Invictus review

Number 957 on the top 1000 films of all time is Clint Eastwood's biographical sports-drama Invictus.

Four years after being released from prison, Nelson Mandela (Morgan Freeman) is elected as president of a South Africa still recovering from Apartheid. However, he believes he can unite the country by helping the South African rugby team, 'the Springboks,' captained by Francois Pienaar (Matt Damon) win the 1995 Rugby World Cup. But this will be easier said than done as for many of the black South Africans, the Springboks still represent the Apartheid.

Invictus marks the third collaboration between Freeman and Eastwood after Unforgiven and Million Dollar Baby. I didn't much care for Million Dollar Baby, as I'm not a boxing fan. I'm also not a rugby fan, so I didn't think I would like Invictus, but I did.

Whether I like sport or not, there is no denying that it has the power to unite people across different countries, colours, cultures and creeds. Will this be the case with South Africa? A country that's been ravaged by Apartheid. That's what Invictus explored.

Mandela certainly had a big task on his hands. His goal of uniting his country through rugby is met with cynicism from both his supporters and detractors. And we see this on both the macro and the micro-level, as whites and blacks must work together for the common good. Mandela's black security detail resent having to work with their white counterparts and vice versa. But over time, the the men begin to bond shown through a lovely sequence of the two sides playing a friendly game of rugby each other. 

It certainly helped when you had an actor like Morgan Freeman playing Mandela. He had the same charisma you would expect from any Freeman role. Apparently, he was so convincing that even Mandela's wife had trouble telling the two apart. Freeman was nominated for the Best Actor Oscar ultimately losing to Jeff Bridges in Crazy Heart.

However, I don't think that Matt Damon was anything special. Anybody could have played the role of Francois Pienaar. I'm not entirely sure how he got a Best Supporting Oscar nod where he ultimately lost to Christolph Waltz in Inglorious Basterds. Although I did like the scene where Pienaar and the rest of the team visit where Mandela was imprisoned on Robben Island. I've done this trip myself and it was powerful.

*Spoiler alert* South Africa go on to win the 1995 world Rugby World cup just like they do in real life. As one might expect, the ending becomes incredibly cheesy and silly, as their winning moments are played in slow-motion. I couldn't stop laughing as I heard all the rugby players grunting in slow-motion. It was very stupid.

But that doesn't matter as South Africa won the tournament and have since won three more. Has that resulted in a fully unified South Africa? Maybe not, but it's a damn good start.

Flags of Our Fathers review

 Flags of our Fathers (FOOF) accompanies Letters from Iwo Jima (LFIJ.) Having seen the latter companion film first, it only made sense to watch this film too.

John "Doc" Bradley (Ryan Philippe,) Ira Hayes (Adam Beach) and Rene Gagnon (Jesse Bradford) are three of the six men who raised the flag on the Japanese island of Iwo Jima, on day five of the American's successful invasion, during the last few months of WW2. When their three colleagues subsequently die, Doc, Hayes and Gagnon are sent back home to raise money for the war effort. However, none of the three see themselves as heroes.

FOOF and LFIJ have their similarities. They tell similar stories from different perspectives and they're both directed by Clint Eastwood. However, LFIJ made it onto the top 1000 films of all time whereas FOOF didn't. LFIJ was subtle, nuanced and complex, but FOOF had all the subtlety of a sledge-hammer to the face.

A lot of that was down to the writing. FOOF was penned by Paul Haggis who also wrote the less-than-subtle Crash. It is no secret that the US treats it veterans appallingly. Sure when they're winning wars, the US is happy to spend billions on them, but as soon as they return home with PTSD and missing limbs, all that support evaporates. Just look at how many homeless veterans litter the streets of the USA.

Although this was an important point to address, it was far too on the nose. These three PTSD-suffering veterans are forced to raise money for a cause they no longer believe in. They're made to re-enact the flag-planting on a giant papier-mache mock-up of Mount Suribachi in front of a stadium of fans. This was supposed to be a comment on how badly military veterans are being exploited, but the real kicker, for me, came when the veterans were given little marble replicas of their flag-raising effort accompanied by either chocolate or strawberry sauce. Naturally, the strawberry sauce looked like blood.

