Mississippi Burning review

 Number 470 on the top 1000 films of all time is the 1988 crime-thriller 'Mississippi Burning.'

Mississippi Burning is based on the true story of three civil rights activists going missing in a small Mississippi town. When FBI agents Rupert Anderson (Gene Hackman) and Alan Ward (Wilhelm Dafoe) start investigating, they are met with hostility from the town's racist locals. Soon they suspect the three activists were killed by the KKK. Frances Mcdormand, Brad Dourif, Michael Rooker, R. Lee Erney and Stephen Tobolowsky co-star.

I recently wrote a listicle about films too traumatic to watch again. If I were to write another list, surely Mississippi Burning would be at the top of the list. This is a film that does not shy away from the United States' racist past. Rather, it tackles it head-on. And there's no other way you can depict such horrible subject matter.

Mississippi Burning is a harrowing and brutal portrayal of the ugly discrimination that the black community was forced to endure. Yes, it does show it through the perspective of white men, and it would be have been more interesting if the black men were put more front-and-centre, but it was still a powerful watch all the same.

The relationship between Anderson and Ward underpinned the film. Anderson, the older and more maverick of the two, has to follow the orders of the younger, but more senior in rank, Ward, who is a stickler for the rules. Despite their differences, they learn to work together.  Dafoe and Hackman had great chemistry, which shone through.

As Dafoe is a character actor, he usually plays larger-than-life oddballs, usually leading, to over-the-top, exaggerated performances *cough cough* the the Boondock Saints, but he was incredibly measured and controlled in this.

Hackman was also great. Anderson has a romantic subplot with the wife of one of the Mississippi police officers played by Frances Mcdormand. she showed why she is one of the few actors to have won three Best Acting Oscars. Their relationship was wonderfully understated. Originally, the pair were supposed to have a sex-scene, but this was dropped in favour of the two characters standing in the shadows. And that's all we needed to see. Props to the lighting department.

And all the supporting cast were good too: Brad Dourif, Michael Rooker, and, especially, Stephen Tobolowsky were chilling ass the abhorrent KKK members.

Sure there might be some who criticise Mississippi Burning for distorting history, but the key message is clear enough: the black community was subject to terrible, racist abuse. And that's a true we should never forget.

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.

Michael Clayton review

 Number 977 on the top 1000 films of all time is the legal thriller 'Michael Clayton.'

Michael Clayton (George Clooney) is the fixer for a prestigious New York law film who is representing the agricultural conglomerate U-North amid a massive scandal. However, when the firm's lead litigator Arthur (Tom Wilkinson) has a massive breakdown, it's up to Michael to clean up the mess. However, he soon discovers his firm is at the centre of a huge cover-up. Sydney Pollack and Tilda Swinton co-star.

Michael Clayton was nominated for no less than seven Oscars including best acting, writing and film. While it wasn't a bad film, it certainly wasn't Oscar-worthy. Nor was it worth a place on this list.

It was an underwhelming affair, replete in dramatic tension, suspense and any concrete detail that would have made it an entertaining thriller. The narrative focusses on U-North as it weathers allegations on whether it knew that its carcinogenic weedkiller would lead to hundreds of deaths. Sounds like a horrific scandal, right?

But the details of this were kept surprisingly vague. It was treated very clinically. Perhaps because we were seeing everything through the eyes of lawyers who were more interested in the legal nitty gritty rather than the actual victims of the scandal. This film was definitely missing a lot of heart.

And while I don't want to diminish any of the immense acting talent on display, I don't think George Clooney or Tom Wilkinson deserved Oscar nods and I don't think Tilda Swinton deserved her Best Supporting Actress win. I don't think I can pin-point an exact moment where I thought, "wow, that's why she won the Oscar." Furthermore, all three of their characters remained very under-developed.

Michael Clayton is a little more than your standard male lead who has an acrimonious relationship with his wife and son. And while Arthur's meltdown catalysed the film, we never really explored the reasons or causes of it. Tilda Swinton's character was similarly under-developed.

I'm really not sure how Michael Clayton made it onto this list. It certainly was not one of the best films of all time. 

Kung Fu Panda review

 Number 672 on the top 1000 films of all time is the computer-animated wuxia film Kung Fu Panda.

Kung Fu Panda is set in ancient China. It follows the bumbling, but well-intentioned Po (Jack Black) - a giant panda bear who loves kung fu. When he is inadvertently named the Dragon-Warrior, it becomes his destiny to stop the evil snow leopard Tai Lung (Ian Mcshane.)

