Ice Cold in Alex

Ice Cold in Alex (1958)

Starring John Mills, Anthony Quayle, Sylvia Simms and Harry Andrews

Directed by J. Lee Thompson

Set in 1943 in North Africa at the height of the Second World War, and based on the novel by Christopher Landon, the film follows the crew of an Ambulance, nick-named Katy, heading from Tobruk towards the hospital in Alexandria, carrying a pair of nurses.  Led by Captain Anson, played with typically dependable stoicism by the great John Mills, the crew faces a variety of tribulations on their journey.  Anson is a recovering alcoholic, and clearly under huge pressure.  Mills' performance is  a triumph, as he struggles to keep a lid on his internal turmoil.  The title refers to a cold beer he has promised himself when they eventually reach Alexandria.  The crew is rounded out by Sylvia Simms as nurse Sister Diana Murdoch, Anthony Quayle as South African officer Captain van der Poel, and the ever-reliable Harry Andrews as M.S.M Tom Pugh.  This is a very tight and striking four hander; it's a cast to die for, and the performances are uniformly strong.  It's the first time I've included more than two stars at the header for this piece, because it really is impossible to separate the four of them.  One of the best ensemble casts - albeit a small one - ever.  

 

The plot is by its very nature episodic, but it's engaging and exciting.  It's stirring stuff.  Incidents along the way include frequent mechanical problems with the old ambulance, a perilous trip through a soft-sanded region, a desperate attempt to make it up a steep slope of a sandy hill, attacks by Stuka dive-bombers, a nerve-jangling minefield crossing, and encounters with German troops in the region - van der Poel is a German speaker and twice manages to secure the crew's freedom to press onwards.  He's very macho, somewhat aloof, but big and strong, and proves to save the team on several occasions.  But midway through the film, the rest of the crew begin to have suspicions that something is amiss, and that he's not entirely what he claims to be.  But they need to stick together to stay alive, even though the seeds of discord have been sown.  It means that they need to place their faith in him despite their doubts.  It adds to the power that makes this film more than just an adventure story, but a brilliant human drama.  There's a hint of romance between Simms and Mills, but it's never over-played.  There's one moment, and only one, where Mills explodes with rage and frustration.  It's brilliantly played, utterly believable, and only serves to highlight the control and leadership he otherwise shows.

Technically, the film is second to none, particularly given when it was produced, and the type of pictures which proliferated at the time.  Shot in stark black and white, the cinematography is outstanding, crisp and clear.  The directing choices are memorable too.  In particular, Thompson deploys a technique whereby he contrasts the stark desert landscapes in wide, wide shots, the ambulance appearing as a tiny creature in the wilderness, with tight, claustrophobic moments in the back of the ambulance, featuring an abundance of close-ups.  Pace-wise, the film is not typical of the average WW2 drama / adventure.  Whilst the plot constantly feels like it's moving forward, some scenes are incredibly drawn out for reasons of tension - in particular the minefield cross, and the sandy hill climb.  This makes the film stand out from many others in the same genre.  The score is full of bombastic Military march style music very reminiscent of the period, but another thing to make the film memorable is that for long periods it is soundless, perhaps in reference to the desolate nature of the surroundings.  Characters will simply interact without speaking, or, for instance, a dying character will whisper so softly that we can't hear anything, and the soundtrack doesn't offer up sweeping emotional music.

At the climax, for which I don't feel obliged to say this a spoiler, the crew arrive in Alexandria and head to the bar to partake in the aforementioned ice cold beer.  Anson orders the barman to line them up, and there follows a fantastic moment of silent reflection, as he stares at the glass, with an almost sexual lustre.  After everything they've been through, they made it, and this is his prize.  He contemplates the glass, and traces his finger down its condensated side.  It's one of the many moments that make this film iconic, in the truest sense of the word.  I believe it was even used as a beer advert in the 1980s!  There's a brilliant, tense moment in this scene involving van der Poel's dog-tags, but I'll let you see the movie for yourself and enjoy the moment - not exactly a "twist", but close to one.

It's fair to say that this is a bona fide classic in just about every sense of the word.  It's one of the best Second World War films ever made, it's one of the best adventure / "guys on a mission" films ever made, it's one of the most hauntingly beautiful films ever made, and one of the best character pieces ever done.  Little details stand out... such as the beads of sweat on Sylvia Simms' cheeks in one scene, or indeed a moment when she will just look at another character and offer up a wistful smile.  Whether you're interested in the adventure or the characters, "Ice Cold in Alex" will prove to be one of the most rewarding and memorable filmic experiences you have.  Expertly directed by J. Lee Thompson, who did the original "Cape Fear" with Robert Mitchum, and a couple of "Planet of the Apes" movies, the film is remarkably solid and enjoyable.  Cannot rate highly enough.

SB

Her

Her (2013)

Starring Joaquin Pheonix and (the voice of) Scarlett Johansson

Directed  by Spike Jonze

This is such an unusual film, but I suppose you couldn't expect anything else from Spike Jonze, perpetrator of the insanely bonkers "Being John Malkovich" ("Loved you in that jewel thief movie" !)

Joaquin Pheonix stars as Theodore Twombly, an impending divorcee who specialises in working for a website for which he writes letters for people who can't channel their feelings adequately.  In a sense, he's a filter for other peoples' emotions and as such at the start of the film, he's rather blank, despite going through an intense emotional experience with his divorce. Purchasing a new Operating System for his computer and phone, a talking Artificial Intelligence named Samantha, Theodore's perception of feeling and love is gradually turned upside down. Rarely has an actor or actress so thoroughly carried a film on their own.  Pheonix appears in virtually every scene (maybe every one), and gives a frankly brilliant performance.  There are multiple versions of the poster internationally.  Most consist of an extreme close up of Joaquin's face, sporting a manly moustache, however the one included above, possibly does more to convey Theodore's sense isolation as depicted in the movie.  Crucially, Theodore develops as a character, going from rather an emotional cypher, to a person who has learned something about himself, love, relationships and the world.  To use the cliché, he's been on "a journey", something essential to all drama. 

