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The Hollow Crown: Richard III (2016)
Richard III
Richard III: Historians now dispute the extent to which Richard III (Benedict Cumberbatch) was actually the malevolent and power-hungry creature depicted here, but there can be no doubt as to William Shakespeare's interpretation - nor of Cumberbatch's either. With the sudden death of his brother Edward IV and his other brother Clarence having been reputedly drowned in a vat of wine, it falls to the young Edward V to succeed. His uncle, though, has other plans and whilst demonstrating all outward signs of friendship he manages to concoct a deviously effective plan to sow seeds of doubt on the legitimacy of this young lad (Caspar Morley) by suggesting his mother (Keeley Hawes) wasn't legally married. Cleverly, he ensures that it looks like he is responding to a public plea as he supplants his nephew, takes crown and so spawns the still largely unsolved mystery of the princes in the Tower. Even his own mother (Dame Judi Dench) is apalled by this action, but not so aggrieved as Henry Tudor, Earl of Richmond and a claimant via Edward III (Luke Treadaway) who raises an army determined to restore the throne to the Lancastrians. It's a fairly well known story and this adaptation from Dominic Cooke and Ben Power stays fairly faithful to the bard's assessment of the man's character - and it's that character than Benedict Cumberbatch plays extraordinarily well. Right from the start he has an evil glint in his eye and throughout he maintains a characterfully unpleasant and duplicitous nature. This playwright was used to using ghostly apparitions in his work, or using mind tricks to symbolise guilt - and here he does both to harangue the king's conscience as his sins mount up with fairly incredible speed. Even the laws of sanctuary are not sacrosanct. There features a solid cast to support, though this play doesn't really offer much meat on the bones for Ben Daniels, Keeley Hawes, James Fleet or the scarcely featured Treadaway. That doesn't rally matter so much as this is essentially a one-man show and from very capable hands it is presented, too. With well executed battle scenes and a great aesthetic depicting dark castles and perfect costume design, this is a fitting conclusion to this superior seven part history of a time when neither God nor birth guaranteed the king would keep the crown ere long.
Dracula Untold (2014)
Dracula Untold
I think you have to treat this depiction of Dracula on it's own merits. There is no point comparing it with anything you've seen already. Given that, it is a perfectly watchable, and forgettable, adventure film with Luke Evans as Prince Vlad making the vampiric equivalent of a "deal with the devil" with Charles Dance to prevent his family and his kingdom from being over-run by the Turks. Dominic Cooper is really terrible as the Ottoman Sultan, though - his accent sounds like it's been finessed in his local kebab shop after too many tequila slammers on a Friday night. Evans is fine in the role, there is plenty of action and the visual effects are adequate too. Expect nothing earth shattering and you won't be let down.
Dream Boy (2008)
Dream Boy
What a shame this couldn't have stuck more to the book...! "Nathan" (Stephan Bender) is a newcomer in a rural bible-belt American school where he meets and falls for "Roy" (Max Roeg) an only slightly older boy who drives the school bus. They embark on a clandestine relationship. Slowly, however, their passion becomes subsumed in issues of trust and filled with dread and fear of being caught - leading to an horrific conclusion that is done for cinematic effect; it isn't as Jim Grimsley ends the novel. The performances from the two principals is actually quite strong and endearing, though, and for a very low budget film it is a decent effort.
