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Best thing: One part that stood out for me was the mother's funeral. While once again using low-key moody music and no dialogue, we see quick cut flashbacks to Anakin's slaughter of the raiders who kidnapped his mother while he stands at her grave and silently mourns her. No dialogue about how "I killed them all!" Just pure effective visual storytelling that turns cringy moments into genuinely emotional moments.
Worst thing: The part where Anakin kills one of the Jedi to save the senator still doesn't quite work. But with the dialogue and running time reduced we now see a clearer parallel with an earlier scene. The senator says of Count Dooku, "He was too dangerous to be left alive." Even so, the suggestion by Emperor Palpatine that he is simply a victim while he’s firing out creepy lightning powers from his fingertips, is always tough for me to accept.
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Star Wars: Neon Noir (as it is generally known; the actual title is "Fall Of The Jedi" but that seems to be the title of several fan edits. “Star Wars: Neon Noir” is the really the best way to identify this version.) is a fan edit which cuts the entire Star Wars prequel trilogy down to just 1 hour and 40 minutes. The idea of cutting together all three films is not a new idea although the most well-known example was re-edited is by Topher Grace and hasn't been made widely available.
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What makes the Star Wars: Neon Noir fan edit by user 'Only Yoda Forgives' truly unique is the way it bases its style on the 'neon noir' style of recent films from Nicolas Winding Refn like "Drive", "Only God Forgives" and "The Neon Demon". This means a dialogue-light approach, a dark tone, with the film lingering on beautiful visuals while generally synthy-heavy music sets the tone in the background.
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The Star Wars prequels were films that made many in the audience actively angry. Part of the reason for this was that it was part of a beloved movie franchise, also because fans had been promised these films for over a decade, and yet another source of vexation was that it felt so uninspired despite being from the visionary mind of George Lucas.
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But I think another aspect to this is that what made the prequels so frustrating is that the qualities required to make a great film seemed to be present. The visuals are incredible, John Williams returned to do the score, a selection of incredible acting talent filled major and minor roles. (How many people even noticed that Joel Edgerton was in the prequels playing Anakin's half-brother?)
So much effort was put into the prequels and so many hopes were set on them. And with each new instalment somehow the hype managed to convince us that the next one would be better, because heck surely it ought to be?
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So perhaps that explains why so many fan edits seem to be trying to save the prequels. This 'Neon Noir' edit recognises that one of the biggest problems with the film is the dialogue. Certainly when I tried making my own edit of the Anakin and Obi-Wan lightsaber battle from Return of the Sith I could see how beautiful it was as, essentially, a scene entirely free from dialogue; essentially a silent film.
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What most people never really thought was a problem is the John Williams score. In fact, surely that is part of what makes it Star Wars? So it's quite a surprising and daring move to try to remove John Williams from the film entirely. In many scenes sound effects have been carefully dubbed onto the new soundtrack, but the film has more trouble keeping the old music out when characters speak.
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Amazingly this new edit keep all major plot points of the second and third prequel movies firmly intact. The Phanton Menace has only ever really been a pre-amble to the story in the other two films, so that is how it is used here. We jump straight into the action by beginning with the fight with Darth Maul. Anakin is introduced at Qui-Gon's funeral and we transition to Anakin grown-up plagued by nightmares possibly connected to Qui-Gon's death. The picture of Anakin and a troubled figure is made clear right from the start.
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Emotional moments work a lot better with this re-cut. Since Anakin and Padme share scenes where they mostly just look at each other silently, rather than speaking inane dialogue to one another, their chemistry as a romantic pairing seems to work much better as a result. One clip of Padme shooting robots in The Phantom Menace is edited into a montage of battles from the Clone Wars; yet another way she is portrayed as a more pro-active figure in this cut.
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Some have suggested that by removing dialogue and changing the music, that essentially changes this into a series of music videos. However, I think that reductive appraisal ignores the fantastic editing choices and the way the visual storytelling of this cut of the film is streamlined to make extra dialogue entirely superfluous to the story being told. This version of this trilogy is, at times, genuinely emotionally affecting for me in a way that simply was not true of the original films. The less loud and obvious background music with a moodier is better suited to what has always been quite a dark and sad story.
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Quite frankly this is by far the best version of the prequels I have ever seen. There's a limit to how good it can ever be, even with the audio issues cleaned up, because the original material is very limiting. Still, considering what they were working with this is an exceptional piece of editing work.
B-
You can watch Star Wars: Neon Noir here.