 Essentially this is a two-hander, although there are others in the supporting cast notably Amy Adams in another good showing after "American Hustle", so it's vital that the actress giving voice to Samantha is up to the task, and Scarlett Johansson certainly is that.  It's a performance which blends equal measures of curious, sensual, and robotic flatness.  It must be difficult to present an articulate performance without being able to employ physicality; think, for instance, about how much actors such as Al Pacino rely on their body language to portray their characters.  Spare a thought, though, for Samantha Morton - herself a fantastic actress - who voiced the character during filming, but was subsequently replaced.



This is by far one of Jonze's two best films (Malkovich being the other and not including music videos for the likes of R.E.M, The Chemical Brothers, and  The Beastie Boys); it's certainly streets ahead of uneven fare such as "Where the Wild Things Are" - which was interesting but inconsistent.  In addition to the strong performances from the actors, the Production Design is wondrous and the Cinematography, by Swiss D-P Hoyte van Hoytema (how's that for a name?!), who also shot "Tinker Tailor Soldier Spy", "The Fighter" and "Let the Right One In", is stylish and graceful, as one would expect given the look of the aforementioned films.  There's an almost permanent air of twilight (not "Twilight"!) and deep haunting.  The script, written by Jonze, is smart and subtle.  Many themes abound; primarily love, lonliness and the need for companionship, emotional intelligence, artificial intelligence, and more.  Without wishing to drop a spoiler (Sweetie!), there's a revelation towards the climax which evokes matter-of-fact coldness from one of the protagonists and crushing devastation for the other.

Furthermore, Jonze's Direction is measured; the movie is much more level-headed than some of his previous work, perfectly paced and utterly absorbing throughout.  And I had no idea exactly where it was going, so it was a pleasant surprise to find out.  The premise could arguably deemed "Science Fitction"; certainly the concept of AI raises that spectre.  Ultimately though, it's just an off-beat, intriguing, brilliantly made, highly original movie.  I love cinema, and am generally well-disposed towards a picture and keen to enjoy it.  That doesn't always happen, of course, but in this instance, I think "Her" is a truly great film, and I'm sure that when I come back to it in future I'll find deeper and deeper levels.  It's been a great year for Cinema, with the likes of "Rush", "Gravity", "The Wolf of Wall Street", "American Hustle", "Walter Mitty", so on and so forth, I can heartily endorse "Her" as being right up there with the best of them.

SB 

American Hustle

American Hustle (2013)

Starring Christian Bale and Amy Adams

Directed by David O. Russell

The film begins with an ironic title-card: "Some of this actually happened". Which in itself is much more honest than the oft-used "Inspired by true events" or suchlike, when one knows most of the script is made-up. Certainly the film is based on the Abscam operation carried out by the FBI in the late 70s, but one suspects a fair amount of dramatic license has been taken - after all "Argo" was full of factual inaccuracies which played up the drama. For the better.

Overall, this is an epic movie about HAIR. The opening scene shows Christian Bale's character (Irving Rosenfeld) painstakingly applying an outrageous toupee to his balding head. Bradley Cooper chips in with his Ruud Hullit style curly, greasy afro-curls. And there's Jennifer Lawrence's blonde dye-job. Leaving that aside there's a story about two con-artists, busted by the FBI, being forced into trying to take down a seemingly corrupt New Jersey Mayor - the suitably bouffanted Jeremy Renner, on top form as Carmine Polito (adding to the wild hair count). Hair and costume, and music (the soundtrack is excellent), play a huge part in setting the scene within period - for this is a period piece for sure. The film plays wildly with the audience's emotions; at different points in the story each character gains our sympathy, and at other moments loses it. The four leads - although Christian Bale and Amy Adams take the true lead roles, with Bradley Cooper and Jennifer Lawrence ("the Picasso of passive-aggressive Karate") in close support - all turn in superb performances, as evidenced by their Oscar nominations. The movie was unlucky to come away from the Academy Awards empty-handed. I found it a much more absorbing watch than the big winner "Twelve Years a Slave", which whilst extremely powerful - and horrific - may have benefited a vote or two from the worthiness of its subject matter rather than the quality of the finished film.  Still - horses for courses.

Set in New York City in 1978, Bale, as Irving, is a relatively small time con man, who teams with Adams' scheming Sydney, channeling Lady Penelope, who pretends to be a member of the British royalty with influential banking connections in London, to scam a string of clients desperate for cash, who will pay a down fee on a larger loan to pay off their debts, but who never receive their money. The plan to entrap Mayor Carmine involves bringing in a "fake Sheik" (they should have worked for The Sun) who promises to invest millions in the New Jersey economy to re-develop the Atlantic City casino strip, and enticing him to take bribes. But the viewer is conflicted, as Carmine clearly states that everything he does is for the benefit of his community, and he only has them at heart. Later in the film Irving clearly has doubts about selling out the man he has come to consider his friend, with whose family he has often socialised which further adds to the moral ambiguity of the picture. 