Pride & Prejudice (2005)
Pride & Prejudice
You can't help but feel sorry for poor old "Mr. Bennet" (Donald Sutherland) in this drama. He is married to a domineering wife (Brenda Blethyn) and has five, yes - five daughters! They are upper-middle class, gentile and well-to-do but have a problem. The laws of inheritance insist that upon his death, their home shall pass to a distance cousin so it's important that the girls make as best a way in life for themselves as they can. That might be simpler for the beautiful "Jane" (Rosamund Pike) but for the others. Well there's the girlish "Kitty" (Carey Mulligan); the tomboyish "Lydia" (Jena malone); the studious "Mary' (Talulah Riley) and the independently minded "Elizabeth" (Keira Knightley). It's the last who is likely to prove the most problematic as she has no intention of just marrying the local cleric "Collins" (Tom Hollander) or some drippy soldier like "Mr. Wickham" (Rupert Friend). Indeed, she only just manages to stay on the right side of good manners at a supper with the imperious "Lady Catherine" (Dame Judi Dench) who is surprised by her youthful fortitude of character. As ever, though, with Jane Austin there is a degree of inevitability about the denouement and when we are introduced to the equally strong willed "Darcy" (Matthew Macfadyen) we know that for all of their dancing around each other, their sparring, strops and tantrums there will be a spark, and whether or not that spark manifests itself into true love is the purpose of this story. Along the way, the production designer and the costumers have filled their boots. The film oozes stately homes and fine costumes, the writing enlivens almost everyone - especially the on-form Blethyn whilst Dames Judi and Penelope (Wilton) bring some gravitas to offset the engaging effort from Knightley in a role the could almost have been written for her engaging performance here. The Darcy role is amiably enough played, but that role isn't really so important in substance - it's more about his dashing eye-candiness factor that is supposed to have the hearts a-fluttering. Dario Marianelli has written a score that complements the story almost perfectly and though I did think it just a bit too long, this is classily constructed assessment of the vagaries of human nature, snobbery, aspiration and sheer bloody-mindedness and is well worth a gander.
The Hollow Crown: Henry V (2012)
Henry V
With Henry V now firmly on the throne, this drama moves on to challenge not only the robustness of his character but also Tom Hiddleston's characterisation - and I didn't really love the latter. His success in the Henry IV stories was as much to do with his evolving personable playboy persona accompanied by some solidly entertaining efforts from the likes of Simon Russell Beale and Julie Walters. Now he has the top job, the political intrigues at home and abroad take over the story, the humour deserts it and we find ourself in territory that has been frequently covered before. The gist of the plot sees the king rather manoeuvred into a battle with Charles VI (Lambert Wilson) over some claims to the French throne that derived from Edward III of England. It turns out to be the Dauphin (Edward Akrout) who is the main antagonist, but his is just one of the difficulties the new king must face asserting his authority and learning that difficult art of knowing whom to trust. What do stand out here are the battle scenes. The stunt arranging, execution and production design deliver impressively with what must have been a modest television budget and limited numbers - director Thea Sharrock does not resort to endless CGI to pad things out visually. The script adaptation is succinct and effective but somehow this is just isn't so hard hitting. Perhaps that's because the story and characters are so much better known, or perhaps just because the star here hasn't the gravitas to deliver the part compellingly? It's still a very watchable history but perhaps more of a shallow crown than an hollow one.
The Hollow Crown: Henry VI Part 1 (2016)
Henry VI, Part 1
Now that Henry V has died young, the crown passes to his infant son who grows under the regency of his uncle, the lord protector Gloucester (Hugh Bonneville), into Tom Sturridge. Despite claims to his throne from others with quite possibly more legitimacy, there is a period of stability in England whilst the warmongers battle it out in France against Jean D'Arc (Laura Morgan). As part of a complex series of negotiations, a deal is struck that will see the young king marry Margaret of Anjou (Sophie Okonedo). It's a bit of an one-sided arrangement that essentially sees the King dispossessed of his French possessions. Back at home, and with the married king now in his majority, the conspiracy from Somerset (Ben Miles) and York (Adrian Dunbar) works to manoeuvre Gloucester from power and ultimatly restore the deposed Plantagenet line to the throne. The king's problems aren't helped by his wife's infidelities with Somerset or by Gloucester's wife (Sally Hawkins) being accused of witchcraft! It's actually Okonedo who steals the show here as the clearly ambitious and manipulative Queen; Bonneville is decent enough too, as is the underused Dunbar, but Sturridge doesn't impress so easily and that leaves part one of the story of Henry VI's near forty year reign looking great but lacking a degree of potency. By it's very nature, this has less variety to it's history and so delivers a more dry and less engaging tale of court intrigues and betrayals. Both Richard II & Henry IV (especially part 1) have more diversionary visuals to help keep the narrative from becoming too bogged down in the dialogue. This has fewer elements to entertain in that fashion and so, despite it's fiery start, is a much more procedural enterprise to watch. It's the second part of this play where the bolder elements emerge, but this lays the ground well for even more turbulent times to come.
