Dangerous Liaisons review

 Number 601 on the top 1000 films of all time is the period drama 'Dangerous Liaisons.'

Based on the book and later stage play of the same name, Dangerous Liaisons is set in pre-revolution France. It follows two scorned socialites: the Vicomte de Valmont (John Malkovich) and the Marquise de Mertuil (Glenn Close) as they plot revenge on their ex-lovers. Michelle Pfieffer, Keanu Reeves and Uma Thurman co-star.

If there is one thing you should know by now is that I don't care for a period drama. Never have done. They've never appealed to me, often focussing on parts of history I don't care about, as well as containing characters I don't care about.

This was certainly the case with Dangerous Liaisons where the characters were painfully tedious and pretentious. They were rich people with such shallow problems that they have to invent their own conflicts to be seen as remotely interesting to outsiders. But instead of interesting, they were quite boring really.

This wasn't the fault of the actors, or at least, the older generation of John Malkovich and Glenn Close. Both of the lead actors were terrific and deserve any flowers they were given. They were much better than their younger counterparts: Keanu Reeves and Uma Thurman. Both of which were such wet blankets that it was difficult to believe they would go onto dominate Hollywood in their own respective ways.

Dangerous Liaisons was also an Oscar-darling. It was nominated for no less than seven Oscars, with Glenn Close getting a nod for Best Actress, but also going onto win Best Costume AND Best production design. I cannot deny that the production itself looked exquisite from the ways to the dresses and suits - not one hair was out of place.

I never like to judge films especially period dramas, before I've watched them. That's what I did here though and my initial judgements were completely correct. 

Days of Heaven review

 Number 317 on the top 1000 films of all time is Terrence Malik's 1978 romantic period-drama film 'Days of Heaven.'

Richard Gere and Brooke Adams play Bill and Abby - two lovers in 1916 Chicago. After Bill kills his employer, he and Abby flee to find work at a Texan farm. There they concoct a plan for Abby to marry the dying farm-owner, played by Sam Shepard, with the idea of inheriting his money after he dies, but then she falls in love with him.

After the Thin Red Line, this is the second Terrence Malik film that I've seen. I am swiftly realising that I do not like Terrence Malik films. They are tedious, pretentious and over-long. Yes, Days of Heaven, was only ninety-five minutes, but that's still too long for what was ultimately a boring film.

There were too many weird close-ups of insects and animals and not enough of things actually happening. Much like, the Thin Red Line, and that was a war film. Yet all we got was endless philosophising rather than exciting war scenes.

I was bored of Days of Heaven within the first five minutes which naturally meant I missed all the film's set-up and introduction. But even if I hadn't I don't think I would have missed much. The performances were just as bland as the script which was a surprise as you have good actors like Richard Gere, Brooke Adams and Sam Shepard. Yet the weird love triangle felt unconvincing due to the lacklustre acting. Even writing this now, I am struggling to remember the character's names.

If I were to compliment the film on anything, it would be its cinematography particularly the climatic sequence with the farm being set on fire. There was a reason why it won the Best Cinematography Oscar.

Otherwise, this was a bland, boring and tedious film. Par for the course for Terrence Malik.

Elizabeth review

 Number 763 on the top 1000 films of all time is Shekhar Kapur's 1998 biographical period-drama 'Elizabeth.'

The year is 1558, and following the death of Mary I (Kathy Burke) Elizabeth (Cate Blanchett) becomes the queen of England. However, her early days are met with many obstacles, least of all, Thomas Howard, 4th Duke of Norfolk (Christopher Eccleston) plotting to overthrow her, as well as pressure from her advisors Francis Wolsingham (Geoffrey Rush) and William Cecil (Richard Attenborough) to marry.

For this film, Cate Blanchett was nominated for her first of eight acting Oscars. She ultimately lost out to Gwyneth Paltrow for Shakespeare in Love. Many people thought Blanchett should have won instead. I haven't seen the latter film, so I can't comment, but Blanchett was impressive in this film.

It was a nuanced performance showing the slow transformation from a weak-willed queen into a powerful force of nature. When Mary of Guise stations four thousand French troops in Scotland, Elizabeth allows Norfolk to bully her into sending a conscript army of peasants to stop the French. Of course, they are all massacred.

But by the film's conclusion, she is strong enough to execute all those plotting her downfall. That isn't a spoiler by the way. Like many historical dramas, Elizabeth plays fast and loose with history, but it sticks to the fact that Elizabeth was not overthrown.