Cooper, as the increasingly obsessed FBI agent Richie DiMaso (there's a scene in which he assaults his boss!), is fast becoming one of my favourite actors following his work in "Limitless" and Russell's "Silver Linings Playbook". Having heard him interviewed a few times he seems like a really decent chap to boot. Amy Adams on a fine run of form - she was one of the best things about "Man of Steel", she's in type in "Her"; I have been a big fan of hers since seeing hers "Doubt" a few years back. The likes of Louis C.K fast bring up the rear of quality in this cast. As for Jennifer Lawrence, it's much more satisfying to see her taking on roles like this, "Silver Linings" or "Winter's Bone" rather than the "Hunger Games" roles, as she is a fantastic actress. Then again, there has been a long history of actors carrying and carrying out careers which span big-budget blockbuster nonsense one minute then smaller Indie pictures the next.  It can be done.

Oddly it brings to mind a modern day version of "The Sting". But it's so rooted in its era that it doesn't achieve the same timelessness of the older film. There's a lot thrown into the mix here and I can understand why some might think it messy.  In addition to the main scam plot and the main characters' distrust of each other, there's also a simmering sexual tension between the four, and their gradual unraveling, in particular the bitter and slightly left-field relationship between the two female leads as they compete for the affections of Irving.  What is it about him that attracts a woman like this? It seems he just has "it".  Confidence.  David O. Russell's films arguably aren't always the most accessible, but if you can buy into the tone this movie sets it's absorbing and rewarding.

SB

Phantom

Phantom (2013)

Starring Ed Harris and David Duchovny

Directed by Todd Robinson

"Phantom" is by no means a perfect movie but it is a very well made, effective, and entertaining one. And it's Independent.  The setup is simple; an about-to-retire Soviet Submarine Commander is sent out on one last mission in his old boat, some "special" operatives join him with their own hidden agenda and a top secret cloaking device... Is their intention to defect, or to launch a first nuclear strike against the US? Our captain suspects the latter.

The film certainly plays on, or fits neatly into, depending on your point of view, the traditional tropes of both Cold War thrillers and Submarine movies. The claustrophobia of the vessels generally makes for an extremely atmospheric tension, and this film is no exception. In a way, it's at a bit of a disadvantage because the rules of the genre mean it will immediately be compared to "Run Silent Run Deep" or "The Hunt for Red October". But this isn't to detract from the achievement here. Unassuming, effective direction aside, the real winner in this film is the cast. Ed Harris is simply a superb actor, he's a banker every time and no less effective in embodying his character here than he was in diverse fare varying from "Pollock" to "The Rock" to "The Abyss". David Duchovny is a surprise as the nasty-piece-of-work KGB operative; I've always liked him as an actor ("Return to Me" is an unexpected favourite) and I fear it will be a tag that haunts him for years to come, but here I didn't think about Fox Mulder (one of the all time iconic characters from one of my favourite TV shows ever) or Hank Moody for a second. And particularly, William Fichtner, the supporting actor at the top of any casting director's list, surely, is great as the man torn between loyalty to his captain, duty to the state, and the opportunity for promotion. I can't believe he hasn't been cast as a lead more often. The other supporting cast members were less familiar but also all played well.

It is to be commended, in my opinion, that this was independently made on a fairly tight budget. It just goes to show a good film can be made without a $150 million budget.  In comparison to, say, the ludicrous Tony Scott submarine film "Crimson Tide" it comes out streets ahead.  Sure, there are factual errors here and there, but not that many people would recognize, and the strength of performance and direction win through.

See this movie if you like Cold War or Submarine movies, or are just looking for a slightly offbeat thriller. At just over 90 minutes it doesn't outstay is welcome, and I found the climax to be quite moving. I liked.

The Jokers

The Jokers (1967)

Starring Michael Crawford and Oliver Reed

Directed by Micahel Winner

Although he's probably best known now for those "Calm down dear" insurance adverts, in which he appeared before he passed away in 2013, there was one a time when Michael Winner used to make films, most infamously the Charles Bronson vigilante movie "Death Wish" and its two sequels, and one or two were rather good, particularly his comedies of the 60s. His last film, "Parting Shots" was in 1998.  His direction here is vibrant and with a deftness one doesn't normally associate with him. "The Jokers" is a jaunty little caper movie with a wicked sense of humour and an engaging twisty-turny plot. The script, by veteran scribes Dick Clement and Ian La Frenais, whose partnership ranges from "Porridge" and "The Likely Lads" to "The Commitments" and "The Bank Job", by way of uncredited rewrite work on faux Bond film "Never Say Never Again", contains some priceless lines, including a couple which only an Englishman could find funny ("I was in the same house as his newphew.  He was an idiot too... Roger Gurney-Simms.  Went off to Tanganiyka and the bl**dy place became independent as soon as he got there!")

I remember when I was about 5 years old I saw a film about two soldiers (sic) who steal the Crown Jewels from the Tower of London. Latterly, I didn't remember much about it (obviously) or even what it was called, only that I enjoyed it. So I was pleasantly surprised recently, when I stayed to watch the late movie on telly one night and it all came flooding back... Quite why I would have loved "The Jokers" so much when I was five is beyond me, as most of the humour would have probably gone straight over my head. I must have loved the ingenuity of the brothers' scheme and the twists at the closing stages. But then, this movie is so incredibly easy to like - it rattles along at a cracking pace, it looks like a tourist film of London, it's a pleasing thriller, and it's pretty funny to boot. There are many advances in technology which would render crucial details of the plan unworkable today, making the movie very much a product of its times; but baby, what times! The Swinging London of the late 60s, as so affectionately sent up in the "Austin Powers" flicks, is presented here as decadently appealing, if shallow, an endless round of booze and birds. If there's any sour note it is that the "system" which the brothers want to ridicule seems to have been very kind to them along the way. But it's hardly a film to be making profound political statements, so one can't complain. Instead just sit back and enjoy this superbly entertaining little sparkler, as much fun now as it was when I was five years old!

