I've seen, despite that, seeing Vincent Price and John Carradine hanging out is guaranteed to deliver a darkly humourous and fun time. Essentially the combination of three elements, traditional British horror Amicus is famous for, the darkest of dark humour and a collection of fine examples of 1980s disco music, resulting in a profoundly unique experience within the Amicus catalogue. The script itself is pretty naff but the actors are all doing their best to elevate the poor material, primarily Price and Carradine who are essentially spoofing their iconic images within the realm of the horror genre, Donald Pleasence is a more than welcome addition as are the usual Hammer and Amicus regulars. Considering this was Roy Ward Baker's final theatrical effort, he does a decent job emphasising the frightening, dramatic and suspenseful possibilities directing each element accordingly, but it's far from his finest hour. I don't have much else to say about The Monster Club, it's great entertainment for an old-school horror anthology fan, one that guarantees horror laughs and plenty of disco, maybe not the best of Amicus' output, but it still has charm, a few twists and cheap rubber masks.
Thief of Hearts (1984)
Criminally forgotten
An absolutely stunning and criminally forgotten B-movie, Thief of Hearts sees the directorial debut of celebrated writer Douglas Day Stewart, a film that updates Hitchcockian filmmaking for the 80s but with a Tony Scott twist. The film had my attention the moment the darkly lit and neon-induced landscape of San Francisco appeared on the screen, for a first-time director Douglas Day Stewart successfully blends the intimate and erotic with the chilling and frightening, all heightened by the sumptuous photography of Andrew Laszlo. Although the story itself isn't wonderfully exciting or exactly original, it's the fantasy of a burglar falling for one of his victims and using his psychological advantage to seduce her that provides the fascinating hook. A sense of compassion is felt for the central character as he strives to live a fantasy of his own making that slowly starts to disintegrate due to his own dark life. The performances all around are exceptionally engaging, especially from the magnificently evil David Caruso, while the love triangle between Steven Bauer, Barbara Williams and John Getz remains consistently engrossing. Accompanied by an equally underrated Harold Faltermeyer soundtrack, Thief of Hearts is a truly tremendous film, its beauty can enchant and, more significantly, steal, which is exactly what it's done with my own heart.
Urutoraman Tiga & Urutoraman Daina: Hikari no hoshi no senshi tachi (1998)
Ultraman Dyna and the cameoing Tiga
Greatly benefitting from a larger budget and its theatrical status, Ultraman Tiga & Ultraman Dyna: Warriors of the Star of Light ultimately plays like two TV series episodes cut together as a movie and less like the team-up promised by its title. Sluggishly paced but exceptionally well-directed the film does at least look pretty fabulous, Kazuya Konaka did a great job here while Tatsumi Yano's music is as great as it has always been. The model and practical effects work is marvellous and looks tremendous in the widescreen format, although the CG character work is abundant and extremely rough. The acting from its cast is solid, but like the show, I still haven't gelled with Asuka's character as a protagonist, even if this film largely focuses on his inner turmoil and occasional suicidal thoughts. The Tiga aspect of this film is more set dressing than anything else, with the titular Ultra only showing up during the climax but conspicuously missing his host, Daigo. While it is lovely to see most of the cast of the GUTS squad again, the conspicuous absence of Hiroshi Nagano doesn't make the reunion feel authentic. Ultimately, I wish the story for this one was better, there's a lot of good stuff in here but it just fails to stick the landing.
A Sound of Thunder (2005)
Stifled creativity
I really do feel for Peter Hyams when it comes to the absolute nightmare of a production he had on A Sound of Thunder, a massively slashed budget, heavy flooding destroying sets and being forced to shoot everything on a greenscreen, ultimately stifling his creativity. What seemed like a good idea on paper goes woefully undeveloped and poorly realised. The film doesn't exactly rewrite genre history; a catastrophe of bad acting, ludicrous science and horrifically shoddy special effects that can't even follow its own internal logic from one scene to the next. Hyams' usual excellent direction feels massively paired down. Still, occasional flashes of his usual quality almost break through the ugly CG overkill. Nick Glennie-Smith's score is far from his best work and just comes across as bland. While there's a little bit of cheese that comes with the film's B-movie-style premise and Ben Kingsley's gloriously slimy corporate meanie, A Sound of Thunder ultimately doesn't land in the way it wants to, a green-screen mess without much rumble. You'll hear something, but it's not the sound of thunder. It's the sound of a snoring.
Screenplay: Road (1987)
I want to be cleaned
An adaptation of Jim Cartwright's stage play, Road unfolds on a derelict street in Manchester during the 1980s, one that director Alan Clarke takes out of the soundstage and into the real streets to capture something incredibly gritty and vivid. It's easily the talkiest Clarke film I've watched so far, the camera itself becomes the narrator, pulling us into houses and gliding down streets with the characters as they converse with each other or talk to themselves or directly to the camera, busting a hole in the fourth wall in a manner tying the film to its theatrical roots but is never less than electrifying here. As is to be expected from Clarke, the film is formally experimental and demands your attention to decipher the meaning beneath the torrent of words and does so with a real attitude that captures the character's frustrations, anger and sadness with a sharp potency. Propelled along by monologues and the rock'n'roll bounce of its soundtrack, this seductive approach peaks in an extraordinary, 8-minute monologue delivered on the move in a state of extreme agitation by actress Lesley Sharp, on a technical level alone it's a staggering sequence, but the pain and torment it registers marks it as one of the finest in all of Clarke's filmography. Although downbeat in its subject matter and its reflection of the Thatcherite desolation of communities, the film is not without its moments of real humour and the sheer energy with which it is made and performed is exceptional, everyone is firing on all cylinders here. Road is an extraordinary work made at the tail end of a remarkable career, one that leaves you aching for what Clarke might have gone on to achieve had his life not been cut so tragically short.