Shekhar Kapur intended the final scene of Elizabeth's would-be assassins being put to death to mirror the end of the Godfather where Michael Corleone orders for his enemies to be killed. I would also argue that in some ways Elizabeth's transformation mirrors Michael Corleone's.

Furthermore, I think that Blanchett gave a great performance in an otherwise average film. I have never been a fan of period dramas, and Elizabeth did little to move the needle. I certainly didn't find it that engaging or easy to follow. It wasn't very interesting either.

While the supporting cast were good - it was fun seeing Vincent Cassel in a more comedic role - the narrative didn't match up.

But, as is often the case, with period dramas, Elizabeth just wasn't for me.

The Last Samurai review

 Number 576 on the top 1000 films of all time is Edward Zwick's period-war drama 'The Last Samurai.'

Captain Nathan Algren (Tom Cruise) is a celebrated American civil-war hero. While his exploits of killing native-Americans has earned him a fiercesome reputation, it has also left him with severe PTSD. Sensing the prospect of future trade deals with Japan, his superiors send him to Japan to train Emperor Meji's (Shichinosuke Nakamara) army, so they can defend themselves against the rebellions led by the eponymous last samurai: Katsumoto (Ken Watanabe) and his men. Billy Connelly, Timothy Spall and Hiroyuki Sanada co-star.

The Last Samurai strongly reminded me of Kevin Costner's 'Dances with Wolves.' Both films star an American protagonist befriending and fighting alongside the enemy they're supposed to be fighting. Both films have the protagonists keep diaries as a narrative device. The difference is that the Last Samurai didn't bore me to the core. It was everything Dances with Wolves should have been.

It helped that the Last Samurai was directed by Edward Zwick who also brought the brilliant film Glory to life. Yes, he did use too much slow-motion at times, but he also presented an entertaining, watchable film that portrayed a country at war with itself. Should Japan modernise with Western traditions, clothing and, most importantly, guns, or should they stay true with their own tradition of the samurai. This is the question Zwick answers. 

It was also refreshing to see Tom Cruise in a different type of role. Yes, this isn't a million miles away from Ethan Hunt in Mission Impossible, but Nathan Algren had more depth than some of Cruise's more action-oriented roles. He is a man looking for redemption. And Cruise brought this tortured soul to life.

But the true star was Ken Watanabe. He received his only Oscar nod for this role. It was well-deserved. I thought he was brilliant as the samurai so desperately clinging onto the honour and tradition that he holds so dear. At times, it was a subtle, delicate performance, at others it was explosive, but it was always entertaining.

The cinematography and world-building was also well-textured and detailed. New Zealand stood in for Japan which explained the gorgeous cinematography.

My main gripe was with Billy Connelly who was doing some weird accent that was a hybrid between Irish and his native Scottish. It was like if they had asked Sean Connery to act with an Irish accent.

Nonetheless, I enjoyed the Last Samurai. Along with Glory, I can count it as another Edward Zwick success.

The Count of Monte Christo review

 Number 572 on the top 1000 films of all time is the swash-bucking adventure 'The Count of Monte Christo.'

Based on Alexander Dumas' novel of the same name, 'The Count of Monte Christo' follows Edmond Dantes (Jim Caviezel,) a French sailor wrongly imprisoned due to a collusion between his so-called friend Fernand (Guy Pearce) and the corrupt magistrate Villefort (James Frain.) With the help of fellow prisoner Abbe Faria (Richard Harris,) Edmund swears revenge on all who wronged him.

I enjoyed this film a lot more than I thought I would. Before watching it, I had unfairly written it off as another tedious period drama, but I was pleasantly wrong.

This was an entertaining, fun-filled drama, albeit often straying into nonsense territory, but it was good fun nonetheless. Richard Harris only appeared in a supporting role, but he provided some much-needed light relief to what else could have been an overly-serious revenge story.

Guy Pearce was very good as the slimy Fernand. With friends like him, who needs enemies. And Jim Caviezel was likeable enough as our eponymous count. But can we just talk about his accent? I think it was supposed to be an English accent, but on many occasions it strayed back into his native American accent.

But both of them were far more convincing than Luis Guzman who played Dantes' loyal manservant Jacopo. He was completely out-of-place. He also stars in Narcos and Oz as gangsters and he was far more convincing there than here. Henry Cavill also plays Fernand's son Albert. And he was such a wet blanket, it's difficult to believe that Cavill is now one of the hottest men in Hollywood.