Guardians of the Galaxy Vol. 2 (2017)
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Best thing: I could put the humour or the action or the visuals or the much improved chemistry between the characters. However, I've got to put Kurt Russell here as the best thing. (Sure, Baby Groot was sweet and goodness know Groot was the best thing in the first film, but Kurt Russell is just so perfect here.)
Worst thing: Sylvester Stallone only has a small part, but he stands out like a sore thumb. Is this really the same guy people were suggesting they should have given an Oscar for acting the other year? I mean I haven't seen Creed, or any of the Rocky movies for that matter, but Stallone is pretty clearly the worst actor. (Full credit to Dave Bautista playing Drax who is a wrestler with no real acting experience outside of these two films and yet not only fits right in but even has great comic timing.)
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Guardians of the Galaxy really wasn't one of my favourite Marvel Studios movies. In a movie series which I most often judge on how much it can make me laugh, I didn't think Guardians of the Galaxy was as funny as I was hoping for.
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Add to that Thanos and Ronan being two of the most boring villains ever and I really didn't see why Guardians of the Galaxy was being picked out for special praise over and above Thor 2 and Iron Man 3.
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Now I think part of the issue was that they had to introduce the characters in the first film. A team of five brand new protagonists to be introduced in just one film is not an easy undertaking. The antics of Thor and Loki or Tony Stark were able to be as funny as they were because I was so familiar with them (and they weren't as funny in their first movie either).
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I was particularly pleased to see Karen Gillan's character Nebula given more to do this time around. Previously she was pretty much just a henchman for the villains, but now we get much more focus on her relationship with Gamora. Yondu is also given a much more interesting character this time around as we explore his history with Starlord. The humour flows more easily from the characters this time because we know the characters better.
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One thing I don't think is better is the soundtrack. Sure some of the songs were pretty cool, but we had some Bowie last time, y'know? And I think that “Father and Son” song has been ruined for me by Boyzone....
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But while I may not have ranked the first Guardians of the Galaxy movie as one of my favourites, that certainly isn't true of this follow-up. Marvel Studios seem to be remarkably capable at hammering out great sequels only making these characters more entertaining as the Marvel Universe expands.
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Somehow that bubble hasn't burst yet.
A+
Jackie (2016)
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Best thing: Natalie Portman's performance is excellent. There's so much depth to her depiction of Jackie Kennedy.
Worst thing: The score is so intrusive and, frankly, completely at odds with the tone of the film. Jarring violin sounds would be in line with the state of mind of Natalie Portman's character in Black Swan, but in Jackie we begin to see that she's actually taking control of things despite how vulnerable she might feel. And when the loud distorted violins threaten to prevent us hearing Jackie's carefully planned verbal exchanges, nothing could be less appropriate.
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Jackie tackles a really interesting concept. Jackie Kennedy is not only making an effort to manage perception of herself in the media, but is also trying to engineer JFK's legacy.
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And as Jackie handles the question of how her late husband is to be remembered, Natalie Portman's portrayal of this figure is highly impressive. Both strong and fragile at the same time. Portman tends to do best in roles where she has to cry for some reason.
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Sadly overall I found the film a bit plodding. The film didn't really seem to make the most of the framing device of a journalist listening to the details after the fact. Events mostly seemed to unfold like a chronological story with occasional flashbacks with little interest in what our initial journalist is asking. I felt like I saw enough here for me to recognise that there was probably a more gripping way of telling this story.
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Also the strings music felt completely wrong, giving an awkward horror atmosphere for what should have been more subtle political intrigue. We could tell that Jackie felt somewhat stressed and insecure due to her husband's death from Portman's performance. We didn't need a distracting whining violin sound to make that any clearer.
C+
District 13 (2004)
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Best thing: The opening chase scene really showcases parkour skills in an awesome way as well as being a spectacular action sequence. I wish the action sequences were all that effective.
Worst thing: The banter between the police officer and the protagonist isn't all that interesting. Frankly the police officer is a bit of a weak character.
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District 13 promises to be an action movie with a difference by making use of parkour. The opening chase sequence shows how much scope this idea has (and certainly James Bond would be ripping this off not long after), but I cannot feel that the movie really fails to make the rest of its action sequences live up to that initial chase.
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Strangely, the sequel makes even less use of parkour and even reduces the amount of action in general. I wonder whether the filmmakers thought the main selling point was the politics.
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Frankly I found the politics pretty hard to care about. The film begins pretty dramatic, but the way they tie it up is so very on-the-nose. I think that sequence was intended to come off as both triumphant and funny, but it had been so telegraphed that it was hard to care about the ending at all. (I felt a stronger climax would have demanded an explanation. The mythology of District 13 ends up pretty thin.)
