gmc1-823-758803 Reviews

Human Traffic (1999)

I don't really know what this film was about

[2/10 · 22 July 2022]

I didn't get this film one bit. It was so alien to me. It's not because I don't understand clubbing - I was an original old school person, attending probably every club and rave all over the UK at least once or twice between 87 and 92 (when it ended for me). It was truly great, a cultural experience that is so great it defies description. The sense of being together and love was amazing. I knew every underground club from Shoom, Future, Spectrum, Clink Street, Hacienda, Sub Club, Coaches (and the huge numbers of clubs which didn't become so famous) and every day was a truly great experience. I spent sometimes most of a week in the same field, still dancing and chilling - so many fields, hangars, warehouses, mills, beaches, country houses etc. The name ecstacy for the feeling of those seven years inclusive (87 to 92 for me) from Dundee to Antrim Town to Penarth to Ipswich, whether you took stimulants or not, was very understated.

Conversely, I recognise nothing about this film and I don't even know what it's about. If Human Traffic really were connected to clubbing in Cardiff (where I had some amazing times), and if I hadn't experienced the reality myself, from watching this film I would join the local Country and Western society and never think twice about going to a nightclub.

I guess the film chimed for some people. I had an indescribable time back then - seriously so, seriously good, not just a laugh - being simple and open. I know the nineties got a lot worse from 93 onwards but this film looks like the kind of clever, 'look at me' but hollow, synthetic TV episode I wanted to escape to fields, clubs and warehouses from back then.

White Elephant (2022)

Terrible

[1/10 · 2 July 2022]

Terrible. Avoid.

What a rotten film.

Don't waste your time or your money.

A year or two ago I thought that Bruce Willis appearing in a film had become a true marker of real trash. I didn't realise how low things could go in that direction. Still going?

The Midwich Cuckoos (2022)

So-so, good elements but overall disappointing

[5/10 · 24 June 2022]

I'm very much in two minds about this adaptation. I'd like to give it six out of ten but don't think I ought to stretch to that, despite recognising that obviously a lot of talent and hard work went into this series. The professional critics are divided with, for example, The Guardian, Independent & New Statesman giving decidedly negative reactions but a few publications such as The Times commending the series.

The 2022 Midwich Cuckoos series is very soapy to me, British soapy. It's filled with "look-at-me, respect me" cardboard characters who are one or two arguments away from a huge breakdown or hairy plot development of their characters in their own rights, forget about the funny goings-on. Unrelenting high maintenance people, one after the other, demanding attention and with something of the familiar, "We're 'ard 'ere, see, don't mess" kinds of prissy attitudes associated with British soap operas. In other words, very self-concerning characters probably with little real genuine mettle behind. The effect is that, knowing the basic plot, I was left wondering if any of them would have the chutzpah to challenge the children in the end! However, perhaps all of this could have been a part of the vision of the production - perhaps for these times.

Aside, I thought of the irony of this lot in the 2020s playing the 1960s warning of the 1960s novel! There we are. *They're* doing 'The Midwich Cuckoos!!!'

Whilst I'm may be critical of the 'soapiness', at the same time, from distant memory, John Wyndham's excellent fable may, purposely or otherwise, occupy stylistically something of the territory of Sci-Fi pulp novels, so the characterisation may not be too great there anyway.

It is certainly a challenge for the adapters. Though I generally hope that the excellence of the storyline itself and its great importance in the Sci-Fi canon would inspire adapters to bring something more in elements where needed.

Since this series has begun screening I've read fans ridicule the old 1990s "Village of the Damned" big screen adaptation, which is unfair for what was generally a well-judged, effective, exciting production which remained easy to identify with in human terms.

I think with a source like Wyndham's novel it's right to consider showing the majesty of the storyline in ways best suited to the screen format. For an example, Kenneth Branagh' s perhaps nobly oriented, very faithful and near gothic seeming adaptation of Murder on the Orient Express was a real downer on the screen. Whereas the classic, star-studded 1970s film adaptation, unfaithful in so many ways to Christie's novel, was yet undeniably a great cinematic success, a tribute to the underlying storyline and most ideas of the author.

There are quite a lot of good elements in there but I don't think I'll be watching this again, even 3 or 4 years down the road. Sadly that is a disappointment for an adaption of such an iconic Sci-Fi classic as The Midwich Cuckoos.