I enjoyed Kung Fu Panda a lot more than I thought I would. Generally I find wuxia films more style than substance. Sure the martial arts sequences look brilliant, but the films are always so overly-serious. This wasn't the case for Kung Fu panda. The best thing about the film was that it didn't take itself too seriously. And a lot of that was down to John Stevenson's strong direction.

Rather than making a parody like Dreamworks wanted, he instead created an action-comedy that took all the best elements of Wuxia, but also incorporating a lighter tone. Having Jack Black as Po also helped a lot. His comedy is always so expressive and physical which translated well to an animated role. Yet he also made Po a very sympathetic character.

Po is a kung fu enthusiast. He loves the martial arts. But he is also resigned to spending his life in his father 'Goose's' (James Hong) noodle restaurant. As a side note, James Hong was a delight as the over-protective and overly-affectionate father. Po very much becomes an unlikely hero as nobody, least of all, Master Shifu (Dustin Hoffman) - the Red Panda who has to train Po, has any faith in him succeeding.

Jack Black, Ian McShane, Dustin Hoffman, James Hong - there are some acting heavyweights in his film. But that's not all. Angeline Jolie, Jackie Chan, Seth Rogen, Lucy Liu and Michael Clark Duncan also all lend their voices. But with such a large cast and so many characters a lot of the acting talent was largely underutilised. Jackie Chan - star of so many kung fu films gave a disappointing contribution, while Lucy Liu and Seth Rogen largely blended into the background. Ian Mcshane's voice performance was nothing noteworthy either.

Having said that, I did enjoy Kung Fu Panda. It had gorgeous animation, and real heart. Unlike so many of its predecessors, it embraced portraying Kung-Fu under a more light-hearted lens.

Collateral review

 Number 723 on the top 1000 films of all time is Michael Mann's 2004 neo-noir crime thriller 'Collateral.'

Max (Jamie Foxx) is an LA taxi driver with a simple dream of owning a limousine business. But his life spirals out of control when he accepts Vincent's (Tom Cruise) fare. For Vincent is a hitman who is a hitman with a number of contracts to complete.

Collateral was certainly an entertaining thriller if entirely unbelievable. Despite being a contract killer, Vincent is very careless. He exposes himself when he shoots his first victim leading to him falling out of a window onto Max's cab, partially destroying it. But surely a contract killer would be more careful than this. Vincent has hired Max to drive him around for the whole night. How is he supposed to do that when his windscreen has been near-shattered?  And they go on to put the victim's body in the trunk of the car. And they drive it around the whole night. Surely, this would attract unwanted police attention which later does happen. And Vincent even tells Max off about the dangers of unwanted attention. 

And when it comes to Vincent's final target, he (spoilers) hesitates long enough for Max to come and save a day. One, a contract killer would never hesitate like this. Two, we've seen Vincent kill remorselessly before. It made no sense for Vincent to hesitate now. Finally, he is very blaise about Max knowing his true identity. Surely, it would be in his own best interests to keep this a secret. There is less chance of Max panicking and doing something stupid. But I guess this wouldn't have made a very interesting film.

Despite these plot chasms, I did enjoy Collateral. At first, I wasn't convinced by Tom Cruise. I'm so used to seeing him as a hero that it was difficult seeing him as villain, but he was pretty damn good. Jamie Foxx was also great as Max. Max is your everyman whose whole life was turned upside down. And he goes through a very satisfying character arc from burned-out taxi driver to an unlikely hero. Foxx earned his Best Supporting Actor nomination.

Sure Collateral is unbelievable rubbish, but a film doesn't always have to be 100% believable to be entertaining.

The Blind Side review

 Number 587 on the top 1000 films of all time is the 2009 sports drama 'The Blind Side.'

Based on a true story, the Blind Side follows Michael Oher (Quinton Aaron) - a quiet, timid African-American from a dysfunctional background. With next to no prospects or family, he is taken in by the Tuohy family led by matriarch Leigh-Anne (Sandra Bullock) who nurtures him into becoming a star quarterback in American football.

The Blind Side has received its fair share of backlash. Least of all from the real-life Michael Oher. He recently claimed that rather than being adopted by the Tuohys as the film claims, they actually tricked him into signing a conservatorship meaning that the Tuohys rather than him received the residuals from this film.