The Drum (1938)
The Drum
There's a bit of Rudyard Kipling to this quite colourful story from Zoltan Korda telling of the ruthless "Ghul" (Raymond Massey) who usurps his brother after he makes a treaty with the British. Luckily, the heir "Azim" (Sabu) manages to escape the coup and make his way to "Capt. Carruthers" (Roger Livesey) who is to return to "Tokot" as an emissary but who might well be walking into a deadly trap designed to show the other mountain kingdoms that the Raj was not so invincible as they all thought. Can the young Prince get a warning to his friend in time to thwart disaster? Sabu holds this together quite enthusiastically, with Massey also effective as the menacing baddie who would steal his kingdom. Livesey is just a little too stiff as is Valerie Hobson as his altogether too prim wife and the writing is a little staccato but there's plenty of adventure and intrigue as the story races along entertainingly, if predictably. The production is almost lavish at times and there's some gorgeous location photography and even a game of polo to add a bit of richness to a lively tale of derring-do. It's not an history and like so many tales of the British "benevolence" in princely India takes a slightly rose-tinted view of the history, but it's still an enjoyable watch.
Duplicity (2009)
Duplicity
This is a bit of a mess. It centres around the antics of former CIA operative "Claire" (Julia Roberts) and her ex-MI6 equivalent "Ray" (Clive Owen) who had a very brief dalliance five years earlier that saw him with an hangover and some egg on his face. Now, employed in the private sector, he encounters her at Grand Central station in New York whilst he is on a job only to discover that she is still in the same line of work too - and it's industrial secrets being bartered this time. They both know that a ground-breaking announcement is due imminently, so conclude that maybe the best plan is for them to do some of thieving for themselves and pocket a cool $35 million. The thing is that even though their romance is burgeoning, they still don't quite trust each other - and neither do we. Nor, I have to say, did I really care. Roberts tries quite hard here but Owen only ever really had eye-candy value and here is little different. Tom Wilkinson sports an unnecessary American accent as the owner of the magic formula and Paul Giamatti appears sparingly as the man determined to pinch it, but once we get the gist of the premiss the thing just recycles itself and for the next two hours we sort of keep going round the same block. The story is quite weakly written with some fairly formulaic attempts at comedy and a denouement that is hardly a surprise if you're still remotely paying attention. Perhaps it might have worked better with a stronger leading man but...
The Duchess (2008)
The Duchess
In theory, a more sophisticated period drama based on the true story of Georgiana (Keira Knightley), an aristocrat married off to a loveless marriage with the enormously wealthy and politically influential Duke of Devonshire (Ralph Fiennes). She is treated little better than a brood mare in fancy dress but has way to much independent spirit to settle for that and is soon having an affaire de coeur with Dominic Cooper "Earl Grey" (yes, he of the tea...). Meantime, the Duke has taken a mistress and so the film depicts how our multiple ménages-à-trois work out. It very much emphasises the (very) limited choices of women in 18th Century Britain - regardless of their status - but unfortunately, save for a few brief appearances by Charlotte Rampling - the characterisations were way too sterile for me. It is a great looking costume drama, though - some of the finest stately homes shown off to their best effect but in the end it was much more style than substance.
