Suspiria review

 Number 851 on the top 1000 films of all time is the Italian 1977 horror film Suspiria.

Suzy Bannion (Jessica Harper) is an American student who enrols in a prestigious ballet school in Germany. However, when staff and students alike start dying, she realises that the school is at the front of a supernatural conspiracy.

As was common for Italian films at the time, all sound was added in post-production. This meant that all the actors were dubbed. To say this was distracting would be a massive understatement. It very much broke the immersive nature of the film. And this also interfered with the sound mixing. At times, the dialogue was too quiet and, at others, the sound effects were too loud. The film opens in a massive storm, noisy enough to drown out the character's speech.

Perhaps I've been spoiled by modern-CGI, but the special effects looked dated. When the deaths do occur, the bodies look more like waxwork models. But technical aspects aside, this was a scary film. The setting of a ballet school was a refreshing change to the haunted houses which is usually par for the course. Suzy progressively gains more agency and becomes more likeable. Granted, while her friend Stephanie is being murdered, Suzy is drugged up and of little use. But she gains enough bravery/stupidity to go into the restricted area of the school and confront the head witch.

I also enjoyed the supernatural element. Slasher movies were popular in the seventies - Suspiria is sandwiched between the Texas Chainsaw Massacre and Halloween. Witches made a nice change to your deranged serial killer. And the film had some genuine scares. Instead of solely using jumpscares, David Argento created a tense and unsettling atmosphere from the word go. The original score performed by Italian progressive rock band Goblin sent the fear factor through the roof.

All in all, I did enjoy, if that's the right word, this 70's horror film. Weird dubbing aside, it had me on the edge of my seat. Will I be watching the 2018 remake? Maybe with my eyes closed.

Deconstructing Harry review

 Number 896 on the top 1000 films of all time is Woody Allen's 1997 black comedy 'Deconstructing Harry.'

Harry Block (Woody Allen) is a neurotic academic and writer driving to his alma matter to receive an honourary degree. En route, he imagines himself interacting with many characters from his work, as well as flash blacking to the most important parts of his life. Tobey Maguire, Robin Williams, Billy Crystal and Jennifer Garner, among many others, all co-star.

Reportedly, Woody Allen was highly influenced by the work of Ingmar Bergman, in particular Wild Strawberries. Wild Strawberries is about an old man having an existential crisis while driving around. Deconstructing Harry has a similar plot albeit with a lot more sexual humour. Thankfully it also has a lot less introspection, silences and dead space than Bergman's work. But it also contains an important question: why? What is the point of all this? Why do I care?

I remember thinking the same when I watched Annie Hall. Yes, it was funny and witty, but, at the end, I couldn't help, wondering what was the point of it all? Sure, the set-up is great, but what's the punchline? Great comedies don't just make us laugh, but they make us think too. There is no doubt Woody Allen is a funny man. This was a comical film. The gag of Robin Williams being out of focus was hilarious to watch, but I'm not sure of its importance.

It's another aspect of Harry that we need to deconstruct. But why should I care about Harry? He's just another of Woody Allen's highly neurotic characters. And I do feel like neuroticism is the only role Woody Allen can play. Yes, he does it well, but it becomes quite one-note after a while.

There is no doubt Deconstructing Harry is a funny film, but beyond its comedy, how much substance does it have? What's the point of it all? What is the punchline?

Precious review

 Number 894 on the top 1000 films of all time is Lee Daniels' 2009 drama film 'Precious.'

Claireece 'Precious' Jones (Gabourey Sidibe) is an overweight, illiterate, black sixteen-year-old trying to survive in Harlem. Bullied at school and subjected to horrific abuse from her mother Mary Lee, (Mo'nique) her life is a miserable one. Upon falling pregnant again, she starts to attend an 'alternative' school, where she sees a way to escape her old life.

Word of warning, Precious is not a pretty film. It is raw, gritty and unapologetic. It grabs you by the throat and refuses to be shaken free. Showcasing the horrors of an abusive household, it's difficult to not flinch away at times. But none of this violence ever felt gratuitous. Unfortunately, this is the sad reality for many youths across the US and it's a reality that shall not be ignored. 

Also, could you believe this was Gabourey Sidibe's first acting role. The character of Precious was cast an open audition and Sidibe was selected despite having no prior acting experience. Precious is not an easy character to play - she carries the sexual trauma of being molested, raped and impregnated by her father. Not to mention, the terrible abuse she receives from her mother. But Sidibe was great in the role. She provided Precious with a humanity and a vulnerability. But she wasn't pathetic nor a character you pity. 

Upon attending the 'alternative' school and through the close tutelage of teacher Miss Blu Rain, (Paula Patton) Precious starts to learn how to read and write. As her literacy improves, so does her self-confidence. With a lot of troubled kids, all it takes is somebody to believe in them and that somebody can be a brilliant teacher like Miss Blu Rain.

Lee Daniels balanced the humour and heartbreak well. As a means of escapism, Precious imagines herself in a number of fantasy scenarios from singing in a gospel choir to performing on stage as a soul-singer. But the funniest had to be when she imagines her and her mother in an old black-and-white Italian film. Watch the scene at 3.30. These little fantasies, other than providing some much needed relief, also balanced the dark with some light. They were also a little sad - Precious was imagining a life, that to her, would always seem out of reach.