This is irrelevant to the Blind Side as a film. What is relevant is Michael Oher's further criticism. In his 2012 autobiography, he criticises how the film portrays him as a simpleton. I don't know the true story, but I would agree with this characterisation. It did seem overly-simplistic. Michael Oher is from the ghetto. It seems unlikely that such a quiet, docile man could come from such a tough environment, although not impossible.

It seemed like a borderline caricature. I'm surprised that the film-makers didn't go so far as to give him a hick, country accent. And I think it would have been more interesting to see some hardcase ghetto kid soften up as he realises the opportunities that are available to him.

This was a shame, because otherwise I did enjoy the Blind Side. Jae Head was a highlight as SJ - the youngest child of the Tuohy's family. And despite being in a supporting role, Kathy Bates shone as always. Although the film centred on American Football, it was still accessible to a Brit like me. Sandra Bullock won the Best Actress Oscar. She did well and I certainly don't think she should have to return it like some say. She's an actress playing a part. She didn't know about any of this controversy when she took on the role.

It was just disappointing that the Blind Sale could falter so much in its portrayal of its central character.

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.

Layer cake review

 Number 919 on the top 1000 films of all time is Matthew Vaughn's directorial debut - crime-drama Layer cake.

Daniel Craig plays the unnamed protagonist who is only known as XXXX. Thanks to his enforcer Morty (George Harris) and his liaison to the criminal underworld Gene (Colm Meaney,) he is a very successful drug dealer. Professional, sophisticated, with a strong moral code, and a healthy amount of money, he decides it's time to retire. However, his supplier - crime lord Jimmy Price (Kenneth Cranham) throws a spanner in the works by engaging him in one last job. Things only become more complicated when Jimmy's partner, Eddie Temple  (Michael Gambon) becomes involved.

This was a slick, funny and entertaining crime caper. Daniel Craig plays XXXX - the suave yet hypocritical dug-dealer who quickly becomes out of his depth - to a tee. This was a few years before he achieved international recognition as James Bond. And it was this performance that convinced producers, he would be a good successor for Pierce Brosnan. And I can understand why, he had all the style and charm that you would expect from the international man of mystery.

Layercake really seemed like it should have been directed by Guy Ritchie. It reminded me of his great British crime capers like Snatch and Lock, Stock and Two Smoking Barrels but without Jason Statham. It had the same dark humour, the same cartoonish violence, as well as a huge cast including some acting giants like Michael Gambon and Colm Meaney. I've seen him in a few different roles and he's always good. It also included a lot of up-and-coming actors who have gone on to big Hollywood careers like Burn Gorman, Ben Wishaw and Sienna Miller. Ben Wishaw was particularly good as the frenetic and hyper-active Sydney - nephew of Duke (Jamie Foreman) leader of a low-level gang.

Granted, the ending all became rather deep, profound and borderline pretentious which could have killed the whimsical tone of the film, but the final twist, which I won't spoil here, saved things. I did not see that coming.

Layercake was a very enjoyable crime caper. If you want to see Daniel Craig, before he became an international superstar, this is the film to watch.

Traffic review

 Number 630 on the top 1000 films of all time is Steven Soderbergh's 2000 crime-drama 'Traffic.'

Traffic follows the drug-trafficking trade from four different perspectives in an inter-connected narrative. Ray Castro (Luis Guzman) and Montel Gordon (Don Cheadle) are two DEA agents aiming to take down drug kingpin Carlos Ayala (Stephen Bauer) through getting their witness Eduardo Ruiz (Miguel Ferrer.) Meanwhile, Bauer's wife Helena (Catherine Zeta Jones) tries to continue the business he left behind. In Ohio, Robert Wakefield (Michael Douglas) is appointed the new Drug Czar only to discover his own daughter is a cocaine addict. Finally, in Mexico, corrupt cop Javier Rodriguez (Benicio del Toro) has a change of heart when he witnesses the true horrors of the drug trade.

I'm going to start this review with my usual disclaimer of not wanting to compare films with each other, before immediately comparing Traffic with Crash. Crash is also a multi-narrative, interconnected film that engages with crime and race relations, but it woefully fails where Traffic succeeds. Whereas Crash felt rushed, contrived and half-arsed, Steven Soderbergh's took the time to really explore each character and narrative. The two and a half-hour runtime was an added bonus. It was an ambitious project and anything shorter wouldn't have done it justice.