The Whalebone Box (2019)
The Whalebone Box
I haven't really much idea as to what this film is trying to achieve here, to be honest. Andrew Kötting takes us, and writer Iain Sinclair, on a journey to the Isle of Harris with the eponymous box that can, apparently, alter the lives of anyone who touches it. The film makes no pretence to entertain in any sort of traditional fashion, nor does it try to engage on any intellectual or cultural level either. It appears to be little more than a self-indulgent documentary-style exercise peppered with curious whalebone stories, some beautiful cinematography from far-flung parts of the country and a disabled performer who appears to have been promised a role in a film without having that having been properly, or favourably defined.
The Sound of Music (1965)
The Sound of Music
The opening scene from this film has been parodied umpteen times, and I think that just goes to show just how impactful Robert Wise's adaptation of the Rodgers and Hammerstein story has been on cinema. The idea that one could have seven children is, frankly, quite terrifying (I have none) so I can readily empathise with poor old Julie Andrews "Maria" as she is despatched from the safety of her nunnery to be the governess to this extended brood in the home of Captain von Trapp (Christopher Plummer). After an initially hostile reception from both father and youngsters alike, "Maria" soon ingratiates herself with all concerned - except, perhaps, for the Captain's beau Eleanor Parker who is wonderfully elegant and aloof as the "Baroness" - and romance gradually takes firm hold. The anschluss injects some seriousness into the fluffiness of the plot - the family must adjust to their new Nazi "protectors", but when the Captain is invited to take up a commission in the Navy they realise that they must act. Though a little cheesy at times, Andrews and Plummer are terrific, the songs are the stuff of musical legend, and I suspect one of the things that makes this more enduring is the fact that it is based on truth. The happiness tinged with the peril of the enveloping ruthlessness of the Nazis gives this an authenticity that would have been felt by many in Europe as Hitler was in the ascendancy and Wise manages to capture a little of that feeling. It's got some classy supporting performances from Peggy Wood (the Mother Abbess), a super Richard Haydn as the charming, if slightly opportunistic "Uncle Max" and even the ordinarily upstanding nuns get in on the act. There is definitely a chemistry between the two stars as their love story enfolds with the help of the children, a rather lavish puppet show - and a bit of Strauss! It looks great, too - musical cinema at it's best, this...
Willy Wonka & the Chocolate Factory (1971)
Willy Wonka & the Chocolate Factory
"Charlie" lives in one room with his mother and four grandparents all sharing the same bed and sustained on a diet of cabbage soup! Then the eponymous chocolatier announces a chance of a lifetime. In only five of the tens of millions of bars of chocolate they produce, there will be hidden a golden ticket. Find the ticket and you win a trip around the factory. Now his family clearly don't have much money so his chances aren't high, especially as he watches the television and sees a collection and spoiled and obnoxious children with equally odious parents snap them all up. What chance when he finds some money on the street that the bar he buys will win? Well that bit of the story hardly requires Sherlock Holmes, but he does receive an intriguing proposal from competitor "Slugworth" before he and his "Grandpa Joe" (Jack Albertson) arrive at the appointed time. Out comes a purple velvet clad gent with a big hat - that's the hugely eccentric "Wonka" (Gene Wilder) who speaks a form of gobbledygook and promises them a trip of a lifetime! There is something of the parable about the ensuing story as the children face tests of character and fall foul of their own excesses with the occasionally quite menacing "Wonka" ensuring that just desserts are dished out to the wrongdoers. It's got to be the ultra-petulant "Veruca Salt" (Julie Dawn Cole) who topped my list of those deserving the compost heap, but "Mike Teevee" (Paris Themmen) wasn't far behind. As we travel through the place we are introduced to the mysterious "Oompa Loompa" people who keep the place running and help him produce the perfect chocolate but the big question is, though, will "Charlie" and "Joe" make it through the challenges of the trip themselves? Wilder is on super form here as he takes them on a moral maze that is just as sugar coated as the candies, and Leslie Bricusse and Anthony Newley have written some of the best songs to grace the silver screen. "Pure Imagination", "The Candy Man" and the delightfully annoying "I Want it Now" from the aptly named "Veruca" all top off a colourful, acrobatic and magical tale of trust and decency that you can't fail to enjoy. Perhaps Roy Kinnear sould have considered drowning at birth?