I think with this series the soapy, lacking elements of characterisation, interest and dimensionality might well be very thought out, intended decisions. In watching, it might very much help to be aware of that, taking a few steps back (which might even bring me back to have another go in the future). At the end of the day though, what's mostly made of cardboard is still just made of cardboard.

Pacing and editing and a general lack of human interest focal points are a major part of this problem. One is left wondering if the actors did well, in-between or poorly with the materials they had. I don't know actually and I don't even know if it's possible to make such a judgement. This affirms my feeling that, in the main, something has gone wrong with the overall vision. I know it's very possible to appreciate a quite minimalist, intentionally formulaic, even rather severe production for what that means itself (I suppose possibly particularly in our present day). Perhaps also the decisions behind this production jar with me personally more than most viewers.. Nevertheless, at the end of the day this series really doesn't leave the kind of impression desired, which the novel's story undeniably has the potential for.

It's not to say that, overall, the producers got much or perhaps even anything wrong, and again a lot works and there are definitely points of interest in thought which the production creates.

The main thing to report though is that the whole thing feels both quite uninspired, as if those pulling the strings behind didn't really have the kind of fervent respect for the novel and story that the challenge to make a series of it probably requires.

Is it worth watching? Certainly, and there is definitely a reasonable amount of reward from the series. However if it was on a streaming service I was not subcribed to I don't think I would pay for a month's subscription to watch this, where that is exactly what I do & have done with some other series.

False Positive (2021)

Really poor story

[3/10 · 11 May 2022]

The film is just a bad dream so do yourself a favour and choose not to watch. It oughtn't be compared to Rosemary's Baby which was a fine piece of film making and a very serious piece of writing.

False Positive was never really meant to take up anyone's serious consciousness. If you watch it and get annoyed, they're laughing at you for bothering. I had to go to Wikipedia to read the synopsis after finishing, to try to understand what was supposed to be dreamt and unreal and what was supposed to be real, not that it really matters. It's all so unreal and meaningless and purposeless.

The acting is kind of interesting. I'm not going to say good because the whole film is so full of nothing that you can't really say anything is good. However I thought some talent in production was wasted on this D movie script.

They shouldn't have bothered and nor should you.

What Went Wrong: Countdown to Catastrophe: MH370 (2019) Season 1, Episode 6

Key Stone Cops exposé, the ongoing MH370 disaster

[6/10 · 12 November 2021]

First of all, my title of this review doesn't exactly refer to the documentary itself. It refers to the mostly mad array of theorists who devote themselves to trying to ordain, to lay down as if fact for the world, what happened to Malaysian Flight MH370.

A few of them are the basis of this film, indeed there's not too much really else to it.

These Key Stone Cops who buzz around MH370 are the state of things regarding discussion of the lost plane - in documentaries, articles, books and in the many Internet discussions which invariably end up using these so-called "experts" as infallible pedagogues.

In one sense this documentary is somewhat helpful in putting a spotlight upon this state of things, wittingly or unwittingly. However, alas most viewers won't realise and like children led by the pied piper, will think these guys must be talking more or less about facts. Do they know what they're talking about? They don't in as much as all of them - even the ones I like and respect - are merely guessing.

Those whom I respect tend to make the guesswork nature of MH370 discussion more clear. Whilst the others seek to dupe the world with what can very, very easily be nothing more than madcap notions, wild fantasies. Their theories are typically passed off as if Bible truths once carved into Moses' Commandment stones but of which society has deemed best left up to them to spread the word. Now is their time, it appears. Perhaps they have been waiting since before time itself.

I mentioned the documentary can be helpful in exposing these Key Stone Cops, most pretending absolutely to know 'the truth' yet conflicting completely with each next and and previous expert on the show. However the documentary is absolutely uncritical of and fully free from analysis of what its well-paid "MH370 experts" are saying. As it pretends, six or seven years after the fact, to be trying to get seriously to the core of what happened to the missing plane, there's no question it must overall be quite a failure of a programme.

Words, words, words. I'd prefer not to evoke Greta Thunberg here, but, "Blah, blah, blah" is what's going on. Theories, guesses, estimates, often presented with verbs such as "establishing" what happened to the plane, "identifying" where it went to (each time meaning guessing or estimating and inevitably about to be contradicted by what the next "expert" "establishes" or has "identified").