Soderbergh also made the key decision of adopting distinctive looks for each narrative: Wakefield's story is shot with a blue tungsten filter, Helena's story has an over-exposed diffusion filter and Javier's story has is harsh and yellow. Although that seems to be the case whenever American films depict Mexico. Regardless, it was a good decision that helped to distinguish each narrative. It stopped things from becoming too confusing.

And the drug-trafficking world is one of confusion and chaos. There are a lot of moving parts yet through this multi-narrative, Soderbergh is able to bring all of these parts together in one cohesive narrative. By telling the story through different perspectives, he is able to add a lot of nuance to what could have been a straight, boring black-and-white story. There is a lot more morally grey than people would like to think.

Of course it helped that Soderbergh had a star-studded, ensemble cast. Nine of the cast members have either been nominated or won an Oscar - Benicio Del toro won the Best Supporting Actor Oscar for this role and, deservingly so.

I thoroughly enjoyed Traffic. it is a marker of what all good multi-story narratives should be.

Donnie Brasco review

 Number 517 on the top 1000 films of all time is Mike Newell's 1997 crime-drama 'Donnie Brasco.'

Based on the true story, Donnie Brasco follows FBI agent Joseph Pistone (Johnny Depp) as he infiltrates the New York mob. He assumes the alias of Donnie Brasco and befriends Mafia hitman Benjamin "Lefty" Ruggerio (Al Pacino.) However, as Brasco grows closer with Lefty and the mob, he soon finds his professional and personal lives starting to blur.

Johnny Depp is now so well-known for playing whacky, off-the-wall characters, it's difficult to imagine him as anything else. Edward Scissorhands, Willy Wonka, the Mad Hatter, Captain Jack Sparrow...need I go on? But the eighties and nineties proved what a versatile actor he can be. Donnie Brasco is a character rule by conflict. Deeply unsatisfied with his home life, he throws himself into his undercover work, putting a strain on his already tenuous marriage. And to remain convincing to Lefty and the rest of the mobsters, Brasco has to participate in plenty of criminal activities. This creates its own array of personal dilemmas and Depp plays the conflict well.

Although, I would argue that his relationship with his wife Maggie (Anne Heche) was quite contrived. Their marriage becomes rocky as Brasco's work begins to take over. One second they are fighting and the next they were making up. This seemed forced and unnatural. It was almost like it was what writer Paul Attanasio wanted to happen instead of what should happen. But I did enjoy the little girls who played Brasco's daughters. They only had small parts, but they were played well. They become progressively more quiet, distant and withdrawn, emphasising the impact that Brasco's absent behaviour is having on them.

As for Al Pacino, I've seen him play so many grizzled, old gangsters that this was just another role for him. Don't get me wrong, he does them well, but the role of Lefty wasn't anything special. I was more impressed by Michael Madsen who played the fearsome mob boss Sonny Black. He had such an imposing presence that he was scary in every scene he was in.

Donnie Brasco was certainly an enjoyable film. And it proved that Johnny Depp can play more than the whacky, off-beat characters he's so well-known for.

The Queen review

 Number 890 on the top 1000 films of all time is the biographical drama 'the Queen.'

Based on the true life story, 'The Queen' dramatises the events that occurred after the death of Princess Diana. Helen Mirren plays Queen Elizabeth II and James Cromwell plays Prince Philip. Together with Prince Charles (Alex Jennings) they must figure out how to deal with the Diana's death. Elizabeth and Philip want nothing to do with it, but the press, general public and prime minister Tony Blair (Michael Sheen) desperately want to convince them otherwise.

I have never understood this whole celebrity worship/hatred. As is evidenced from the copious amount of stock footage, the general public were devastated by Princess Diana's death. They descended upon Buckingham Palace in their thousands, left countless bouquets of flowers and queued for hours to sign a book of condolences. Thousands of people were upset over the death of somebody they never knew. Conversely, there were plenty of people who never liked Diana and were happy to see her dead. I was only two at the time, but if I was older enough to have know what was going on, I wouldn't have cared. Diana is a celebrity who wouldn't have even known that I existed. Why would I love or hate her?

Seeing as the Queen is indirectly about Diana and the love that seemingly everybody, except for the monarchy, had for her, it was difficult for me to truly resonate with this film. On a content level, I found everything quite meh, but on a technical level this film succeeded. Writer Peter Morgan could have easily fallen into a trap of painting a black-and-white picture. But he ensured that every character was nuanced and developed. 