Nevertheless, the Count of Monte Christo was a fun, swashbuckling adventure albeit with awful accents and a miscast Luis Guzman.

The Remains of the Day review

 Number 370 on the top 1000 films of all time is the 1993 drama 'The Remains of the Day.'

Based on Kazuo Ishiguro's book of the same name and set in 1930's Britain, the Remains of the Day follows the life of the buttoned-up butler Mr James Stevens (Anthony Hopkins.) He serves the wealthy Lord Darlington (James Fox) an aristocrat with Nazi sympathies. However, Mr Stevens is determined to stay professional in all aspects of his life. This professionalism is gravely challenged with the appointment of the new housekeeper Miss Sally Kenton (Emma Thompson.) She is strong-willed and more than willing to challenge Mr Stevens on all aspects of his work.

I've said it before and I'll say it again: I bloody hate period dramas. They're boring, tedious and focus on the problems of unrelatable characters. The Remains of the Day was no exception to this. And the unrelatability of the characters was its biggest weakness. Mr Stevens is a complete professional. He knows that his employer is a Nazi sympathiser, but he doesn't let that interfere with his work. He also develops feelings for Miss Kenton as does she for him. But again he refuses to let that interfere with his work. He is your archetypal British Keep Calm and Carry On character. And that's what made him very unrelatable and unlikeable.

By his very nature, he is a closed-off and unemotional character. Closed-off to his peers, his employer and to Miss Kenton, but also to the audience as well. How are we supposed to root for such an emotionally dead character? We were given so little to work with. Emma Thompson as Miss Kenton was far more engaging. Granted, she is supposed to be the polar opposite of Mr Stevens, but she was far more likeable. Mr Stevens was a cold fish and Miss Kenton was very warm.

Because I found it so difficult to sympathise with Mr Stevens, I found the main storyline very unengaging. I was far more interested in the film's setting: 1930's Britain in the run-up to World War Two. Lord Darlington is a diplomat with Nazi sympathies. He is hosting other German diplomats in the hopes of maintaining a peace at the chagrin of other guests such as the American Congressman Lewis (Christopher Reeve) who believes that Nazi Germany is a threat. This gave to a great dramatic tension that was far more interesting to watch.

Maybe if I didn't hate period dramas so much, I would have liked this film more, but I really did not enjoy it. 

Gosford Park review

 Number 992 on the top 1000 films of all time is Robert Altman's 2001 period drama/murder mystery Gosford Park.

Sir William McCordle (Michael Gambon) is a wealthy industrialist, married to Lady Sylvia (Kristin Scott Thomas) who invites a group of equally wealthy Britons and one American to dine in his country estate. Some of these guests include Sylvia's aunt Constance, Dowager Countess of Trentham) (Maggie Smith,) William's brother-in-law Raymond, Lord Stockbridge (Charles Dance,) film star and William's cousin Ivor Novello (Jeremy Northam) and American film producer Morriss Weissman (Bob Balaban.) However, when one of the party is discovered dead, everybody becomes a suspect. This includes all of the downstairs staff. Richard E. Grant, Kelly Macdonald, Emily Watson, Eileen Atkins and Helen Mirren star as some of the butlers, valets, cooks and housekeepers.

I can totally understand why this film is so low down on this list. It was so boring. When things actually got going, it did start to pick up, but it takes over an hour for things to get going. Prior to anybody being murdered, it was an endless onslaught of rich, pretentious people talking about rich and pretentious things. All of the characters very much blurred into one and it was difficult to distinguish between them all. The cast was far bigger than it had any right to be.

This is a period drama and I bloody hate period dramas, so, no doubt, I do have some bias toward this film. Period dramas have never been something that's interested me. They're full of unrelatable characters with unrelatable problems. And I don't know why they're called dramas. There's nothing dramatic or remotely interesting about them. That criticism very much applies to Gosford Park too.

 Julian Fellowes wrote Gosford Park, so it's no surprise that the film turned out the way it did. He's part of the House of Lords and a member of the British landed gentry. Originally, Downton Abbey, which Julian Fellowes also wrote, was supposed to be a spin-off of Gosford Park, before it became its own show. I haven't watched Downton Abbey and I have no bloody intention to now.

As I said, once somebody actually dies, things become interesting, because we have a mystery to solve. We're treated to Stephen Fry playing the incompetent Inspector Thompson. He really helped to liven up the stuffy atmosphere. But why do we have to wait over an hour to get to this point? By this point, I had almost lost interest in the film. It was all so pretentious.