Michael Crawford and Oliver Reed play two brothers, Michael and David Tremayne.  Michael is in the army, whilst David seems to do nothing but womanising his way around the aforementioned Swinging London, dining in fine restaurants, hanging out in nightclubs, and attending parties.  When David plays a prank on Michael which sabotages a training exercise on Salisbury Plain, Michael is drummed out of his regiment.  On his return to London, David suggests that they make "a grand gesture".  After scouting London for suitable targets, they hit upon the idea of stealing the Crown Jewels from the White Tower, but later returning them to the authorities.  The point is not for the robbery to be about profit, but to shock "the establishment" and show up how lax the security is.  They phone in a bogus bomb threat and gain entry to the tower posing as army bomb disposal officers, before staging an explosion and escaping in an ambulance.

The robbery itself occurs relatively early on in the film; the fun part is what happens when the time comes to hand the jewels over.  Double-crossing occurs and the Police desperately try to catch their suspect.  Crucially, at this stage the film keeps its audience guessing, and the outcome is genuinely unexpected (although I have to admit, the final moments are a little silly).  Crawford is charming and funny - although this is no "Condorman"! - whilst Reed is charismatic, if a little gruff.  They are ably supported by, amongst others, Harry Andrews, Michael Horden, Brian Wilde, Warren Mitchell, and Edward Fox.

There's a distinct sense of time and place about "The Jokers".   It's (what I believe is known as) an enjoyable romp.  For a caper movie it's original and memorable.  If you should happen upon it, it's well worth a watch.

Captain Phillips

Captain Phillips (2013)

Starring Tom Hanks and Barkhad Abdi

Directed by Paul Greengrass

As this film is based on the book (and true story) "A Captain's Duty: Somali Pirates, Navy SEALS, and Dangerous Days at Sea" by Richard Phillips and Stephan Talty, it's fairly safe to say it's no spoiler to reveal that Phillips survives the ordeal depicted in this film.  But the big questions are how did he survive?  What transpired along the way?  Therein lies the glory, and amazing, gripping telling of this film, one of the tensest, most dramatic films that I've seen in a long while.

In 2009, Captain Richard Phillips takes command of the MV Maersk Alabama, a US registered container ship, and sets off on a voyage from Oman in the Middle East down the coast of Africa.  This is the first time he has sailed in this particular ship, so the crew are unfamiliar with his methods, which are somewhat rigourous.  Early in the voyage he notices that the doors and hatches are unsecured, and orders several security drills.   

Meanwhile, in a village in Somalia, Abduwali Muse (Abdi) is ordered by a group of mercenaries working for a warlord named Garaad to go out and find something to provide money for said warlord.  The local young men all clamour for a spot on the mission.

The "pirates" duly close in on the ship, and despite efforts to see them off, they manage to board the cargo vessel.  A tense standoff immediately ensues with Muse telling Phillips "I'm the Captain now" and demanding millions of dollars in ransom.  Phillips has told the crew to hide below decks, barring the crew members serving on the bridge.  He arranges for them to slow the engines, pretending that the ship is crippled, and offers the money from the bridge's safe - $30,000.  This does not satisfy Muse and his band of raiders.

What ensues is an utterly enthralling game of cat and mouse, as the pirates attempt to find the crew, fix the ship, and continue to demand their ransom.  Phillips, for his part, attempts to disrupt their plans, protect his crew, and find a way to freedom.  The brilliance of the film lies in the even-handed treatment of the antagonists and protagonists.  The Somali pirates are shown to be under duress from the warlord, so one can understand their motives for taking such desperate actions.  Morally, it's ambiguous.  But likewise, we can fully sympathise with Phillips' desperate attempts to look after his crew.  With the US Navy fast closing in, the pirates, in frustration, decide to kidnap Phillips and they cast off in one of the ships' lifeboats, setting up a nail-biting final act in which the Captain comes within inches of death.

As one would expect from director Paul Greengrass, pioneer of the documentary-style "shaky cam" look in such films as "United 93" and "The Bourne Supremacy", the film is completely immersive.  It feels at times as though one is a part of the action, or at least as if this is a documentary.  There were some reports on its cinematic release that moviegoers were experiencing sea-sickness due to the camera motion!  It's also extremely exciting and absorbing.

The performances are uniformly superb - Hanks in particular has seldom been better, the final scene, dialogue free, is so, so powerful; and the previously unknown Abdi is wonderful as Muse (deservedly winning a BAFTA award for Best Supporting Actor), but they are also well supported by the ensemble cast of crew members (great to see "Twin Peaks"' Chris Mulkey on board!)

It's emotionally draining - I was stuck to my seat as the end credits rolled - but it's also thrilling, dramatic, skillfully played and directed.  All in all one of the best films I've seen in quite some time.

  

50/50

50/50 (2011)

Starring Joseph Gordon-Levitt and Seth Rogen

Directed by Jonathan Levine

You have cancer.  You're going to die.  You have a massive tumor in your body which will not go away.  It has to be killed by doctors, if they can manage.  They're all politely speculative.  Or you will need life-threatening surgery. Otherwise, it's curtains time.  Think about it.  How do you react?  Are you calm? Are you angry?  Are you sad? Withdrawn? Positive?  Can you even be positive about such a crappy situation?  Do you draw up a bucket list and prepare for the end?  Or are you determined to fight?  How do your friends and family respond?  Are they selflessly supportive? Are they consumed by grief themselves for the perceived outcome?  Are they considerate?  Do they listen?  Are they even aware of your feelings as they struggle to cope with the idea that their loved one (perceived or real) could be coming to the end of their life?  Is their thought about you, or about them?   How do you cope?  Your odds of survival are said to be half in half. Not bad, says your best friend.  Deadly, you think.  These are some of the themes examined in the amazing drama / comedy "50 / 50".  