Nowhere is this more apparent than with Helen Mirren's portrayal of the Queen. It was so good that not only did she win the Best Actress Oscar but Queen Elizabeth II herself invited her to dine at Buckingham Palace. Considering her obstinateness towards even publicly acknowledging Diana's death, she could have quite easily come across as a cliched baddie, but Mirren played the role with a great moral greyness. 

We can clearly see her moral conflict. She knows how badly Diana has torn apart her family and tarnished the royal image. She doesn't want to acknowledge her, even in death, but she also knows what her public expect of her. Eventually she bows to public opinion. I also particularly enjoyed Mark Bazeley as Tony Blair's odious director of communications: Alistair Campbell. Bazely was delightfully slimy and belligerent. But I can't fault the cast at all. From Michael Sheen to James Cromwell to Helen McCrory, they were all great.

I also liked the use of the aforementioned archival footage. It gave everything a brilliant sense of realism and it reminded us that these aren't just characters of the screen. At the film's conclusion, Michael Sheen makes an impassioned speech defending the queen against the constant barrage of criticism she has received for her reaction to Diana's death. Later on, the Queen reminds him that just as quickly as public opinion turned against her, it could just as easily do the same for him.

Although the film's content might not have resonated with me, I can recognise that it was a truly compelling narrative with strong performances across the board.

End of Watch review

 Number 633 on the top 1000 films of all time is the crime drama 'End of Watch.'

Brian Taylor (Jake Gyllenhaal) and Mike Zavala (Michael Pena) are best friends and LAPD officers. Shot documentary style, the film follows their relationship as they stumble upon a massive drug-running and people trafficking organisation and soon become targets of the Sinaloa Cartel.

Since starting this challenge, I've watched my fair share of cop dramas from Crash to Training Day. And they're often felt unrealistic. Either they've been over-the-top or too understated. But End of Watch had a lovely authenticity flowing through it. Part of that was down to its cinematography.

As previously stated, this was shot as a documentary. This is worked into the story. Brian is doing a film class and so he's filming all his police work on a hand-held camcorder. What he misses is picked up by dashcam and bodycam footage. Some critics maligned this as being unnecessary and confusing. Yes, at times, especially during the gunfights, it did become chaotic. But that's exactly what it would be like in real life. And the camera work adds another layer of realism. It shows these cops at their most relaxed, there is no fake facade or veneer. These are your police, like them or not. 

Rather than being unnecessary, it made everything feel so much more real. What I will concede is that it was strange seeing the Mexican gangbangers film themselves with camcorders too. Surely, they're smart enough to realise that they're incriminating themselves. This didn't make any sense.

Another reason End of Watch felt so real was because of the chemistry of the two leads - Gyllenhaal and Pena. Reportedly, the two didn't connect at first, but over time they became good friends. And this came across in the final project. A lot of the banter between them was completely improvised making their relationship all the more genuine. You got a real sense of the camaraderie that exists within the police force.

If there was anything I didn't like, it was the ending. *Spoiler alert* The cartel tracks down Taylor and Zavala - shooting both of them. Taylor survives and Zavala doesn't.  It would have been better if this was the other way around. Taylor is reckless and impulsive, often dragging his friend into danger - he's the one who initially incurs the cartel's wrath. It would make sense that his rashness would get him killed. But then again, it's all too common for the more rational characters like Zavala to die because of the impulsiveness of people like Taylor.

Granted, the film is a little cheesy in places - I could have done without Taylor's opening monologue, where he espouses about what it means to be a police officer. However, I do think that this type of cultural identity definitely exists within the LAPD.

This is a gritty police drama that neither exaggerates what being a police officer is like nor does it romanticise it. Rather it creates an authentic reality that lets the viewer make up their own mind.

Black Dynamite review

 Number 938 on the top 1000 films of all time is this parody of 1970's Blaxpolitation genre: Black Dynamite.

Black Dynamite (Michael Jai White) is a former CIA agent and Kung Fu Master. After his brother is killed by a shady organisation, Black Dynamite soon discovers a deeper conspiracy.

There is a fair share of bad parodies out there, but Black Dynamite is not one of them. While I'm not particularly familiar with the Blaxploitation genre, I've watched my fair share of 70's films, and black Dynamite lampooned these tropes wonderfully from the vivid colour scheme to the massive hair to the main character's name being sung out at pivotal moments to the silly kung-fu sequences.