The Wizard of Oz (1939)
The Wizard of Oz
I was really fortunate, recently, to catch this on a big screen and it is still wonderful. After her dog is taken by "Miss Gulch" (Margaret Hamilton), "Dorothy" (Judy Garland) is all in a tizz. She decides to run away from her kindly aunt and uncle but only gets about a mile down the road before she encounters a medicine show run by "Prof. Marvel" (Frank Morgan). A twister is approaching - she must get home before she is blown away. She makes it into her room but is clouted by a blown-in window and next thing, the house is flying through the air and she lands in Oz and on top of the "Witch of the East" - exposing only her ruby slippers. "Munchkinland" proves to be a friendly enough place, but the good witch "Glinda" (Billie Burke) tells her that she must seek the help of the great and powerful Oz should she wish to get home. Now in possession of the dead witch's slippers, she sets off down the legendary "Yellow Brick Road" along which she encounters the scarecrow, the tin man and the frequently scene stealing cowardly lion (Bert Lahr) as they set off on their adventures - constantly harassed by the evil "Witch of the West" (Hamilton) who has designs on the shoes! The story evolves in the best traditions of a classic fairytale. Good vs. Evil, humour, friendship, a good degree of pantomime menace, a can of WD40 and some small people with squeaky voices all contributing magnificently to the overall cinema experience. The colours of 'Oz" are vivid and joyous - contrasting well with the drab, downbeat monochrome Kansas from whence "Dorothy" has come and to where she hopes to boldly go again! The cast is small and tightly knitted, allowing the relationships and momentum to build up stealthily from Frank Baum's original story to probably the finest denouement of any fantasy film made since. Miss Hamilton's characterisation (I always love a good baddie) reminded me of my English teacher at school - only this one wore less make up; and Bert Lahr and Jack Haley never fail to raise a smile - or even a tear - as they follow their own yellow brick roads. Yip Harburg and Harold Arlen have worked their magic with a score and songs that compliment the adventure splendidly - I wonder how many singers have had a go a "Somewhere Over the Rainbow" since 1939? Despite being over eighty years old, it has lost little of it's magic. The visual effects rely on simplicity and vivacity, and they deliver well a thoroughly engaging story of longing, companionship and the most fiendish laugh in cinema history. Watch it, my pretty...or else!
Pretty Woman (1990)
Pretty Woman
"Lewis" (Richard Gere) is a ruthless merger merchant who loves nothing better than a lucrative deal that will line his pockets regardless of the impact on anyone else. He arrives in town and has a one-night stand with call girl "Vivian" (Julia Roberts). He likes her, she likes him - so he decides that she can stay on. Maybe help him out with a few formally social occasions where she can smile and stay schtum? To that end, he gives her a credit card so she can go shop to look the part, and that's when we discover that this girl is no pushover. Despite his rigidity, "Lewis" starts to realise that he's beginning to fall for her, despite her unsavoury provenance but what happens next? The story is simply constructed and fairly predictable, but there is loads of chemistry on display between a more relaxed and natural looking Gere and an on-form Roberts. Hector Elizondo also chips in well as the hotel manager who also begins to fall for her charms and who can ever forget the saleswoman (Dey Young) who judges a book by it's cover and loses out on some mega-commission. The writing is sparing, but funny and observational of a society that judges relentlessly without ever really taking any time to get to know the people it is harshest to. Roberts offers us a cheekily endearing and spirited character that just belongs in that stretched limousine. Good fun.