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Another strong element is the humour. The interaction with the big drug gang is a lot of fun. One major gang thug, a big guy with his name shaved into his hair, has the charisma to help lighten what is, at times, a seriously grim premise.
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Just wondering though. If the gang is stuck working within an entirely closed-off suburb of Paris, how do they make much money? To keep exploiting drug addicts you need the addicts to have money; either their own money or money that they have to beg, borrow or steal. With a wall around a poor suburb, that must really limit their profit.
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District 13 is a solid action film and a lot of fun, but I can't help but feel that it could have made more of its unique position as a "parkour" action flick. The opening chase is incredible, but the rest of the film is mostly plain old silly fun. Well worth a look, but not the classic it could have been.
B+
Under The Shadow (2016)
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Best thing: The indignities the mother suffers, including being denied the opportunity to study to be a doctor because of the whims of the Islamic Republic, are really interestingly portrayed. I'm very pleased to have already seen Satrapi's Persepolis to give me some much needed background on the situation.
Worst thing: For me, the comparison to “The Babadook” is all too obvious. But while The Babadook was all about being a well-meaning but bad mother, Under The Shadow is also about being under-valued in the midst of Iraqi bombs. The relevance of the 'ghost' became a little overly muddled for me and when we are 'shown' the monster, I wasn't clear how the analogy with real life was supposed to work. Perhaps "Under The Shadow"'s biggest problem is that "The Babadook" exists.
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Under The Shadow promises a great deal more depth than it ends up delivering. Iran in the relatively recent aftermath of the Islamic Revolution makes for a very interesting setting.
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Our protagonist has to deal with being barred from ever becoming a doctor simply because she expressed political views prior to the regime. She also has bombs to contend with, snotty relatives and on top of that her daughter has heard tales about a djinn causing trouble in the building.
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The djinn actually seems like a kind of ghost, but thankfully there are potentially psychological explanations for the experiences which develop our understanding of the characters. (While the djinn could be real it is left helpfully ambiguous for the most part.)
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But I was expecting a great deal more depth here. In the end all the central message of this film seems to come down to is "Is she a good mother?" And here's where "Under The Shadow" seriously pales when compared alongside "The Babadook".
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While in The Babadook the protagonist is struggling to raise a child while also coming to terms with her husband's death (on the night she gave birth, no less), the protagonist in Under The Shadow is understandably more concerned with bombs falling. She sometimes has her husband being supportive on the other end of the phone line and, while she feels silently judged by him, I cannot help but feel that she is doing just fine as a mother.
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While the building is handling the threat of bombs, the daughter is concerned about her doll. Frankly the protagonist feels completely justified in telling her daughter that a doll doesn't matter and they can just replace it. That's perfectly reasonable parenting.
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In The Babadook the mother is clearly terrible. In Under The Shadow, the movie seems to want me to think she's a bad mother but simply will not commit to the idea. And what is the significance of this djinn? It comes on the wind? So what?
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If The Babadook weren't fresh in my mind, perhaps I'd have given this more credit. I tend to dislike ghost films, but by tying all the hauntings strongly to the psychology of the characters, that made this more grounded. I really wish this film had taken its ideas in a more original direction.
B-
P2 (2007)
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Best thing: While I know most people hate to see bad things happen to dogs (or perhaps because most people seem to love dogs) I think I gain a greater sense of justice than most people when a clearly vicious dog is killed, particularly when the owner gets upset about what has happened to the growling savage merciless 'defenceless animal'.
Worst thing: The problem here isn't so much that the story is carried out badly as that there is nothing here that we haven't seen before. While I like the idea of a 'nice guy' villain (i.e. someone who creepily insists 'you should be with me because I'm so nice'), I don't understand this guy. At times he seems smart, but how can he possibly expect to clean up the mess he makes?
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I decided to check this out because it was scripted by Alexandre Aja. It's quite a basic 'one location' thriller. I suppose the twist on the genre is that the villain wants the protagonist to think he's nice, though I doubt it's the first time that's happened.
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And that's the problem really. This is a well-structured and acted thriller. It's simple and solid. It's just not anything new or different.
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P2 is absolutely fine, but it's unlikely to impress anyone particularly.
B-
Deepwater Horizon (2016)
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Best thing: Okay, so the visual effects that make us believe we are really watching a disaster on an oil rig are by far the best thing about this film. However, one character interaction appealed to me. In the relevant scene there are two of the characters isolated from everyone else and one has realised that their only option for survival is a death-defying jump from an absurd height. The way that plays out felt very real to me in a way that most scenes did not. (Though any scenes with Kurt Russell deserve an honourable mention here.)