Instead of being a string of bad jokes and inane, pop culture references, Scott Sanders', Byron Minns' and Michael Jai White's, who wrote as well as starred, script produced some genuine laughs. I loved the boom mic appearing in shots or the characters reading out their stage directions. But my favourite gag was the spoofing of the insta-love that happened between Black Dynamite and his love interest Gloria Gray (Salli Richardson.) Over the course of a few minutes and a walk in the park, they are enamoured with one another. As far as film cliches go, this can be one of the worst. It was great to see it parodied here.

Sure you can argue that the plot is absurd. Black Dynamite's quest for the truth takes him all the way from Kung-Fu island to the White House - and the characters are all racial stereotypes, but that's supposed to be the point. Inevitably, not all the jokes land and some of them are crude and vulgar, but nevertheless, this is a brilliant comedy that will have you rolling in the aisles.   

The Lady Vanishes review

 Number 311 on the top 1000 films of all time is Alfred Hitchcock's 1938 mystery thriller 'The Lady Vanishes.'

Iris Henderson (Margaret Lockwood) is an English tourist returning home from travelling in Europe. She befriends an elderly woman called Miss Froy (May Witty) on the train before drifting off to sleep. When she awakes, Miss Froy has vanished. The fellow passengers don't know where or even who she might be. Iris is convinced something bigger is happening and along with the pompous Gilbert (Michael Redgrave) she begins to investigate.

To say that this film employs the suspension of disbelief would be the understatement of the century. It stretches disbelief to ridiculous lengths. The plot creaks as much as the hokey special effects and cardboard sets. I know that this was the 1930's, but the final shootout was made less thrilling by the melodramatic deaths and tinny explosions/sound effects. And it emerges that Miss Froy was secretly a British spy who had to report vital information in the form of a tune. The only thing more unbelievable was how she escaped from the firefight unharmed.

Having said all this, I did enjoy this film. Yes, the beginning drags on for too long - too much time was spent introducing the characters. But when things did get going, the tension became very high. Just like Iris, I wanted to know where Miss Froy had gone and what was her true identity. Also it was a very funny film with Gilbert's standoffish attitude providing a lot of the comedy. Redgrave played the laughs well.

There were plot holes and loose ends - what happened to the henchman who holds our heroes at gunpoint just when it looks like the day has been saved? Nothing apparently, as they're all fine in the next shot.

Despite this, I did enjoy this film which was one of Hitchcock's earliest efforts. But he started as he meant to go on and it was a great start. 

JFK review

 Number 306 on the top 1000 films of all time is Oliver Stone's epic political thriller: JFK.

Jim Garrison (Kevin Costner) is the former New Orleans district attorney. After President Kennedy is assassinated, the Warren report declares that Lee Harvey Oswald (Gary Oldman) was the lone perpetrator. Garrison has his doubts and reopens the investigation. He inadvertently unearths a massive conspiracy theory. The huge ensemble cast includes Tommy Lee Jones, Joe Pesci, Kevin Bacon, Jack Lemmon, Walter Matthau and John Candy.

I've said it before and I'll say it again: a film needs a very good reason to be over three hours long. And it needs an excellent reason to be three hours and twenty-five minutes long. JFK had no such reason. it was one of the longest films I've seen and far longer than it needed to be.

It's safe to say that Kennedy's assassination is one of the most controversial topics in history. Few people believe that Lee Harvey Oswald was acting as a lone wolf. The true perpetrators range from the mob to the CIAS to the Russians to the Cubans. Any one of these explored in isolation could have made a very interesting film, but where Stone went was how he tried to connect everything. Reportedly, he read two dozen books on Kennedy's assassination and his research team read 100-200 books. And it was like Stone tried to include every single scrap of information he could find. This made for a bloated, unfocussed film.

The supporting cast was huge and certainly could have been trimmed down. Garrison's many deputies were very similar to each other and I regularly mixed them up. Some of them were also ultimately pointless to the plot as they were involved in subplots that went nowhere. Bill Broussard (Michael Rooker) is one such deputy who becomes uncomfortable at how the conspiracy begins to implicate LBJ. He betrays his former boss by starting to work for the feds, but we never see any consequences for this.

Stone was heavily criticised for taking liberties with history. But my issue isn't so much was he included, but what he didn't, which was nothing. He included everything which was not necessary. I could have done without seeing how Garrison's investigation was affecting his family life. This would have cut the film down a lot.