I do appreciate that the film brings the "experts" separately and allows them to contradict eachother without one knowing what the other is saying (each interviewed alone). For that I give it a healthy base of 3 stars, to start with. Again, the disagreement is in fact an accurate reflection of what is going, where the Mainstream Media has pretended for years that everything is sewn-up and agreed by the great and the good due to the marvel of modern science. (Where's the blooming plane, then?). Anyway nevertheless the programme still fails in not making clear that these people with their conflicting ideas are all guessing, at best, and further for not dissecting and analysing what they are saying through basic, logical reductions.

Also, at least this programme doesn't do what the majority of the Mainstream Media has also done over years and back the nonsense of Inmarsat and the Independent Group. There is a good amount to be thankful about here, relatively speaking.

Something most people don't know, all of the official investigations from the international safety investigation based in Malaysia, also the ICAO's own safety investigation, the Royal Malaysian Police investigation, to the Australian investigation and the FBI's investigation, the many officials concluded there is no evidence to suggest particularly that either pilot or co-pilot is to blame. The three investigations conducted under strict safety investigation laws (international investigation based in Malaysia, ICAO investigation & Australian investigation) further concluded that the Inmarsat estimate of where the plane went, though once considered seriously enough to use for searching, can no longer be categorised as credible evidence to locate the airplane.

This is by far, by a huge distance, the most important point about MH370 in 2021. The programme makes no reference to this most important fact, even though by basing its approach on conflicting views it is doing something positive.

So, as the show doesn't blindly follow the heinous, brain dead route which the Mainstream Media has chosen over years, fauning at the so-called "science" (!!!) of Inmarsat & friends, it's worth a further star at least. Especially because it refrains from having an Independent Group "expert" (!!!) on the show, I think a whole 2 stars are worthy in decision making capacities.

Finally stars wise, the show decided to have the usually excellent David Learmount on it. There is an extra star going for that, even though he's not so great in this show. Uncharacteristically, at one stage he gets lost in musings about a pilot or co-pilot getting back at Malaysia for some reason. It is a theory which all of those investigations mentioned above do not think a likely scenario, and it's particularly interesting that the FBI, world renowned for character profiling, have no particular suspicions on either pilot or co-pilot over and above the other 230 something people on the plane, and as well, "persons unknown".

Anyway, even David Learmount's musings on a bad day are a world better than the ever awful Simon Hardy on MH370. It's still a bit helpful for some of us who have been following the MH370 subject for some years, to see here poor Mr Hardy, 777 pilot, so wrapped up in his wild estimations that he pretty obviously comes across as an obsessive. It won't be obvious to people who don't know about him, that there is basically no known or currently knowable science in what he's saying whatsoever.

It was also good to see Jean-Luc Marchand from the Captio group who are emminently, diversely experienced in aviation. Yet, again, Marchand's inclusion here falls short, short of how Captio have been known in their Paris and Brussels branch Royal Aeronautical Society presentations. (These can be found in Youtube). Yes, unless lost in the translation from French, unfortunately he too here is saying that such and such a theory "establishes" and "identifies" elements to be known about MH370, which aren't factually established at all, by any means.

It's great to hear Marchand, though, openly question the pseudo-science, pseudo-nonsense claims of oceanography drift theory. The theories have been used by fanatics to "prove" that Inmarsat was right in that the plane ended in the region of Broken Ridge, southern Indian Ocean. Marchand himself also takes a drift theory analysis (still pseudo-science, pseudo-nonsense, for everyone just the same) which he claims can show from discovered plane debris that MH370 did not go anywhere close to Broken Ridge. He says the analysis can show the plane ended up much further north, not far from coastal waters to the South-East of Java, Indonesia. Whether or not that can be where the plane headed, it makes a whole lot more sense that it headed near land in the end than the idea it was intentionally brought to the literal middle of nowhere in some of the deepest ocean on earth near Broken Ridge, which is absolutely senseless.

This show could have been so much worse.

The six stars I've given are only in the context of overall MH370 coverage, which is typically disastrous in itself, furthering the awful, unknown tragedy. In other words, six stars for an MH370 documentary, is an achievement it itself in relative terms.

Whilst I've made it clear before that overall the programme isn't particularly a success, still it surely has things going for it and there are reasons to watch it. Indeed just pitting the Key Stone Cops against each other blindly, in different rooms, opens up the simple truth which, so strangely, the Mainstream Media so desperately wants to hide. That simple truth is that really nothing is actually known about the plane over seven years later. It's the truth despite what they some of the "experts" would have you believe.