Mamma Mia! (2008)
Mamma Mia
How can anyone not like this? Phyllida Lloyd has managed to convince half a dozen serious A-list stars to take part in this Mediterranean musical extravaganza. Meryl Streep and Christine Baranksi are cracking and Julie Walters - when the three together sing "Chiquitita" is glorious. Sure, it's not a wonderful piece of classic cinema; but it must bring a smile to your face (even if - as Pierce Brosnan, Stellan Skarsgård or Colin Firth break into song, it's more of a grimace). Dominic Cooper makes a valiant effort as "Sky" who is to wed the orchestrator of this whole predicament "Sophie" (Amanda Seyfried) who has invited the three men to her wedding in the hope that she might find out which of them might be her father. If you don't like ABBA and musical theatre, then don't waste your time; otherwise this is just good fun!
Edison (2005)
Edison
Well there's certainly nothing original here, but it's still not a badly executed crime drama that sees spunky young journalist "Pollack" (Justin Timberlake) fall out with his boss "Ashford" (Morgan Freeman) over some sloppy article he wrote about a man convicted that he doubts is guilty. Indeed, he is convinced that there are some crooked goings-on here and determines to investigate. This is a dangerous path to follow, though, as swiftly he and his girlfriend are on the end of a nasty beating and are only saved by the timely intervention of "Deed" (LL Cool J) whom by now we know is part of the specialist police FRAT squad, and they are the folks that seem to make the rules up as they go along. Soon "Ashford" starts to believe his young reporter and things get even more deadly for just about everyone. For some inexplicable reason, auteur David J. Burke lets the audience in on pretty much all of the secrets right from the get go, so there is precious little jeopardy as this set piece narrative unfolds. Timberlake looks good, Kevin Spacey features competently as the investigator of the investigators and Freeman sinks some Scotch meaningfully, perhaps to alleviate the predictability of the whole thing. It's well put together and to be fair, the writing isn't the worst - but it just comes across as a market research exercise to see how the public react to JT (keeping his clothes on). Instantly forgettable, sorry.
Maze Runner: The Scorch Trials (2015)
Maze Runner: The Scorch Trials
Well, if you are looking for a collection of good looking folks lurching from one perilous scenario to another - desperate to escape the clutches of the arch villain that is Aiden Gillen; then this is the film for you. If you are looking for anything remotely akin to the books that tell of the continuing adventures of "Thomas", "Newt" etc. As they attempt to defy the will of "WIKD", then get ye hence (as Shakespeare might have said) for this film has nothing for you. Gillen has all the terror-factor of Mary Poppins and whilst Dylan O'Brien, Kaya Scodelario and Thomas Brodie-Sangster; along with a seriously hammy Giancarlo Esposito look like they are having some fun with their escapade-driven flight; the dialogue is all over the place and the story lacks any sort of structure. The effects work well and the battle scenes are well put together but, ultimately, it is a sort of "Percy Jackson" version of the story; watchable but forgettable and not in the same class as the first film.
Allegiant (2016)
Allegiant
Picking up where "Insurgent" left off; "Tris" and "Four" determine that they must escape the walls of Chicago and make a new life for themselves - regardless of the risks and uncertainty. Once free - perhaps the only few moments of tension in the film - they hook up with a group of ostensibly like-minded rebels; but are they who they say they are? Seeds of suspicion are sewn that test the relationship between Theo & Shailene; and frankly the patience of the viewer. Jeff Daniels tries hard to inject some menace as "David" but Miles Teller "Peter" is just plain irritating. We are clearly heading for a grand-scale denouement, but where is it? Instead someone decided to leave us with some ambiguity (I suspect a fourth in the franchise may have been, at one stage, on the cards?) The actors are going through the motions as though they, too, can't wait for the conclusion so they can all go home for ice cream. It looks good, they look good, but it isn't much good...