Out of the three leads, I thought Adam Beach was the best, although that isn't saying much. Ira Hayes has intense PTSD; he is most resistant about going on the bond drive. To drown his sorrows, he turns to drink. And to top everything off, he is of the Pima tribe and faces intense discrimination despite his hero-status. But Adam beach played the role with gravitas and sympathy. He was certainly better than Ryan Philppe who scowled his way through the film. And Jesse Bradford was as bland as a ham sandwich.

FOOF was definitely a dud in Eastwood's directing repertoire. It was watchable enough, but quite rightly did not deserve a place on the top 1000 films of all time. 

Letters from Iwo Jima review

 Number 362 on the top 1000 films of all time is the Japanese-language American-produced Letters from Iwo Jima.

General Kuribayashi (Ken Watanabe) is granted the impossible task of defending the Japanese island of Iwo Jima from American invasion during the last few months of World War Two. One of his soldiers is Private Saigo (Kazunari Ninomiya.)

In my Mystic River review, I hoped that Clint Eastwood would stick to directing rather than acting. And that's exactly what he did when he directed this film. It was an excellent portrayal of  a little-known part of World-War-Two told from the unfamiliar perspective of the Japanese. When Hollywood portrays WW2, they often have an unfair bias toward the war in Europe, being completely ignorant of the whole other war happening in the Pacific. Letters from Iwo Jima was also a sensitive, well-rounded and brave portrayal. For once, it is the Japanese, and not the Americans, who are shown as courageous heroes.

Letters from Iwo Jima was received well in Japan with much praise going toward its well-rounded characters who were real without being stereotypical. Private Saigo had no interest in the war; all he wants to do is to return home to his pregnant wife. But as the government took his baking equipment for the war effort, he has no choice but to fight. And Kazunari Ninomiya brought a very sympathetic character to life. It was hard not to root for such an underdog. But Ken Watanabe was equally good if not better. General Kuribayashi was a character who was fiercely loyal to his men.

Eastwood depicted the battle of Iwo Jima with sensitivity, gravitas and nuance. The feeling of doom is apparent, but so is the feeling of honour among the men. In one of the film's more disturbing sequences, a group of soldiers choose to commit honour suicides instead of surrendering or being taken prisoner.

Mostly filmed in Iceland, we see that the location is as stark and as a fraught as are the Japanese's chances of survival. Yet believing it to be the perfect place for the US to attack their homeland, they're prepared to defend it to the last man. And this preparation soon turned into desperation.

Eastwood earned himself yet another best film nomination with Letters from Iwo Jima. And it was well-deserved. This was an under-stated, but incredibly powerful film.

Mystic River review

 Number 347 on the top 1000 films of all time is Clint Eastwood's crime-drama 'Mystic River.'

Mystic River is based on the book of the same name by Denis Lehane. It opens on three twelve-year-old boys Jimmy, Sean and Dave as they are running amuck in 1970's Boston. The cops come and take away Dave. He isn't seen again until four days later alleging he was held prisoner and sexually assaulted. Fast-forward twenty-five years and the three friends have separated. Dave (Tim Robbins) is still living with his childhood trauma, Jimmy (Sean Penn) has become a petty crook and Sean (Kevin Bacon) is a copper. When Jimmy's nineteen-year-old daughter is murdered, and Dave becomes the number-one suspect, the three friends are thrown back together.

I've always said that Clint Eastwood is a better director than an actor. Nowhere is that more evident than here. Mystic River is a taut, tight thriller that grabs viewers by the throat in the first fifteen minutes, and refuses to let go. Mystic River rightly earned Eastwood a Best Director Oscar nod.

But Penn and Robbins won the best-actor and best-supporting actor Oscars. These were well-earned. Penn gave a powerful performance as the emotionally exhausted father desperately trying to solve the murder of his daughter. But Robbins was equally good if not better as Dave. Try as he might, he couldn't put the trauma of being assaulted as a boy behind him. Becoming the number-one suspect does nothing to help his deteriorating psyche. And Robbins brought all this to the role and more.