For those interested in proper, open-minded, intelligent, caring investigative journalism regarding the missing plane, and regardless what you might think about the conclusions itself of the author, I recommend the quite recent book "The Disappearing Act" by Florence de Changy.

The Dry (2020)

Dull, dull, dull, contrived, shallow

[1/10 · 14 August 2021]

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Posturing, empty, immature, this film pretends to be something when it's never more than an extended episode of any faceless, Australian crime series. It's not the kind of film which could handle themes as you would expect of a movie as opposed to yet another a series episode, nor could present some kind of human interest. It all felt very fake and shallow.

I think it's supposed to have atmosphere. Actually that amounts to just a lot of aerial drone scenes of not much, and for example someone driving to eerie music, in between really plodding formulaic development of the crime plot.

I had guessed who the killer was for much of the film though hadn't worked out the whys exactly, as everything was connected to an historical murder.

The end was a major anticlimax, and would still have been whether or not you had any idea who the killer was. The reasons behind the murders had not been developed or suggested until close to the very end, so it's a case of not really giving a damn.

On the whole, the impression is that the actors thought they were something more than their written characters and skills allow. Also the film tries to seem more than the sum of its parts, but unsuccessfully. The screenplay is unimpressive. Even when there is occasional good acting, like from a potential love interest later in the film, I wondered by that stage why she was bothering. A real character suddenly? That doesn't really fit in.

Maybe the book was a whole lot better but dry is an understatement for this dull film.

It's a little scammy also by leading you along through it, not exactly with suspense but because you may suppose there's something to learn. The best way would be to give up but it seems that the film knows that and is keeping you hanging on cynically.

I found that it's really difficult to care for any of the characters at all, or the place or whodunnit in the end. I just wished I hadn't been drawn to watch the worid of that film by adverts for it.

Regression (I) (2015)

This is a piece of worthless, mindless nonsense which unfortunately will trick more susceptible people

[12 August 2021]

There really are no words for just how chronic this beast is. I'm trying to give it zero stars, but if you see one star you'll know I did my best.

It seems to be based upon an idea of a young, pre-teen child imagining himself or herself as if they were a police detective. It bears no similarities to the real world whatsoever.

It is such a terrible film which might manage to keep you watching from a sense of suspense saying it might actually lead somewhere.

It doesn't. It merely disintegrates up its own posterior further and further as it goes along. That's until there is an extra earthquake of indescribable terribleness at the very end (for anyone still awake or giving a damn) which is probably when the beast has turned inside out.

The cameras used, or how they're used, with lenses or in editing, have a really quite relaxing and visually settling effect. That's the other reason how the film may drag you along further into watching its utterly witless nothingness.

One point - it even comes across that it can't be an accident that this film is so appallingly bad. It appears could only have been worked at, hard.

Therefore, ike the person you really *need* to cross the street to avoid for your own state of health, when there's really no option, I strongly advise people that they need to keep away from this. The world of this film is at best empty, pretentious, wildly immature, deluded, attention seeking, at worst rotten to the core at worst.

Strangely there are reviews here which are not bad for this film - but be warned. If you look elsewhere, it was met with strong derision by the critics and serious film review sites give it a very low percentage rating indeed.

Certainly do not pay money for this awful creation, but also do not waste minutes, let alone hours, of *your life* because of it, as I did unfortunately.

The Secrets We Keep (I) (2020)

Stand out film, far beyond the formulaic, positive and thought provoking

[9/10 · 19 May 2021]

It's quite disturbing, however very well made and excellently acted. The most major achievement of this film is its realism in narrative, far away from the typical story book and movie mock-realisms we see often. By this I mean that the script perhaps completely manages to to escape the idea of good / bad, the character to back vs the one to revile.

There is sympathy for everyone, and it is so refreshing not to be be kind of indicated by the production into damning or praising x, y or characters.

For this almost therapeutic service to an audience fatigued in the characteristic ways of the movies, I highly, highly recommend this film.

All the actors give first rate performances, but Noomi Rapace who more or less carries the film from start to finish is quite amazing.

I have watched 'Death and the Maiden' many years ago, a number of times. I disagree strongly both with those who say this is too similar and redundant and with those who say this film is a poor copy of 'Death and the Maiden'.

The Secrets We Keep to my mind is by far the superior film. It is natural seeming, human intelligent. I always thought 'Death and the Maiden' was contrived on the whole and very affected in the annoying acting. It left me removed and uncaring about a subject so important as the effects of Nazi torture.