Joseph Gordon-Levitt, already celebrated for roles in the likes of "Looper" and "The Dark Knight Rises" (Not a word against Ben Affleck but why couldn't JLG have been cast as Batman in the next Superman film?) but who is a certainty to become a *massive* star in future, plays Adam, the cancer sufferer, and Seth Rogen, who has already established his comedic credentials, plays his deeply caring (although it might not often be apparent) best friend Kyle.  This is a story of an ordinary young man, Adam, a polite unassuming, easy-going, journalist for a Public Service radio station, who discovers early on in the film that he has a cancerous growth in his spine, and goes about dealing with that through chemo (evidently), Psych therapy at the hospital, and thinking on life.  It's a beautiful meditation of a picture which touches on all those things mentioned above, and more, without a hint of judgment.  We just see things play out, and are drawn, tremulously, into the human drama of Adam's story.  Adam is in a somewhat unfixed relationship with an artist called Rachael, (not a great artist, at that) who seems unwilling to commit.  He isn't in any way close to his overbearing Mother (Angelica Houston).  His father suffers from Alzheimer's disease and doesn't recognise him each time they meet.  His closest relationship is with his workmate and best buddy (Rogen), although the two are as different as chalk and cheese.  Kyle is loud, lewd and brash, always there with a cheap gag or a one-liner.  Adam is quiet, introspective, withdrawn.  He's the type of guy who will stop at a red pedestrian light whilst jogging, even if it's 6am and there's no traffic on the road.

The main thing to note about this film is that it approaches the cancer as a simple fact.  There's no "Why me?" style angst.  It is what it is, we all have to die eventually.  Sometimes, life sucks.  But sometimes that can make it great.  As the story progresses and Adam comes to terms with his illness, there's a surprising amount of humour.  Most of it comes through his relationship with Kyle, who will, for instance, use a trip to a bookshop to look for books on cancer to pick up the shop assistant, but also through the relationship with a group of fellow chemo sufferers, significantly a pot-smoking group of old men (including Max Headroom himself, Matt Frewer).  It's as much about Adam as it is about those around him - I'd say about half and half...

The power of the film comes from the balance between the two emotional phases of Adam's condition.  For the most part he is cold about it - this is happening, there's nothing I can do, leave me alone.   On the other hand there is a huge amount of humour, and pain all around him.  Having read certain user comments about the movie, they range from "It's outrageous, how do they dare make fun of cancer?" to "I suffered from this, and the movie perfectly nails the gallows humour you experience".  As such, I really bought into it, from the latter perspective.  The movie doesn't make fun of cancer, it simply depicts the way one individual might react to it.  Added into the mix is the tender relationship between Adam and his Psycho-therapist at the Hospital, Katherine, played with immense charm by Anna Kendrick ("Up in the Air", "End of Watch").  She is a rookie, still studying, and Adam is only her third patient - she doesn't have a good survival rate, as he figures out.  There's a great running gag wherein she feels that during sessions it will comfort him if she places a hand on his knee or his arm, but he recoils violently.  She can't figure why, as that's what it says to do in her manuals; he can't understand as it's so obvious he has shields up.  It just injects so much humanity into those scenes. And there's a good Doogie Howser joke.

Without giving wanting to give away anything, the climax of the film is genuinely unexpected, tense, and extremely emotional. "50/50" is an very well made film in my opinion, unfussy but packing a punch.  Although I, thankfully, have no direct experience of cancer, it strikes me as a movie which is true.  It speaks to such a range of emotions - love, sorrow, anger, regret, humour, acceptance - perfectly balanced, that I just loved it.

Oh, and fair played to Joseph for shaving his head on camera! 

Gravity

Gravity (2013)

Starring Sandra Bullock and George Clooney

Directed by Alfonso Cuaron

The film has been making the 2013 Top Ten or even Top Five lists of pretty much every critic - and filmgoer - in the world lately, and as they say, there's no smoke without fire.  It cannot be convincingly argued that "Gravity" is not an amazing, encompassing sensory cinematic experience.  It's a deeply immersive film, and if that sounds pretentious, note that British film critic Mark Kermode, notorious, or celebrated, depending on one's point of view, for his anti-3D opinions, actually advocated seeing this film in 3-D (threed) over 2-D (twod), the first time he has ever crossed the fence (although I'm surprised he didn't for his pal Werner Herzog's "Cave of Forgotten Dreams" a couple of years ago).  It has picked up a number of Golden Globe nominations and will surely go on to do well at the BAFTAs and maybe the Academy Awards too; not that this is a significant indicator of a great film, but sometimes a great film can both make a lot of money, and garner awards validly too.  "Gravity" is a flag-bearer for that philosophy.  It's a decent 90 minute, punchy, not outstaying-its-welcome film with a simple story but amazing, groundbreaking effects (massive cudos to Effects House Framestore) and not one for which the 3-D has been un-necessarily tacked on to raise a few extra dollars, as most are, but because it genuinely enhances the experience.  Once in a while a film comes along which can be claimed to be a genuine game-changer; think "20001: A Space Odyssey", "Star Wars", "Terminator 2: Judgment Day", or "Avatar" and you'll get the idea.