Worst thing: Most interactions between characters felt unrealistic to me, particularly in the first half. What made this annoying was the way so many scenes have characters bantering with one another in a way that is supposed to spell out 'typical working men'. Perhaps these scenes are actually pretty authentic, but as a viewer I found it felt fake, and in any case these 'casual' conversations served to make me feel isolated from the story.
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I can't quite believe so many people were praising this film where it came out. I think I should have gone with my gut when I heard 'disaster movie starring Mark Wahlberg from the director of Battleship'.
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Actually, for a dumb disaster film this isn't bad. John Malkovich and Kurt Russell give the real standout performances, but really this film wouldn't be much without its fantastic convincing effects work.
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That the story is being told at all is pretty cool. It's told in a generic way, but it's still interesting to see how the oil rig disaster took place, with the visuals revealing the level of devastation involved and the bravery required.
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Personally I really didn't feel this was worth my time, but it certainly had
some good aspects. However, Mark Wahlberg is not one of those.
C-
Bolgen (The Wave) (2015)
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Best thing: I very much enjoyed the visual effects work here and perhaps the most effective moment for me takes place in a car (though the excitement doesn't let up at that point).
Worst thing: The worst part would probably have to be the exact same moment. The effects sequence I liked most involves a remarkable survival and it's probably the point where it is least easy to suspend belief.
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Now THAT is how you do a disaster movie. For all the awesome effects work, this is always centred around its characters.
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Roar Uthaug's focus on character performances and consistently engaging visual storytelling is how his Cold Prey movies managed to outdo most slashers ever made. It's how his period horror "Escape" managed to outdo both Neil Marshall's "Centurion" and Christopher Smith's "Black Death" (which were both going for a similar mood). And it's also how his "Tomb Raider" film starring Alicia Vikander is going to blow away all expectations for that film.
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The whole genre of disaster movie had become a bit of a joke, so it's not perhaps such a surprise that this is now my favourite disaster movie. But goodness knows I was not expecting this to be one of my favourite films of 2016.
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Exciting, emotional, a bit of a visual feast. The Wave is a fantastic drama and a really powerful piece of cinema. It sticks to the demands of the disaster film and isn't afraid to have a miraculous survival at the end of one of its most spectacular set-pieces. However, it also transcends the limitations this genre has set for filmmakers and provides something beyond the disposable nonsense audiences have come to expect.
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If you like disaster movies, you'll love this. If you don't like disaster movies, you may still love this. It's just really great.
A+
Desierto (2015)
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Best thing: The attacks are wonderfully choreographed with the baddie and his dog working in tandem to hunt down our protagonists. Very exciting.
Worst thing: The story is fairly simplistic and I'm not sure I understand the message, beyond simply that we are all human beings deserving compassion regardless of borders. (Which we all knew already, right?) Perhaps if we had more clues as to what drove the villain to do this?
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In the end this is a pretty well told simple story. It's also very well directed, with great performances and all the action very clearly framed and shot. However, this isn't really a film with a great deal of depth.
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Perhaps the really creepy thing about the villain is supposed to be that he's 'just an ordinary guy' who happens not to think of those illegally crossing the border as people. There's no maniacal laughter or cold stare. When not hunting down mild-mannered human beings, he seems like a simple man minding his own business with his dog as a trusty companion.
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So I guess that might be the point? That he's in no way demonised, because all you need in order to make him a villain is to show him shooting people in cold blood.
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But I think you'd have to be pretty sick to ever side with someone who shoots ordinary people for fun. There's not really much of a message here. No keen insights. Just a pretty cool film about people struggling to escape a psychopath. (I say 'psychopath' because of the clear lack of empathy his character must possess in order to justify his actions to himself.)
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At some point the protagonists need to handle the dog. This film actually reminds me of the surprise hit "Don't Breathe" with its 'man and a dog' villain set-up. Having recently watched P2, 'man and his dog' seems to be a surprisingly common threat in horror films. In Desierto, taking out the dog felt particularly satisfying to me.
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This was solid entertainment and the acting and camerawork only served to elevate it for me. Simple but effective for what it is.
B+
Only Lovers Left Alive (2013)
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Best thing: Mia Wasikowska is always brilliant and she seems to play the most interesting character here as the perpetual everlasting immature troublemaker.
Worst thing: Tom Hiddleston's character (who writes music) is spellbound by a fairly boring musical act where the music sounds rather similar to the music he composes himself. Why is he so impressed? (And seriously, of all the people to like, they are big Jack White fans?)