JFK Declassified: Tracking Oswald (2017– )

-"What's that over there? ", -"A bus stop".

[1/10 · 8 November 2020]

One episode consists significantly of Bob Baer and chum "discovering" a bus route in suburban Dallas which they present as evidence (evidence just because it exists?) that Oswald would have taken it IF he hadn't decided to go to the film theatre instead.

This is presented as being pivotal evidence in bringing Bob Baer's team to solving the "riddle" of Oswald, which solution they present as the sheer conjecture Oswald had Cuban accomplices in the murder of JFK. Wait for it - exactly this kind of sheer speculation they call evidence TYPICAL and definitive of the series. There are no words for it.

Poor man. I nearly feel ashamed in reviewing this series at all because it draws attention to it, when it should never be watched or perhaps even mentioned.

It's very sad this was released at all and you should not watch it on any account. If you do, all you will be involved in is unsuppressible disbelief that is was given a release.

The Circle (I) (2017)

Not that bad, works very well indeed on a therapeutic level

[8/10 · 24 March 2018]

It's just a different kind of experience. Don't get bound up in the shortcomings of the plot or the minimalism, to be kind, of the script.

I don't really want to criticise it much, as it's quite clearly a teen's film, rated 12 and probably best aimed at 10 to 14 year olds or younger. Therefore it doesn't mean much I as an adult saying that a older child's film is not really for them and lacks in many ways. It's just something else.

But, conversely, as a serious film for any age, a completely different entity, I think it really does have something for everyone in a therapeutic level: Just to see in a mode of depiction, with one degree of removal, just how the world has gotten in these digital days, and come to conclusions in a more immediate, natural way.

Seriously. It really helped me, and I think the film knows that is something which ought best somehow be experienced without being put into words. A phenomenon. Indeed, that some to much of the content is not able to be taken so seriously doesn't matter much, because it's the experience. And life is already like very much of this film and much which isn't is very quickly heading that way.

The Yards (2000)

Very underrated

[9/10 · 10 March 2018]

It's perhaps the classic film of Mark Wahlberg and in the top two of Joaquin Phoenix, not just for their studied playings, but their colleagues', the direction, editing, conception, most of the whole production. The directing with editing are very fine indeed. The cinematography is so immaculate I didn't even think of it until the end. Top stuff.

I think an average of around 6 stars is really low for this king of all morality tales. It's not perfect, and does have a simplistic edge (what do you expect for a Big Apple 'street' morality fable?) but others have agreed with me that it's one of the best productions of the whole genre in modern film. It deserves an 8 to 10 star average, while it's not the kind of film which is made particularly for repeated viewings. Some are, some aren't, but as a once in a long time watch, this amazing opera like fable is immaculately constructed.

The Lowe Files (2017)

You, and the show itself, need to get the show category correct

[3/10 · 16 December 2017]

I've only watched the first two episodes, but I'm stopping there, can't watch on. I'm giving the "Bigfoot" episode (S1E3) a miss, and the rest of them.

That isn't so much a criticism of the series, as it's a query - or criticism - of its relevance, identity by target audience and a strange marketing approach. "The Lowe Files" is shown at 10pm, well beyond the last before watershed 8pm to 9pm slot on History here in the UK. Yet, clearly this is completely and fully a children's programme, family friendly at the same time - while there are few of those shows for kids which both kids and adults would be happy to watch together . It seems almost kind of ideal for settling inquisitive 8 to 10 year olds (and younger children still who aren't too frightened - most aren't and the show itself seems to be a very "safe environment" indeed). The youngest years of teens would still have some reasonable to good connection to this series and the fun but open minded approach, again would be welcomed. Itself, the fun and safety of this easy context where it's ok to consider if potentially sci-fi theories are possible or real, where a definite "conspiracy theory reasonably ok" vibe is going, is a positive thing. It may be very good for helping enquiring thought outside of real, prescriptive, serious and possibly troubling and harmful social norms. At the very least, that's the major point of both sci-fi linked topics and mature consideration of conspiracy theories in themselves to society.

So, no real criticisms there of the actual substance - just appreciation indeed! It all comes down to why on earth the series is on at adult viewing hours only, targeted at adults. At the same time there doesn't seem even to be the whiff of much of an intention for any serious, proper journalism in The Lowe Files. I reckon, most mid teens, 14 to 16 year olds would have something of a problem with this series. Probably while admiring the fun approach, they would feel condescended to and left feeling that the subjects of the shows were not really intended to be taken so seriously, though, in the first place. This is very far from serious, adult programming.