Even Kevin Bacon surprised me. Granted, I haven't seen him in that much, but I've never rated him as an actor. Yet he brought an excellent maturity to the role. Out of the three friends, he's managed to put the childhood trauma behind him. However, also out of the three friends, he receives the least development and screentime. It is said that he has pushed away his wife in his efforts to overcome his trauma, but this plot idea wasn't as fully-explored as it could have been. When the two eventually reconciled, I couldn't have cared less.

I also thought Jimmy's relationship with his wife Annabeth (Laura Linney) wasn't well-portrayed. The actors didn't have the best chemistry. This was no better evidenced than at the film's conclusion. After Jimmy has dealt some street justice, she comes onto him in some weird faux-sex scene proclaiming him to be a king among men. It was all very cringy, but maybe it was supposed to be.

But I thoroughly enjoyed Mystic River. If only Clint Eastwood did more directing instead of acting.

A Fistful of Dollars review

Number 269 on the top 1000 films of all time is Sergio Leone's 1964 Spaghetti Western 'A Fistful of Dollars.'

Clint Eastwood stars as 'the Man with No Name,' a mysterious drifter who becomes embroiled in a battle between two warring families in a Mexican border town. Believing there is money to be made, he decides to pit these families against each other, and to save the rest of the town from also being consumed by this conflict. 

A Fistful of Dollars marked a number of firsts. It was the first of the spaghetti Westerns to be brought before an American audience. It was the first of the 'Dollars trilogy,' and the first time that Eastwood would play the Man with no Name. But it also marked the first collaboration between Sergio Leone and composer Ennio Morricone. And the music was the first thing I noticed about this film. Morricone might be best known for the classic theme tune from the Good, the Bad, and the Ugly, but I would argue he was just as good here, if not better. Every piece of music fitted the scene perfectly. Every note bolstered the tension. It was just brilliant.

I can't say the same for Clint Eastwood. I've never liked him as an actor, as I always feel he plays the same part over and over again. And that part is the grumpy old man. He has no depth beneath that. And 'a Fistful of Dollars' is where that all started. He played the gruff, anti-social loner and has been type-cast as that ever since. It was difficult to see any type of warmth from his role.

Yet Leone still directed a great film. The cinematography was brilliant as always with contrasting shots of the vast desert landscape to the extreme close-ups of the character's eyes at pivotal moments, which was a great way to build up the tension.

Many of my long-term readers will know all about my confusion as to why Italian films were recorded without sound and later had all the dialogue (badly) dubbed in. A Fistful of Dollars was no exception to this. I have finally found out the reason! It all goes back to Mussolini who made it as a law as he wanted to check all the dialogue for himself, just in case, it contained any subversive material. Even after his death, they continued the tradition. I don't know why, because it just looks so terrible, but the more you know.

I have to admit that generally I'm not a fan of Western films, but when you get a cowboy film that has Ennio Morricone scoring it, how can you not like it?

Changeling review

 Number 498 on the top 1000 films of all time is Clint Eastwood's mystery drama Changeling.

Based on a true story, Changeling follows the trials of single mother Christine Collins (Angelina Jolie) whose nine-year-old son Walter goes missing in Mira Loma, California. A few months later, the LAPD claim to have found Walter. But Christine is insistent that this is the wrong boy. However, her claims are dismissed and she is made to look like an unfit mother. Together with Reverend Gustav Briegleb (John Malkovich,) vocal critic of the LAPD, Christine begins building a case to challenge them, but the police have her imprisoned in a psychiatric institution.

This is an insane story, made even crazier by how it is based on real life. Yes, the film does play fast and loose with some of the finer details, but the core plot is the same. Christine Collins' son disappears. The police claim to have found the boy but Christine is insistent they are wrong. Rather than admit their mistake and face the ensuing negative publicity, they silence her by sending her to a mental hospital. If it wasn't so horrific, it would be funny. And it really is a case of fact being stranger than fiction.

It's a tale of women being dismissed in a patriarchal society by arrogant men, as well as the corrupt nature of the LAPD. During this time, they had received intense negative publicity after failing to solve other missing children cases. They desperately needed a win and were determined to get it even if that meant ignoring the truth. Eastwood created an atmosphere that was hostile and tense all at the same time. Police captain J.J Jones is an arrogant villain who is too proud to dare admit he was wrong. Instead he attacks Christine for daring to question his authority. 