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I had problems with this film, but I have to say, the pacing wasn't the issue. I know this director is known for his slow paced films and I was pleased to see that I could run with that.
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Unfortunately, as the film went on I found it very hard to care what happened to these insufferable eternal hippies. I much preferred Mia Wasikowska's rather more fun-loving hanger-on character.
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I quite liked Tom Hiddleston's atmospheric music, but I was entirely unimpressed by the singing act that wows his character in the final act.
Definitely worth a mention is Anton Yelchin who makes for an awesome straight man to contrast the weird arty types. (You want a wooden bullet?)
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There's one famous name mentioned that I didn't recognise at all and Hiddleston instantly gives full details of who that guy is. Apart from that, we have endless names of incredible famous figures through history with the implication that the vampiric protagonists have spent time with all of them. It's hard to really believe any of these figures would have given them the time of day and if they met them before they were big and it's way too much of a coincidence to suggest that they just happened to hang out with most of them BEFORE they were famous.
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I know the scriptwriters have picked especially well known figures so they don't have to spend half the film explaining who these people are. However seeing as it is blatant that they are doing this, it is harder than ever to take it seriously (never mind to be wowed, as the film seems to expect me to be).
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Only Lovers Left Alive is not boring and initially I quite liked the characters. But by the end of the film these pretentious hippies had rather outstayed their welcome. And sometimes their choices of treasured art seem a little odd (Infinite Jest? Seriously? And they love Jack White?) I'd rather have spent more time with irresponsible immature free-loading Mia Wasikowska. I could completely believe in her character.
C-
The Adventures of Buckaroo Banzai Across the 8th Dimension (1984)
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Best thing: An early scene where Buckaroo Banzai jumps through to another dimension is a neat bit of effects work and quite a cool opener for a sci-fi film.
Worst thing: Jon Lithgow has the most ridiculous accent and there are so many scenes of him ranting towards the end of the film and shouting commands at an alien that seems to have been named 'Big Booty'.
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This sounded like a fun wacky sci-fi adventure with a protagonist who travels through weird dimensions. ("Adventures... across the 8th dimension" is in the title!)
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Instead this feels like a terrible Doctor Who knock-off. The film all takes place on Earth. The film regularly tries and fails to be funny by going a bit wacky. The protagonist is supposed to be an ultra cool dude who everyone is happy to be associated with, including the president.
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It's such a pity this isn't better when there's such an incredible cast list. Jeff Goldblum, Christopher Lloyd, Peter Weller and Jon Lithgow all in the same film? What a waste of their time this turned out to be.
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The plot is a mess, the humour doesn't work, the effects look cheap. Also Jon Lithgow has a ton of scenes where he shouts nearly incomprehensible commands in a ridiculous fake Russian accent.
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Utter rubbish.
E
Raising Cain (1992)
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Best thing: I love how the filming style keeps you guessing. Much here is trashy and ridiculous in such a wonderful way.
Worst thing: This film just gets so weird, Lithgow's accent (as the dad) is really off putting, the multiple personality premise now feels really overdone, but the worst thing for me is one scene where a character escapes police custody way too easily after an utterly ridiculous lapse in security.
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Brian De Palma is such an odd director, but that's part of what makes this film so much fun. If it wasn't great enough having John Lithgow squabbling with his identical twin, we then have Frances Sternhagen being awesome. (I also know her from Outland and Misery.)
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Multiple personality is pretty much always misrepresented on film and it's always hard to take seriously. It helps when the film is already a bit overblown like Fight Club and that is certainly what makes it work here. Still as a film where multiple personality is part of the mystery, that can't help but come off a bit goofy. It's in danger of reaching the levels of stupidity found in the movie "Identity".
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Essentially Raising Cain is silly fun. I loved it.
B+
Movies I Couldn’t Finish: The Greasy Strangler (2016)
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Fun horror comedy they said. More like boring people standing around and occasionally taking those off too.
When the greasy strangler actually turns up I was not particularly wowed. The funniest part joke was an Indian character trying to say "potato" (and goodness knows they took that joke as far as it would go). That Indian character is then immediately killed off, so I simply lost interest.
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I should have known something was up when about half of the hosts of the Cinema Eclectica podcast were incredulous that "The Greasy Strangler" be proposed as a highlight of last year, while those recommending the film gave a mischievous giggle. I do wish the naysayers had been a little more insistent.
I know comedy is subjective, but seriously there's not even a decent level of horror to fall back on here either. And this comedy really is the absolute lowest brow you can get. (One reviewer mentioned Little Britain. If, like me, you really aren't keen on Little Britain, you'll most likely hate The Greasy Strangler.)
Ugh!
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