Gekijôban Kimetsu no yaiba: Mugen Ressha hen (2020)
Breathtakingly gorgeous
It's been a good few years since I watched the first season of Demon Slayer but I still remember it vividly as if it were yesterday, I remember being so excited for this film and yet, I never watched it I missed its cinema run and thus never continued with the series, until now. Upon restarting my journey with Mugen Train, I was thrust back into the world of Demon Slayer without a second to spare and I am so happy to have finally watched it. Continuing the exceptional style and substance of storytelling I remember, one that sets my heart ablaze, in the best way imaginable, for amid the monster-slaying, there's a pointed celebration of how human weaknesses are our true strengths. The film manages to balance being outrageously funny, action-packed and emotionally devastating simultaneously, all rendered through first-rate animation that combines classic anime character design supplemented by outstanding CGI and swooping camera work. Slick and bright, with compelling world-building alongside an unabashedly earnest emotional core, the film fantastically builds upon a carefully constructed backstory for an unknown character that we soon trust and eventually cry over, Rengoku is undoubtedly the highlight of the entire film. Especially that final fight against Akaza which left my jaw lying somewhere on the floor. Combined with its incredible soundtrack, Mugen Train ends up delivering a Demon Slayer experience on a completely different scale and it's simply awesome. Emotional, intense, violent and, ultimately, beautiful. Now, if you'll excuse me, I have some catching up to do...
3-4 x jûgatsu (1990)
still finds a master stealing home between two out-of-the-park home runs.
What Boiling Point may lack in contemplativeness, playing the material not for action or thrills but with comedy so dark and deadpan that its intent can be easily lost on many. Tranquillity explodes into violence, which recedes to its original serenity. A tale unfolding sedately against a backdrop of calm sunny stillness punctuated by shocking moments of unpalatable violence that points to the behind-the-scenes mundanity of the perceived glamour of organised crime in Japan as presented in yakuza films. As his first scripted effort, that narrative almost dissolves into abstractions and digressions, but Kitano largely stays the course with a compellingly warped look at the uniquely Japanese culture of violence. Kitano himself turns up very late in the film's runtime, his presence as welcomed as ever, leading both protagonists and viewers alike on a guided tour of the bleaker recesses of the human psyche with the lack of a musical score heightening the tone and storytelling power behind his magnificent direction. Boiling Point may not be as refined as Kitano's later works, but it more than establishes Kitano as an artist with a clear vision and distinctive style.
Point Break (1991)
Fear causes hesitation
Come for the guns and money, stay for the sun-baked aphorisms and those big blue waves. Marking the end of British Summer Time with the film that led me to actively pursue surfing as a hobby, Point Break is here to show you that the human spirit is still very much alive. It's not tragic to die doing what you love. A near-perfect action film directed with a frenzied intensity by Kathryn Bigelow and one that never seeks to patronise its own material or its audience, flawlessly marring the genre clichés of the classic '80s-model cop action picture with the elevated physicality of the '90s action films to come. Bigelow showcases not just a great eye for action, but also the psychological push and pull behind it, all complemented by the sumptuous photography of Donald Peterman. Mark Isham's hauntingly eloquent score marrying perfectly to the visuals while Keanu Reeves, Patrick Swayze and Gary Busey all drown in a sea of surf-speak and adrenaline-charged thrills, turning in fantastic performances all around. Majestically powerful, even awe-inspiring, Point Break is a true feast for the eyes and even has enough high-octane, heart-racing excitement for a dozen other films, telling us this is a film without fear of what it wants to be. Fear causes hesitation, and hesitation will cause your worst fears to come true.
Rita, Sue and Bob Too (1987)
I need a shower
Just your average day in Bradford. Contrasting bawdy laughs with astute social commentary, Rita, Sue and Bob Too get stuck in there with an ace professionalism that occasionally sees the funny side of what is essentially a miserable story. The film avoids sentimentality instead wiping the comfort from the face of a lot of dimly perceived and sloppy notions, the notions in question replaced by grim and mundanity. Clarke's direction energies the whole thing that works in conjunction with Michael Kamen's score ultimately makes the film feel like a sitcom that's gone horribly wrong, the upbeat opening song certainly sets that tone. The snap, crackle, and pop of Andrea Dunbar's screenplay reveals that sex rarely solves the problems people hope it will. While it contains no real plot, to speak of, essentially riding the beats of any story that deals with extra-marital affairs, it is in the treatment of the people it follows where the film hits the hardest. For a guy who sounds like a complete scumbag on paper, Bob is a surprisingly likeable, if obviously flawed, rascal. Rita and Sue are so loud, abrasive and willing to participate in the bizarre three-way that they it's impossible to view them as victims. The picture painted by Dunbar and Clarke of a crumbling Britain in the grip of austerity suggests that the central characters are acting out of boredom and to escape the banality of their suffocating environment, it's all played to a tee. Rita, Sue and Bob Too is a socioeconomic drama cleverly disguised as an old-fashioned sex farce (although it's probably the least sexy sex of all time) and succeeds in being socially observant and laugh-out-loud funny. One that makes you feel dirty in the most uncomfortable of ways.