I really did not care for Gosford Park at all. It was overly-long, boring, pretentious and a sheer waste of the acting talent involved. But I am biased toward period dramas, so maybe that's just me.

Lust Caution review

 Number 699 on the top 1000 films of all time is Ang Lee's erotic, period-war drama 'Lust Caution.'

During the second Sino-Japanese war, Wong Chia Chi (Tang Wei) is a naive Shanghainese student going to study in Hong Kong which is currently being occupied by Japan in 1938. There she joins the patriotic drama club led by Kuang Yumin (Wang Leehorn,) but soon they decide to make a more meaningful contribution to the war by proposing to assassinate collaborator and puppet leader Mr Yee. Wang (Tony Leung Chiu-Wai) is drawn into a world of lies and conspiracies, as she is at the centre of a honey trap to catch and kill Mr Yee.

Lust, Caution begins in 1938 during the Second Sino-Japanese war before continuing to 1942 Shanghai where part of China were under Japanese occupation. It was very interesting seeing another side of the Second World War. Naturally, many WW2 films in the West focus on WW2 in the West. But there was a whole other war going on in the east. And that isn't something that is really talked about enough. It made a refreshing change to all the Nazi Germany/holocaust films I've watched.

In some ways, this film reminded me of the Dutch film Black Book. Lust, Caution also had morally grey characters conflicted by their own emotions. This created a great dramatic tension that progressed the film nicely. You are wondering when Kuang's plan is going to go wrong. But guessing where and how is what kept me hooked. The production was brilliant as well. From the costume to the set design, I really felt like I was in 1930's Hong Kong/1940's Shanghai.

But, of course, we have to talk about what the film is famous for and that's the sex scenes. It is an erotica after all. Unlike virtually all other sex scenes in films, these actually served the plot and weren't there for pure titillation. To get close enough to the ultra-careful Mr Yee to actually kill him, wang agrees to become his mistress. Initially, she is a virgin, but one of her comrades takes her virginity in an awkward encounter, very befitting of the context. It is the later scenes with Mr Yee that become passionate and steamy. So steamy that the actors themselves were asked if the sex was unsimulated.

The initial sex scene demonstrated Wang's nervousness, but she grows in confidence, as she becomes more committed to her cause. In may ways, it's a theme of female empowerment. In the initial scene, she has her power taken from her, as was China's when Japan invaded, but she slowly takes it back in the later scenes.

This was a very good film. It focussed on a lesser-known part of history with a great parody element. It's probably just best not to watch this with your parents.

Sense and Sensibility review

 Number 580 on the top 1000 films of all time is Ang Lee's 1995 period drama 'Sense and Sensibility.'

Based on Jane Austen's book of the same name, Sense and Sensibility follows the Dashwood sisters: Elinor (Emma Thompson) and Marianne (Kate Winslet) after their father (Tom Wilkinson) dies leaving them penniless. To guarantee their financial security, they must marry. Colonel Brandon (Alan Rickman) and Edward Ferrars (Hugh Grant) are their respective suitors.

In completing this challenge, I naturally watch a lot of films and genres that I would have no interest in otherwise. But I aim to watch these with an open mind. Unfortunately, I have never been a fan of period dramas or Jane Austen. I know...I know, I'm a culturally ignorant philistine, but they're so boring. And Sense and Sensibility was no exception. The characters are so far removed from me that I would never relate to them. And the dialogue was as verbose and stuffy as I would expect any adaptation from an nineteenth century book. Emma Thompson wrote the screenplay and she went onto the win the Oscar. Good for her; in some ways she was a trailblazer for women, like Jane Austen before her. I'm just never going to care about a bunch of rich white people having rich white people problems.

The drama and the stakes were so unbelievably low that there was never any dramatic tension. Nothing exciting happens. Nothing happens. I couldn't have cared less about the Dashwood sisters, so I wasn't particularly bothered whether they went destitute or not. Elinor was slightly less annoying than Marianne who spends most of the film being carried around by the male leads. One point she falls and twists her ankle, but you would think that she's just witnessed a murder. At the end of the film, she runs off into the torrential rain and catches pneumonia causing a big trouble to the rest of the characters. But I guess that's what Marianne is supposed to be like whereas Elinor is more sensible and headstrong.

For me, the one saving grace of this film was Hugh Laurie who had a small but scene-stealing role of Mr Palmer. He and Imelda Staunton, who plays Mrs Palmer, provide a bit of light relief with funny, sarcastic jabs to one another. I say light relief, the film doesn't really need it. It's hardly a dramatic thriller, now, is it? 