And it's difficult not to feel for Christine at this point. All she wants is her son back yet she is ridiculed and mocked by the very people who were supposed to help her. Jolie makes her into the most sympathetic protagonist. But Malkovich was also great as the Reverend Briegleb portraying a character that was brave enough to fight against the police department. He was powerful enough to get Christine freed from prison and was the driving force she needed to take justified legal action against the police.

So what really did happen to Walter Collins? Well, like I said, Eastwood played fast and loose with history but he got the main facts right. Collins was kidnapped and murdered by Canadian serial killer Gordon Northcott (Jason Butler Harner) on the Wineville chicken coop. He is caught and sentenced to death, but refuses to admit whether he ever killed Walter. Harner was formidable as Northcott - he was unhinged enough to make him scary, but not so much he becomes a cliche. When he is about to be hung and he has the hood over his face, he starts singing Silent Night. As monstrous as he was, it was difficult not to take pity on him. In real life, Northcott was only in his early twenties - little more than a misguided kid himself. 

As for Walter's imposter, he decided to pose as him, so he could travel to Hollywood and meet his favourite actor Tom Mix. He also wanted to escape the abusive clutches of his step parents, but this was omitted. And as for the LAPD? They were punished but not really - as is often the case for corrupt members of authority. Captain Jones was supposed to pay Christine $10,800 but he never did. And even though he was fired, he was later re-instated. Why am I not surprised?

But this was a great effort from Eastwood. Although it wasn't 100% accurate, it was a fascinating depiction of a horrendous true story. You do wonder if Christine Collins had been a man, would the police have been more likely to have believed her?

Million Dollar Baby review

Number 227 on the top 1000 films of all time is Clint Eastwood's 2004 sports drama Million Dollar Baby.

Clint Eastwood plays Frank Dunn, an irascible boxing coach and gymowner. When Maggie Fitzgerald (Hilary Swank) asks him to train her, he refuses as she's a girl. But thanks to some gentle encouragement from his friend and former protege Eddie "Scrap-Iron" Dupris (Morgan Freeman,) he soon changes his mind.

I'm going to say it now. I don't like boxing. It doesn't interest me. And as such, boxing films don't interest me regardless of whether they're Rocky, Raging Bull or Million Dollar Baby. I was bored for much of this film but that was more down to my own personal likes and dislikes rather than the film itself.

But I do have one valid criticism and that is Clint Eastwood's acting. He is great director, but he always acts the same character. In Gran Torino he is a grumpy old war veteran, in Unforgiven, he is a grumpy old bounty hunter and in The Good, the Bad and the Ugly, he is a grumpy, old cowboy. You get the picture. Million Dollar Baby was no exception to this rule. He plays a grumpy, old boxing instructor with a secret heart of gold. How he was nominated for a best acting Oscar, I will never understand.

But I do understand why Hilary Swank won the Best Actress Oscar and Morgan Freeman, the Best Supporting Actor Oscar. Their characters were far more interesting to watch. Maggie has a dysfunctional relationship with her trailer trash, welfare fraud families, while Scrap went blind in one after one fight too many. It was interesting to see how these two characters relate to each other, due to how they both have dark backgrounds.

Seeing Scrap knockout the obnoxious upstart boxer Shawrelle Berry (Anthony Mackie) was one of the best parts of the film.

The ending also surprised me. I thought it would be a cheesy happily ever after, but it was anything but...Dunn arranges for Maggie to fight the German champion Billie "The Blue Bear" Osterman who has a reputation for fighting dirty. In the fight, The Blue Bear sucker punches Maggie and she falls onto her stool and breaks her neck, leaving her as a quadriplegic. To make matters worse, her leg is amputated when her bedsores become infected. She asks Frank to euthanise her which he reluctantly does. I totally thought she would make a miraculous recovery and take down the Blue Bear, but it wasn't to be. And I liked this ending better. It wasn't a fairytale ending, but something more realistic and powerful.

Overall, while Swank and Freeman were great, I just didn't care for this film. But that's just because I don't like boxing.