And everything was slow that after a while it became very tedious. Much of the film were characters sitting in a room either quietly talking or loudly yelling at each other. As such, a lot of the supporting cast was wasted. Gary Oldman did very little as did Jack Lemmon and Walter Matthau. With so many famous faces, it's inevitable that you can't give them all the attention they deserve and a lot of them did fall by the wayside. Although, John Candy and Joe Pesci gave memorable performances and Costner's ending monologue was particularly powerful.

The film did have the potential to live up to its ambitious premise, but if you have to watch a film in two halves then it is too damn long.

The Game review

 Number 524 on the top 1000 films of all time is David Fincher's thriller 'the Game.'

Nicholas Van Orton (Michael Douglas) is a wealthy investment banker in San Francisco. He is also lonely with no family, except for his estranged younger brother Conrad (Sean Penn.) Conrad enrols Nicholas in a mysterious game as a birthday present. Upon accepting, Nicholas finds his life spiralling out of control.

What David Fincher achieved in this film is taking an inherently unlikeable character and making you root for him. Nicholas is set up as grumpy, old curmudgeon. Haunted by the memories of his father's suicide at the same age he is now, he has no friends or family, save for Conrad. Michael Douglas played the fish out of water well. Nicholas' progressively growing panic was palpable to see, as the game evolves from mild inconveniences in his life to life-threatening situations. it might be tempting to describe him as a Scrooge, although I'm not sure if he performs a 180. By the film's end, he isn't welcoming Bob Cratchitt to eat with Christmas dinner with him, but there is a definite softening to his character.

This is exhibited within the character of Christine (Deborah Kara Unger) who is a waitress at Nicholas' favourite restaurant. Upon spilling wine on him, Nicholas admonishes her and gets her fired from her job. However, the two are thrown together, as Christine is also caught up in the mystery. But, by the end, the two reconcile and go for coffee. Nicholas may not have fully transformed yet, but there is the potential to do so.

Having said all that, I don't think Sean Penn was anything special as the unhinged Conrad. Yes, he kick starts the action by sending his brother down this rabbit role, but this role could have gone to anyone. Except for a few key scenes, he doesn't really do much. I guess the only reason that Sean Penn was billed second was his star power, rather than the importance of his character.

Fincher did well in always keeping the mystery high. The audience is in as much in the dark about the true nature of the Game as Nicky. And this always keeps the tension high. We have morally duplicitous characters like Christine who becomes an unlikely ally until she isn't. And, as things get weirder, Nicholas is sure that he is embroiled in some big conspiracy against him. The truth behind it all, which I won't spoil here, is far more innocuous.

This was a thoroughly enjoyable film with some edge-on-the-seat action. Douglas was great, but I do think Penn could have brought more to the role.

The King's Speech review

Number 232 on the top 1000 films of all time is Tom Hooper's 2010 biopic 'The King's Speech.'

Based on the real life story, the King's Speech follows the future King George VI trying to overcome his speech impediment. To assist him, his wife Elizabeth (Helena Bonham Carter) enlists the help of Australian speech therapist Lionel Logue (Geoffrey Rush.) Small note, George VI was only a regnal name. George VI's real name was Albert or "Bertie."

Released to critical acclaim, the King's Speech received twelve Oscar nominations and won four including best film and best actor. It is easy to see why. Hooper tackled a sensitive topic with tact and discretion. I think it would have been all too easy to victimise Bertie rather than make him a character to root for. But he wasn't a pitiful protagonist, but an endearing one. His family have no patience for his stammer. His older brother Edward VIII (Guy Pearce) teases him constantly while his father George V (Michael Gambon) thinks he can bully the stammer away.

Colin Firth very much earned his best acting Oscar. Again, it would have been very easy to portray Bertie as a victim. And while he was a victim of his circumstances, he was also a fiercely brave man. Rather than submitting to his stammer, he constantly fights against it and seeks help. Firth brought a real vulnerability and humanity to the role. When Edward VIII abdicates and George VI is thrust into his new position as king, he breaks down proclaiming that he hasn't a king. This was one of my favourite moments of the film.

It did puzzle me a little that the film didn't focus that much on the social context of Edward VIII's abdication. Surely events like these would have impacted greatly on George's character, but then again, these probably weren't relevant enough to include.

Overall this was a great film with Colin Firth earning his best Actor Oscar.

The Deer Hunter review

 Number 165 on the top 1000 films of all time is Michael Cimino's 1978 epic Vietnam war film 'the Deer Hunter.'