Divergent (2014)
Divergent
Ever since I saw him in a UK television drama entitled "Bedlam" (2011) I thought that Theo James ("Number Four") was a man to watch. He was certainly the hook that got me to start watching these adaptations of Veronica Roth's futuristic novels. Well, beauty can only take you so far; the rest has to be down to acting; dialogue etc. And this falls pretty flat on all counts. The premiss is unique - society is divided into five factions based on a perception of virtue. At 16, teenagers have to decide which they have and then they spend their lives living up to the ideals - involving strenuous mental and physical trials. "Tris Prior" (Shailene Woodley") is an exception, however - she doesn't fit into any one category - and so the system has no idea how to cope with this renegade. When she reveals her confused status to James - her trainer - we embark on a tale of cat and mouse as she and a rag-bag gang of misfits set out to save a world that deems them all as a serious threat. It certainly looks good - budget clearly was not an huge issue, and it is broadly faithful to the book but therein lies the problem - it is a preposterous proposition from the outset - it has not even the weakest of anchors from the society we know today (i.e. How the hell could we ever have gotten ourselves into this kind of dystopian mess in the first place?). When romance begins to rear it's head too, then I started to forget how sexy Theo actually is and wonder what else I could watch... There are clearly some parallels with "The Hunger Games" series, but this one definitely comes off a very poor second.
Underworld: Blood Wars (2016)
Underworld: Blood Wars
Unashamedly, I really quite enjoyed the first two films in this franchise. The next two were poor and poorer still, and this one really is the nadir. Kate Beckinsale reprises her role as the rogue outcast "Selene", only this time she must ally with the swarthy "David" (Theo James) who is the son of vampire supremo "Thomas" (Charles Dance). Thing is, the ambitious "Semira" (Lara Pulver) and her militant toyboy "Varga" (Bradley James) have other plans for their coven - and in the face of the resurgent and emboldened Lycan "Marius" (Tobias Menzies) the battle lines are drawn for some internecine plotting, backstabbing and all out war. To be fair, it doesn't hang around and Anna Foerster doesn't let the black leather-clad Miss Beckinsale keep her feet on the ground for long (or very often) but that's really the snag. There isn't really much of a story and what there is is all gummed up by some really lacklustre efforts from pretty much all concerned. It misses the simple dynamic of the earlier iterations that featured a smaller, tighter cast with a much more entertaining and menacing story. It does pick up a little at the end, but I think this was just one too many for the characters and it misses Scott Speedman - and that's not a thing you read every day!
Underworld: Evolution (2006)
Underworld: Evolution
Now this film will only make sense if you saw, and enjoyed, the original in this franchise from 2003 and as sequels go, it works ok. That is, side from a strangely miscast Sir Derek Jacobi but that's short and sweet. The persecuted pairing of Kate Beckinsale and a still rather wooden Scott Speedman race to track down the imprisoned original Lycan "William" before the recently awakened super-vampire "Marcus" (his brother) can release him and unleash untold terror on the world. Such as it is, the script is a bit stilted but the action scenes are tight and the film moves along quite sharply. As with the first film, probably not for purists of the genre, but it does have the distinct benefit of being half an hour shorter and the characters are suitably mean and moody.
Underworld (2003)
Underworld
True, this isn't the most original of concepts and we have oft seen similar styles of treatment of these ancient rivalries, but Kate Beckinsale's lithe and deadly "Selene" and Michael Sheen's menacing "Lucian" are engaging enough in this tale of vampires v werewolves. Scott Speedman provides the eye candy (but very little else) as the hapless human "Michael" whom she rescues only to discover that he might prove a lot more important than either of them realise, and Bill Nighy is superbly over the top as the recently raised from his slumbers "Viktor" who really did fancy a (very) long lie in. Clad in leather and scurrying from place to place amidst the darkened environments the breadth of the city, the two must avoid capture and find a way to thwart ambitions that will re-enliven the timeless conflict between the two warring species. The combat scenes are heavily choreographed and do repeat themselves quite often and least said about Shane Brolly's weakly portrayed "Kraven" the better, but I did enjoy this.