The film is a fairly simple story of an individual in a highly perilous situation trying to escape it, and the breathlessly exciting depiction thereof.  Mission Specialist Ryan Stone played by Sandra Bullock (yes I know, what kind of a name is Ryan for a woman?) who is in orbit above Earth with a specific directive to carry out a mission to make an adjustment on the Hubble space telescope (which, incidentally, just sent back these pictures https://www.google.com.au/search?q=Hubble+space+telescope+images&source=lnms&tbm=isch&sa=X&ei=NHUsU9i6GISnlAXN3ICwAg&ved=0CAkQ_AUoAQ&biw=1008&bih=598).  She and her crewmates learn whilst up there that a collision between satellites is sending a mountain of space-debris their way and that they are in serious trouble.  They, in particular, are Stone, and Mission Commander Matt Kowalski, played by Clooney.  When it hits, a few "red shirts" but it, their shuttle is destroyed, they are seemingly stranded in space, and have to work together to figure out how to get  back to Earth.  Needless to say, things don't go smoothly...After the initial strike it's anticipated the next will come in 90 minutes, during which a series of tense and not entirely predictable scenes play out.

Bullock is incredible in this film, as hers is the main survival attempt upon which we focus.  There is some resonant imagery throughout as she fights for survival, all the while recalling her lost daughter.  This is why I love this film, because although it's a simple escape-from-peril movie, and a very entertaining one at that, doesn't also hint at themes of love, redemption, and re-birth.  It doesn't matter if one doesn't pick them up, the story can still be very much enjoyed, but if one does, it gives a kick to it all.  Clooney too is fantastic - I'm not sure he's been in a lousy movie since "Batman and Robin" - although comments are welcome.  The initial spacewalk was amazingly well realised, to the extent that celebrity astronaut Chris Hadfield (former Commander of the International Space Station) commented that the depiction of spacewalk in the first section of the film was *exactly as it really is*. He famously posted photographs on Twitter that he had taken from orbit, and a number of times a shot in the film made me think "that looks EXACTLY like what Commander H posted from space".  "Gravity" should certainly make up for realism in what it misses out on in plot points or scientific accuracy!  The initial spacewalk scene was where the 3-D especially comes into its own for me, because as Stone carries out her mission on the telescope, Kowalski, on his final mission indulges in one last spacewalk which sees him pop up in all areas of the screen at random times - the idea he could be 5 feet in front of Ryan or 50 behind is brilliantly depicted in the 3-D print.   This is not to say that the film wouldn't still look amazing in 2-D (I know some folks who have seen it in that format and been similarly blown away) but it's just to say, if you're ever going to see a movie in 3-D see this one and not "The Croods" (although, see "The Croods" in 2-D because it's charming).  You get my drift.

Really, I think this is an exceptional film, which, if you love cinema, you should make an effort to see it on  the big screen.  3-D, 2-D, irrelevant.   Just see it on a big screen whilst it's still playing, as it will be worth it.  Of course, the film will live on forever on Blu-Ray and with some of these 90-inch screens coming in, you may feel no different.  The film is not profound, and has nothing much (arguably) to say about the Human Condition but why should it?  It's an amazingly executed romp through space, thoroughly absorbing, gripping and reliable depiction of an adventure film.

The Secret Life of Walter Mitty

The Secret Life of Walter Mitty (2013)

Quintessence (Who knew?)

Starring Ben Stiller and Kristen Wiig

Directed by Ben Stiller

Ben Stiller's latest offering as a director and actor has him tackling James Thurber's original story of a dreamer who goes on to better things, but in a radically, totally different, 21st Century incarnation.  The finished  film is an absolutely magical triumph, which, in the old cliche, will appeal to audiences of all ages. The audience I was with consisted of those all ages in question (15 to 75, I'd say), and they all sat in their seats as the end credits rolled.  It's happening all over the place, I hear, (look at the message boards on IMDB, for example) and whether it was the music, or the impact of the film, it was quite remarkable not to have everyone streaming out of the auditorium the second the film fades to black.  Personally, I think it was the film itself.  It's easily one of the best films I've seen all year - oh, hang on, it's 2014 now, and I've only seen two films in the cinema - an interesting double bill, (about which to follow) - but I'm 100% sure that come the end of the year this will be in my Top Ten of the year - make that "one of the best films I've seen in in ages" It's funny (not much laugh-out-loud funny, although there are quite a few moments) but wry and amusing throughout, completely, but it passes the six-laugh-out loud-test with flying colours.  What really stands tall this movie out is that it is truly inspiring.  It makes you think, "what could I do to be a better person?"  And for that reason, I absolutely loved it.  I *loved* it.  It made me feel proud to be myself and I wondered what I could do to be better. I had tears in my eyes as the credits rolled (although I guess this is not such a big thing - I cry at movies all the time nowadays). Be a better person. Simples.

                              


The story centres, obviously, around the eponymous title-man, played by Stiller ,who works as the photo negative manager for "Life" magazine, and has done for 16 years.  He's clearly hugely talented, imaginative, but stuck in a rut and wasted in his role. A great touch comes in the first scene, in which he tries to summon up the courage to send a "wink" to a lady on e-Harmony (other dating websites are available), but can't do so.  He retreats from the table where his laptop sits, and disappears from focus.  It's a brilliant moment which subtly shows us that Walter has no focus in his life.  Frequently, and we see this, he disappears into fantasy-land whilst in the middle of talking to someone.  His sister calls it his "zoning out".  These scenes are great, and funny; there's a moment when he imagines diving off a train platform to rescue a dog from a burning building.  There's a wonderful, extended scene where he has a massive, Avengers-style fight with an annoying executive from his company, spinning around and carving up the New York streets as they go toe to toe.  As the film goes on though, and Walter becomes more focused, the fantasy scenes thin out, and it's all the better for zeroing in on his story.  The McGuffin is thus: Walter has a big problem; Life's star photographer (a freelancer, Sean O'Connell, played by Sean Penn) has sent them a reel of pictures ("Sean still shoots on film.  I respect that") but the key negative, which O'Connell says is the best one and rerecommends to be used for the cover of the final issue, is missing.  So, Walter feels he has no choice but to go in search of the legendary lensman in order to find the picture.  Brilliantly, as Walter gains focus on something, his fantasies more or less dry up.  It gives the film a refreshed sense of purpose and believability as the craziness isn't going on...