Mo'nique won the Best Supporting Actress Oscar for her role as the villainous Mary Lee and I can understand why. It was an absolutely brutal role and she did it well. Jealous that her boyfriend took more interest in his daughter than her, she takes out her frustrations on Precious. As Precious is financially dependent on her, she can't up-and-leave, as is the case for many abusive relationships. But 

Lastly, a quick shoutout to Mariah Carey who played Precious' social worker, Miss Weiss. All made-down, she was utterly unrecognisable. A last-minute substitute for Helen Mirren, she did the role justice.

This was a really good film. It will make you laugh and it will stay with you long after the credits have rolled. It might just be too brutal for a rewatch.

The Way Way back review

 Number 856 on the top 1000 films of all time is the 2013 coming-of-age drama 'The Way Way back.'

Duncan (Liam James) is an introverted fourteen-year-old who is holidaying in Massachussetts with his mother Pam (Toni Collette) and her boyfriend Trent (Steve Carrell.) In a water park, he meets the fun-loving, hedonistic Owen (Sam Rockwell) who encourages Duncan to come out of his shell.

I think it was Sam Rockwell that gave this film its place on the best 1000 films of all time. It was a good film, but without Rockwell I think it wouldn't have been anything particularly memorable. He provided a shot of adrenaline with a chaotic energy. But it was that chaotic energy that made him so great to watch. Unlike many of the other characters, he was authentic and genuine. There was no facade and no lies. 

This is in contrast to the lying cheat who was Trent. Despite pretending otherwise, Trent obviously had no interest in Duncan as a stepson - the film opens with Trent rating his confidence as 3/10. And he spends much of the film belittling Duncan while spoiling his own daughter Steph (Zoe Levin.) But, most importantly, he is also cheating on Pam with his friend Joan (Amanda Peet.) It was interesting to see Carrell in a villainous role as usually he plays the comic lead. But I think he did well in the part. He certainly encapsulated the disinterested, suburban father burdened with a son from another marriage. 

Considering his background, it's no wonder that Duncan has retreated so much into himself. I think Liam James was good in his role. Characters like Duncan run the risk of being portrayed as either the weird kid or as a petulant brat, but Liam brought the role to life. He made Duncan a sympathetic character and seeing his journey from a shy, retiring teenager to a young man able to stand up to Trent was entertaining to watch. A lot of that was down to Owen's influence. Unlike Trent, he is the father that Duncan never had. He helps Duncan to grow and mature. And a quick shoutout to Jim Rash who played Owen's neurotic colleague Lewis. He was one of the funniest actors in this film, perhaps even funnier than Owen himself.

All in all, I did enjoy this coming-of-age drama. The water park was a great setting. And Rockwell gave a great performance, but Liam James was brilliant as well. It was entertaining watching Duncan's journey, but I particularly liked Steve Carrell's turn as a villain.

Mean Streets review

 Number 850 on the top 1000 films of all time is Martin Scorsese's directorial debut - the crime drama 'Mean Streets.'

Charlie Cappa (Harvey Keitel) is a low-ranking mafioso in New York. His best friend is the hot-headed Johnny Boy Civello (Robert De Niro.) Johnny Boy is reckless, aggressive and rude. He also owes a lot of money to many loansharks including the dangerous Michael Longo (Robert Romanus.) Cappa has to work hard to keep his friend out of trouble...and Johnny Boy gets into a lot of trouble - angering almost every gangster in the neighbourhood.

As well as being Scorsese's directorial debut, it also marked the start of his many collaborations with actors Harvey Keitel and Robert De Niro. Their relationship is at the heart of the film and the actors work brilliantly together. De Niro provides a chaotic, even manic energy which is balanced out by Keitel's straight-man approach. Johnny Boy antagonises every lone shark in the neighbourhood by stubbornly refusing to pay back his debts. As the film progresses, so does the tension and the drama. 

I certainly think you could argue that Mean Streets isn't always the most believable. No loan shark will give a little hot-head like Johnny Boy chance after chance to pay him back even if Charles Luciano was vouching for him. They might knock him around once or twice but if they don't get their money soon then they'll simply kill him. It is only at the end of the film that Michael Longo shoots Johnny Boy as punishment for not repaying his debts. And this happens as Johnny is attempting to drive to safety. And it's a botched attempt too. The car crashes and Johnny Boy stumbles to an uncertain fate. In reality, a loan shark would never let things get this out of hand. A loan shark would kill him earlier and far more efficiently than Michael Longo does. But this is a film, and not real life, so I'm prepared to suspend my disbelief. 

And I think that's because Scorsese creates such a fantastical world. Mean Streets, being Scorsese's first film, obviously didn't have the same budget as the Irishman or the Wolf of Wall Street, but Scorsese did well with what he had. He brought his world to life. And it is a dirty, gritty world. We are far away from the splendour and romance of the Godfather. It's grotty, ugly and unglamourous. But the best thing is that he presents this world without judgement. By completely immersing us in his world, he doesn't pass judgement on any of the characters living within it. Rather he allows the audience to judge for themselves. And I do judge Johnny Boy as a being an impetuous, little boy who would never measure up to the likes of the Corleones.