The Hollow Crown: Richard II (2012)
Richard II
Richard II: With Bollingbrooke (Rory Kinnear) and Mowbray (James Purefoy) at each other's throats over treason allegations, it falls to their king (Ben Whishaw) to try to settle matters. Thing is, Richard II isn't the most imposing of characters and when his attempts at arbitration fall pretty flat, a joust to the death is arranged. Even then, the king cannot bear to see either of these two nobles die so he banishes them for six years. Thereafter, this hapless monarch makes a series of poor judgments, not least the confiscation of the assets of John of Gaunt (Sir Patrick Stewart) which only irritates his son (Kinnear) who returns in a position of strength far exceeding that of the unpopular and deserted king so an usurpation duly ensues. The result of the change at the top causes issues of conscience for both men, though curiously enough very few scruples amongst the subservient underlings like Aumerle (Tom Hughes), the duplicitous Northumberland (David Morrisey) and the traitorous Duke of York (David Suchet). Unlike many of Shakespeare's other characterful histories, this one is an out and out tragedy. Even those that win don't really win, and it's probably the finest effort I've seen from Whishaw. His slightness of physique and pallid skin (usually exacerbated by wearing an almost virginal white) exudes vulnerability and a political frailty that certainly elicits a sympathy as the wolves surround him without him really realising. The story also benefits from having distinct timelines and a denouement that allows the presentation to be comprehensive and complete. It's a story about political intrigue and oaths that mean nothing as those who again the crown fins it's not quite what it's cracked up to be. The production design is excellent and the flowing direction allows each of these frequently unsavoury individuals their moment in the sun.
The War Wagon (1967)
The War Wagon
"Lomax" (Kirk Douglas) has an axe to grind with "Jackson" (John Wayne). Indeed, he has sworn to kill him when he is eventually let out of prison. Meantime, "Jackson" has a cunning plan to relieve a greedy mining boss "Pierce" (Bruce Cabot) of a load of gold. Maybe they could work together? Well "Lomax" agrees on the basis that he gets a share and a daily rate. Extra if he has to draw his gun, even more if he has to fire it. Fair enough, now they must recruit others to help out. With their plans coming along nicely, they face a new technological problem. "Pierce" has gone and got himself an horse-drawn armoured car, compete with a turret-mounted Gattling gun that can fire hundreds of rounds a minute, mowing down anything in it's path. Now they must adapt their plans and engage the help of the local Indians led by "Levi Walking Bear" (Howard Keel) as well as the sleazy but wily "Wes" (Keenan Wynn) who has a wife young enough to be his daughter and the young "Billy" (Robert Walker Jr) who might just prove to be more of a liability than an help! The last twenty minutes of this are about as good as westerns get, with plenty of action, pyrotechnics, screaming Indians and just a little bit of just desserts. Wayne, Douglas and Wynn work well together and Cabot does the smugly suited bully well too. A proper western adventure that I really quite enjoyed.
Rooster Cogburn (1975)
Rooster Cogburn
Stuart Millar must have had a great time directing this with Wayne reprising his "True Grit" character on the trail of some reprobates that robbed an army convoy of a wagon load of nitro. On their way to rob a bank, they stop at a mission run by the "Rev. Goodnight" and his daughter "Eula" (Hepburn). Things all turn a bit nasty and her father is killed in a drunken brawl. Shortly afterwards, she is discovered at his grave by "Cogburn" with whom she - and a young Indian boy named "Wolf" (Richard Romancito) team up and set off on the trail of their murderous felons. The two wind each other up wonderfully at the start (and Hepburn always seems to manage to find a rock to stand on so she can be taller than her co-star). Gradually they learn to work together and become quite a formidable partnership as they pursue the ruthless "Hawk" (Richard Jordan). There is plenty of adventure, humour and charisma in this yarn - nothing too taxing, but a film that really does bear watching and who doesn't like a Gattling gun. Keep an eye out for the one scene with Strother Martin, too.