What follows is a rollicking, but frustrating tour of Greenland, a fishing boat in the North Atlantic, Iceland, and ultimately the Himalayas as Walter closes in on Sean. Walter goes on search of the famous photographer constantly seeming to be one step behind his charge. This is the true driving force, and nature, for the film, and at times it feels like a travelogue!  These scenes yield some of the standout moments of the picture.  They have clearly filmed on location and actually gone to Iceland; the scenes shot there are stunning, capturing fully the vastness and beauty of these northern lands.The landscapes are *incredible* and amazingly well captured.  It's utterly utterly beautiful.  There's a fantastic scene where Mitty, drastically trying to keep up with Sean, jumps on a skateboard, bartered for from an Icelandic kid, and scoots down the road at high speed through mesmerising Icelandic mountains, unaware that a nearby volcano is about to erupt... To an amazing, driving soundtrack...<think ukulele, humming, and hand claps - I'm not doing it justice but it has to be heard> It's an exhilarating scene. I'd be surprised if this isn't nominated for Cinematography at this year's Oscars - it looks constantly FANTASTIC.  From Icelandic landscapes, to volcano eruptions, to tranquil arctic seasets, it looks awesome.  Lenser Stuart Dryburgh ASC can be mightily proud.  All the locations scenes look fantastic and it's a credit to Stiller as Director, and all the powers that be, that they actually went on location to film these scenes instead of, say, green-screening Stiller beside a mountain.  They are truly beautiful shots.

Of course the driving force of the movie is Walter's mission.  He has to find Negative 25 (of the reel) and thus he has to find the photographer...Remarkably there is a beautiful, touching love story running parallel, in which Walter falls for co-worker Cheryl, played with suitably adorable restraint by Kristen Wiig.  Their relationship is so natural and understated that one never believes it won't work out between them - despite the little murmur when she deletes her online profile and he believes she is back with her ex-husband.  That's a running gag too - Walter works with her, but would rather give her a wink on e-Harmony than go and talk to her in real life..So he keeps getting calls from a worker for the site, constantly trying to help him update his pprofile . It's all too believable.  It's unusually, uncannily natural though.  They behave the way real people behave, instead of the way "movie people" behave. Cheryl helps him out on his quest, and becomes a new touchstone in his formerly drifting life...It's amazingly insightful peek into human behaviour and makes you want to know these characters more closely - and hug everyone you love.  That, I think, is the real point of this movie.  Life shouldn't be about the drudgery of the day-to-day job, as it is for so many.  Life should be what you can do, if you try. A poignant moment comes when Walter finally tracks down Sean, and finds him waiting to capture a picture of a snow leopard (rarely seen), or ghost cat. "Beautiful things don't ask for attention", says Sean. When the animal finally appears, Sean doesn't even take the shot, he just looks on in wonder. Walter can't believe it, but Sean just says "stay in the moment".

Honestly, this film was not what I expected at all.... One normally associates Ben Stiller with slapstick comedies along the lines of the (both awesome) "Dodgeball" and "Zoolander".  Having seen the trailers, which front-load the fantasy element, I was expecting essentially more of the same, and not at all prepared for the second half of the film.  It's not so much a comedy, or even a romantic drama.  Walter's story is one of inspiration, of a man who comes out of his shell and performs when it counts.  It's a great drama about the need to do more (as we all do). It's a great film, about achieving your dreams at all costs.  That Stiller is directing himself is all the more remarkable given that he is in almost every scene; and he turns in a fantastic performance as the self-doubting but eventually self-confident Walter. The music, as hinted, is fantastic.  Many of the supporting actors, aside from Kristen Wiig, were unknown to me, although Adam Scott as an uppity executive was brilliantly funny ("Who looks good with a beard? Dumbledore.  Not you!"), and Shirley MacLaine's role as Walter's mum was all too brief. 

It's a change in tone for Ben Stiller though, a much more mature approach which is both incredibly moving and extrextremely accomplished. I'd highly advocate catching this in cinemas so you can appreciate the beautiful landscapes.  This was a really satisfying film about which I'm still thinking... and thinking...-

SB

Miracle Mile

Miracle Mile (1988)

Starring Anthony Edwards and Mare Winningham

Directed by Steve De Jarnatt

It seems so long ago now that it's easy to forget that the Cold War lasted for over 30 years, seeing the USA and the USSR insanely pointing their respective nuclear arsenals at each other and poisoning the public mind with worry for years on end.  The world lived with the constant threat of MAD (Mutually Assured Destruction - as if that would be some consolation) in the event of the balloon going up and both sides launching their missiles.  The Cuban Missile Crisis was the closest it came actually to happening, but the fear and paranoia continued in many people, looming large in the public consciousness.  This was often  reflected in the films, plays, tv programs and artworks of the period.  Just look, for instance, at "Fail Safe", "Dr. Strangelove", "On the Beach", the British-made tv movie "Threads", or even "War Games".  "Miracle Mile" is another, slightly lower profile, to join that list.