Michael (Robert De Niro), Nicky (Christopher Walken) and  Steven (John Savage) are three steel workers and happy go-lucky young men who enlist to fight in Vietnam. They are caught by the Viet Cong and are subjected to such brutal torture that each man's life changes forever. Meryl Streep and John Cazale co-star in what very easily could have been just another film about Vietnam.

This film takes a while to get going but when it does, you're in for a hell of a ride. At three hours long, I would argue the film is a little bloated with the first hour seeming to last forever. I found myself constantly wondering when we're going to get to Vietnam. Instead, I was subjected to the three leads and their friends drinking in a bar, an extended marriage scene and, of course, the eponymous deer-hunting scene. Although having said that, the bar scene where the group of friends belt out Frankie Valli's 'Can't Take my Eyes off you,' was a sight to behold. The absolute perfect song for that scene. Reportedly, Michael Cimino had the actors sing along to the actual song rather than a backing track, which is standard film practice. Cimino argued this would increase the realism of the scene which it absolutely did.

The first hour is, of course, the film's set-up: showcasing the normal life of our heroes before they embark on their journey. For us to understand how Vietnam has changed them, we have to understand how they were before, especially Nicky who suffers the worse trauma of the three, but more on that later. Out of all the men, he is one of the first to start dancing and singing to Franki Valli, demonstrating how he is the most jovial and outgoing of the three. Steven is a little shy whereas Michael is already a little hardened. Out of the three he goes through the most profound transformation.

Where this film really kicks into gear is in the controversial Russian Roulette scene, which was a masterpiece of dramatic tension. Prisoner to the Viet Cong, our three heroes are forced to play Russian Roulette, first against the other prisoners and then each other. Steven quickly falls to pieces and is consigned to a watery pit full of rats, leaving behind Michael and Nick as last men standing. De Niro and Walken are both brilliant here - Walken won Best Supporting Actor for his role, which was well-deserved. His fear was palpable.

Michael ups the stakes by adding three bullets into the revolver instead of just one, but this is all part of his plan to escape. And this is when all hell breaks loose. In the film's most thrilling scene, Michael turns the gun on his captors, kills the leader, Nicky grabs another gun and the pair shoot their way to safety. They rescue Steven, despite Michael initially wanting to leave him behind, believing him to only be a liability, and eventually reach safety. But what made this scene so brilliant was how there was no background music. The silence brought the tension to the forefront.

Although all three men escape, they don't all make it home. Michael and Steven return to America where we see how badly the war has changed them. In his escape from Vietnam, Steven is badly hurt and we next see him in rehabilitation after having lost his legs and one arm.  Steven refuses to come home as he no longer feels that he fits in. As for Michael, he is a completely broken man. He spurns his welcome home celebrations and has difficulty reconnecting to his old friends.

He goes deer-hunting again, but is unable to shoot a deer he had been tracking. Stan (John Cazale) snaps after being mocked once too often by Axle (Chuck Aspergen) and threatens to shoot him, but Michael snatches the revolver, removes all but one bullet, holds it to Stan's head and pulls the trigger on an empty chamber. The camaraderie and brotherhood that was present in the first film is now firmly in the past.

And where is Nicky? Steven reveals that somebody has been sending him money. Michael suspects this is Nicky who went AWOL and never returned home from Vietnam. He returns there to find him which is when we see the film's most heartbreaking scene. Nicky, now addicted to heroin, spends his days in a gambling den, playing Russian Roulette and sending his winnings home to Steven. He is now an empty shell of a man - no longer, the young man singing along to Frankie Valli. His eyes are dead and his skin is like chalk. 

Having made him a promise to not leave him behind, Michael desperately tries to convince Nicky to come home, but quickly realises that he is too far gone. Nicky is a dead a man walking and Walken is magnificent. His transformation is the most tragic as he is the only character who has truly transformed, whereas even before Vietnam, Michael is already a bit of a hard nut and Steven is already sensitive which is only exacerbated by their trauma, Nicky has pulled a full 180 from a happy, go-lucky, jovial steel-worker to a hollow man. 

Just when it seems that Michael has reached Nicky, he holds the gun to his head and sends the bullet into his skull. Once again the lack of background music highlights Michael's breaking heart, as well as the audience's. 

The Deer Hunter was Michael Cimino's breakthrough as a director and deservedly so, although it takes a while to get going, but when it does it is well worth the watch with some Oscar-worthy performances especially from De Niro and Walken. It's just a shame that Cimino was never able to repeat his early success.