I remember when my sisters dragged me to see the 2005 adaptation of Pride and Prejudice in the cinema. I was so disinterested that I actively slept through the whole film. I should have the done same with Sense and Sensibility. I wouldn't have missed anything.

Master and Commander: Far Side of the World review

 Number 917 on top 1000 films of all time is the period-drama Master and Commander: Far Side of the World.

Captain "Lucky Jack" Aubrey (Russell Crowe) and Dr Stephen Matinue (Paul Bettany) are stationed on the HMS Surprise during the onset of the Napoleonic Wars. They are tasked with hunting down and catching the feared French frigate, the Acheron. But Jack's dedication to his duty soon turns to arrogance, as he is determined to catch this ship at all costs. In doing so, he endangers the lives of his whole crew.

I've never been a fan of period dramas. That's usually because there's a lack of stakes. I'm not saying I need gunfights and explosions, but a sense of life and death helps to add some drama. Obviously, the stakes aren't the same in a period drama, and, as such, they're not always very exciting to watch.

At times, I felt the same about Master and Commander. Although, it is Lucky Jim's brashness that is putting the crew into danger, how much danger are they actually in? Nobody of any significance dies until the final act. The exception that proves the rule is Captain of the Mizzentop, William Warley (Joseph Morgan) who is thrown overboard in a storm. Caught between saving his crew member or his ship, Jack saves the ship. Yet he doesn't face any consequences from this action. In fact, Will's death is attributed to Midshipman Hollam (Lee Ingleby) who is ostracised by the crew as a Jonah. He later commits suicide. Perhaps the characterising as Jack was "lucky" was a mistake. He and his crew too easily overcome all their obstacles.

This isn't to deride Russell Crowe's performance. I've not always spoken too fondly of Crowe - I think he is quite wooden at times, but he was good here. His accent was certainly more consistent than some of his other films.

Honestly, the stakes felt higher with Paul Bettany's character of Dr Steven Maturin. He had something to lose. A scientist, first and foremost, he has the opportunity to study the animals of the Galapagos islands. But despite multiple promises from Lucky Jack, he never gets the chance. This puts their friendship to the ultimate test. Both actors worked well together with Bettany being a calming presence to Crowe's megalomania.

Although this film was watchable, it wasn't really for me. The two leads gave good performances, but I'm just not a fan of period dramas.

There Will Be Blood review

 Number 224 of on the top 1000 films of all time is Paul Thomas Anderson's epic period drama There Will be Blood.

Daniel Day-Lewis plays Daniel Plainview, a prospector turned ruthless oil tycoon in Southern California. Over the course of three decades, we see the rise and fall of his empire, as well as his tempestuous relationship with local preacher Eli Sunday (Paul Dano.)

I'll readily admit that I'm not a fan of period dramas. Generally, I find them slow and boring. I'm just not interested enough in their subject matter. And There Will be Blood  was no exception. This is no disrespect to Mr Day-Lewis. There is no doubt that Plainview is a despicable character. After his adopted son is deafened by an explosion, Plainview sends him to a special school to save him the trouble of raising him. He also cheats the Sundays out of their land and refuses to allow Eli to bless his new wells. 

Despite this he is still a very charismatic character to watch. I wouldn't necessarily say I wanted him to achieve his goals, but I was intrigued to see what would happen. And this was down to Day-Lewis' strong portrayal. He gave a character who could have easily been a stereotypical, moustache-twirling panto villain, a humanity and moral greyness.

I just wish Anderson had this in a shorter amount of time. At times, there is a lot of talking and the pacing was slow. I'm not sure we needed to spend as long as we did on Plainview's fake brother Henry (Kevin J O'Connor.) But maybe that ties in well into the central idea behind the film: it doesn't matter how rich you are if you're the only one enjoying the wealth. Plainview turns his son against him and kills the fraudster impersonating his brother. I wasn't entirely clear on the motivations of the fraudster, but presumably it was to steal Plainview's money.

The film climaxes with Plainview's rivalry with Eli bubbling over into a fall-on confrontation. Plainview beats Eli to death and the film ends with Plainview sitting alone in his massive mansion, a somewhat obvious metaphor for how the pursuit of wealth can leave you lonely.

I did want to enjoy this film more than I did. Day-Lewis truly earned his second Oscar win, but the pacing could have been faster with far less shots of the desert landscape. But hey, maybe that's just me. As I've said, I'm just not a fan of period dramas.