Named for the famous street in LA,the film has dated severely, both in terms of its subject matter, and stylistically.  It's oddly reminiscent of that mid-80s "Miami Vice" style - all swaying palm trees, filtered sunsets, neon signs and synth music.  But it remains eerily disturbing and truly memorable.  Our story sees musician Harry Warshello meet and fall for Diner waitress Julie Peters whilst visiting the Natural History Museum by La Brea Tar Pits in Los Angeles.  The romance aspect shown in the first 20 minutes of the film is fairly strained, and definitely reflects the most dated part.  But 20 minutes in, the real film begins.  One night before Harry goes on tour the couple are due to meet by Julie's diner after her shift for a late, late night date, but due to a power failure at Harry's hotel his alarm doesn't go off and he oversleeps till 4am.  Racing down to the diner he finds Julie long gone, obviously, and whilst trying to call her home from a phonebox outside the diner, to apologize, the phone rings, and he answers.  The caller, it transpires, is a soldier at a US Army missile silo in North Dakota, trying to reach his Father in Orange County but has mis-dialled the area code.  He's calling to warn his dad that a nuclear strike against the USSR has been triggered inadvertantly, and the retaliation will be hitting American cities in 70 minutes. "We're locked into it... It's happening... it's really happening" yells the caller.  A dumbstruck Harry says "This is a joke, right?", unable to digest the awful news.  After an audible burst of gunfire, another voice comes onto the line and chillingly says: "Forget everything you just heard. Go back to sleep."  Harry starts to believe that the worst could be coming true...

What follows plays out in real-time (eat your heart out Jack Bauer!) as Harry and the fellow patrons of the diner, after initially squabbling and not believing, trying to verify the validity of the call, the most awful of news, desperately struggle to make it to a helipad on one of the city's skyscrapers, and get to the airport to escape the city before the strike hits.  Harry has to pick up Julie and her parents, who are obviously asleep.  It's a frantic, incident-laden race against time, punctuated by a series of encounters with a wide range of characters, and things are getting worse by the minute.  There is a car robbery from an innocent bystander, to whom Harry has to tell a made-up story for fear of not being believed about the terrible apocalypse to come, to an accidental murder of a Police officer at a petrol station, to the subsequent killing by police of the perpetrator of that act.  Then when word starts to spread, all hell breaks loose and the streets become utterly chaotic, making things that much harder for our hero to reach his goal.  Carnage certainly reigns on the streets of L.A. and these scenes are noteworthy for their scope.  It's worth noting that the film's score, by German Electronica band Tangerine Dream is completely haunting and effective, pumping when necessary, and really helps to build up tension in these scenes, whilst lending an ethereal air to the proceedings with their alternatingly tense pounding, and beautiful ambience.

The film's main strength is in its vivid portrayal of the weakness and desperation of knowing this could be the final few minutes of ones life, and asking if there is anything to be known for it to be avoided, and if there is any greater purpose in having been given life in the first place - the scene at the museum foreshadows this - for it to be evaluated.  There is a tender love story between Harry and Julie, which, while eliciting little sympathy initially during those awful 80s neon moments, becomes wholly believable and careworthy towards the end of the picture when carnage breaks out.  But the main selling point is the real-time countdown to an end, semi-credulously believed by those on screen; some say "get me out of here, I have to survive", some say "f*** it, let's have a drink".  Direction, by necessity, is taut, gripping, and interesting.  It reminded me a lot of 

"The Terminator" due to the apocalyptic tone, and the late night L.A vibe.  As Harry lurches from one nightmare scenario to another, we are never made to forget about THE nightmare scenario underlying the whole picture.  Thus, De Jarnatt constantly reminds us of where our sympathies should be lying, as human people.  For that reason mainly, I remember this film.  Once seen, the scenes of L.A. in uproar and crisis as everyone tries to escape, will seldom be forgotten. 

Having recently re-watched the film for the first time in, say, fifteen years, I can say only a few things pertinent.  One, for sure, it is dated very much to its time of the late 1980s. Two, it is a spectacular depiction of the carnage we would see at the end of time - of the sort popularized and leered over by "Independence Day" and subsequent ludicrous alien / terrorist films of late.  Here, however, the camera is on the ground as it unfurls, and it is all the more affecting for being so. Three, though, it is a fantastic human drama, right through to a climax which is both surprising yet strangely fitting, not to mention deeply moving.  Edwards - of "Top Gun" and "E.R" fame - gives an unquestionably fantastic performance as the increasingly frantic Harry, singularly carrying the film, and he is in most scenes.  Winningham - most recently seen alongside Judi Dench in "Philomena" - a little less so, altough still heartbre!aking and effective - it's a bit hard to see what Harry sees in her, as much as we sympathise with their nightmarish situation.  That she spends a great portion of the movie passed out on valium is a bit of a problem... but even then, it allows Harry to show his care and humanity, as he tries to keep the truth from her as they make their way out of the city.  The film is not without flaws.   As mentioned it is apallingly dated and the perilous scenarios just hurl themselves thick and fast... but the awful situation depicted is so damned memorable.  If you've ever seen this film, or if you see it in future, you won't ever forget it.

So, "Miracle Mile" is a deeply flawed but utterly compelling and a noterworthy 1980s triumph.  It gives a vivid nightmare version of what people 25 years ago thought could really happen.  Heaven forbid! Thank God I am here to write this today.  It's kind of obscure - known but not that widely distributed, so you may not come across it easily, but if you do, have a look.  It's definitely worth a watch.