Also a quick shout out to the sound track. There were some great tunes that exemplified the sixties and the seventies. All of this helped provide some colour to a morally grey world.

If you're a Scorsese fan and you haven't already watched his directorial debut then what are you doing? It's a hell of a ride. Granted, not the most realistic of rides, but a great one nonetheless. 

Ghost World review

 Number 819 on the top 1000 films of all time is the 2001 black-comedy drama Ghost World.

Enid (Thora Birch) and Rebecca (Scarlett Johansson) have just graduated high school. Other than living together, they have no plans for the future. For a laugh, they respond to the lonely, middle-aged Seymour's (Steve Buscemi) classified dating ad. But seeing how devastated their actions have made him, they decide to make amends by finding him love for real.

I have to admit that this film had to grow on me. At first, Enid and Rebecca were a little annoying. Enid was, at least, Rebecca didn't seem to have a life or personality outside of her friend. But both girls are very nihilistic, bemoaning the exploitative nature of the capitalist world. There isn't anything inherently wrong with nihilistic characters, but there has to be more to them than their "I hate the world" shtick. Otherwise they're little more than annoying, negative Noras. Hardly characters you like and want to root for.

Things picked up immensely with Steve Buscemi's character of Seymour. Buscemi excels in anything he's in and Seymour was no exception. Seymour is a sad, lonely man who only finds joy in his extensive collection of blues records. Like Thora and Rebecca, he is cynical, but unlike them, he isn't completely jaded. He is still trying to find happiness rather than resigning himself to a lifetime of misery. This did make him a likeable character. And he and Enid brought out the best of each other. As Enid schemes to find him love, she realises she is falling in love with him, and he with her. Eventually, they consummate their relationship.

In a post #metoo movement world, you could probably read a weird subtext of an older man sleeping with a nineteen year old Thora Birch, but 2001 might as well be two centuries ago. And the past is another world.

This was a strange film. If you can get past the slow beginning, then I think it's well worth a watch.

The Secret Life of Walter Mitty review

 Number 755 on the top 1000 films of all time is the adventure comedy-drama 'The Secret Life of Walter Mitty.'

Walter Mitty (Ben Stiller) works a tedious office job at Life magazine. To help escape the boredom, he zones out imagining fantastical scenarios. After Life Magazine is bought out, Walter's job is threatened unless he can track down a negative still sent to him by legendary photojournalist Sean O'Connell (Sean Pean.) Kristen Wiig stars as Mitty's colleague and love interest: Cheryl Hiloff.

What followed was a funny, charming and relatable tale. Who hasn't zoned out at work imagining a ridiculous scenario that would never happen in real life? Walter Mitty has even entered the cultural lexicon meaning to take flights of fantasy. Mitty was also a fun character who undergoes a true hero's journey. Stiller played him perfectly. He was pathetic enough to be a nerd, but not enough to be unlikeable. In many ways, he is an everyman working hard to please a corporate boss who couldn't give a damn about him.

And a quick shoutout to Adam Scott who plays Mitty's boss, Ted Hendricks. Scott excelled at playing the slimy, callous, corporate boss who couldn't give a damn about his employees. You could argue his ignorance about his staff or company was unrealistic, but I think it's a damning indictment of capitalist America. Hendricks' obvious disdain for Life magazine provided a lot of the film's humour.

And Mitty goes through a great hero's journey. Mitty starts as a bumbling, sadsack who is afraid of his own shadow. Despite having an eharmony profile, it is largely blank as he hasn't travelled anywhere or done anything. This is why it was so funny seeing him pushed to the edge of his comfort zone from jumping out of a helicopter into shark-infested waters to trying to outdrive an erupting volcano.

Walter Mitty's zoning out had every potential to become a repetitive gimmick, but it was used well. Although it happened a lot to start with, as Mitty becomes progressively more adventurous, they begin to reduce. Once an integral way for him to escape, he no longer needs them. This was a nice way to stop the trope from becoming overused.

I also enjoyed how the missing still was more than just a Macguffin. I thought that, while being the launching of Mitty's adventure, we the audience, would never get to see what the negative contains. However, it is vital that Mitty recovers it, as Hendricks wants to put it on the cover of the final edition of Life. At the end, it is revealed that it is a photo of Walter Mitty accompanied by the caption "Life, dedicated to those who made it." This was a heartwarming way to end the film.

If I were to criticise anything, it would be Walter and Cheryl's relationship. It is at the heart of the film, but I didn't like them getting together at the ending. This was too easy and obvious. Walter Mitty's journey and transformation from a meek-mannered man into somebody who is comfortable in himself is so important that it should be something he accomplishes by himself.

All in all, this was a thoroughly enjoyable film. It balances comedy and emotion with a great, lead performance by Stiller. Now, if you'll excuse me, I'm going to have a Walter Mitty of my own.