In a way, the strange miscategorisation of show type and context by identity and intended viewer may have given rise to some of the criticisms of the show. The Hollywood Reporter calls the show a "bizarre vanity project" of the veteran actor.

I give this show 3 stars out of 10 because it is a beast, which ought to be shown between 4pm in the afternoon and 7.30pm. Then, if it were, and described for what it really is, I'd give the show a good review - 6 or 7 stars plus, maybe a grade A for your school report, Msrs Lowes. But for mid to older teens and adults who can watch at scheduled times, when their juniors cannot, there's actually very little in there of any relevance or interest at all in the idea of this show (for often some way hackneyed topics anyway). We just get cartoon like basic descriptions of the topics with fun, school like immersion experiences by the Lowe family guys. So I have to rate the show as how it's described and presented, and it isn't on a kids or school age educational channel - but ought to be.

You have to admit that cable TV at least has gone dumbed down anyway, it's often hard to tell the difference between what's meant as serious journalism or playful, younger targeted "TV clickbait". From "Hunting Hitler", somewhere between the two, to "The Dark Files: Montauk Project", the latter often like a teenage school level research project, where to call it serious journalism would contain some degree of insult. The BBC indeed have been responsible for similar show factories in recent times (for example their superficial and actually insulting online-only 'investigative' documentary, "Fractured: The Mysterious Death of Conspiracy Theorist Max Spiers").

With "The Lowe Files" it seems that someone behind a desk at the History Channel has been so confused in the dumbing down, he or she fails to be able to tell the difference between kids and adult programming.

So - pretty good for kids, I suppose, but that really is it. As a serious show for older viewers, there's really actually more or less nothing in there, diverting for short attention spans as Lowe and his sons may be for their no doubt very high salaries!

The Hollywood Reporter draws atention to the "arrogance" in actually calling this show entertainment being "patently insulting" (of course, meaning to more "grown-ups"). I have to agree, but thinking of the very large salaries usually involved in these shows, which often go all the way around the globe and with several repeats, I think the arrogance may be considerably to severely underestimated.

The Cold Light of Day (2012)

No. A serious, serious, serious avoider

[1/10 · 4 August 2017]

Fails on every level and whoever wrote the script kind of guessed or knew that well.

The only way this film keeps you watching is some general kind of suspense about what anything means in it - what anything is for. Does it have any purpose? As it turns out - it all means nothing, or the unsaid, and it isn't possible to care in any event.

A serious, serious, serious avoider. It doesn't even pretend to make any much sense by the end.

This must be one of the worst films I have ever seen. The budget must have been huge also - Willis, Weaver, but it isn't even in the world of failed A-list films. I doubt it even makes it into failed D-list films, so the Hollywood A- list cast inclusions and budget for the Spanish locations just leaves you utterly bewildered.

Why on earth? Who would do this?

If this is on TV it will waste hours of your life if you watch. Whatever you do, don't exchange any money for this film, streaming or disc.

North by Northwest (1959)

Looks great, but is a confused, less than shallow film

[4/10 · 21 March 2017]

They had great cameras in those days, and from this comes the best points about this film - the cameras and how they were used. Very atmospheric, the cinematography is very well done and the visual editing very good.

It's possibly better today at home in its excellent transfer to digital. (I rented the streaming film in SD, which was great quality on a computer monitor which is not large.)

For me, though, that's nearly as far as it goes. The acting has a lot to commend it at times, and Cary Grant pulls off well what is very demanding - trying to tie the script's lack of conviction and film genre identity together.

North by Northwest must be the most contrived of all spy films.

It also fails as a typical Hitchcock entertainment piece, I think because the subject is always on the verge of real seriousness. But the film can never devote itself to such seriousness in the way that classic spy films do and in the way these subjects really deserve actually.

Too far away from Sunday apple pie movie land to be endearing, too bitty, flimsy, theatrical and unsatisfying to be effective in basic thriller terms, and too unserious and kid glove hewn to be worth its salt amongst the lexicon of classic spy films.

North by Northwest was a probably an impressive showpiece for cinematography and the potential of atmosphere and brilliance in the track from camera to cinema screen. But, like a beautiful damsel agent who flirts but is getting paid for her rehearsed attempts to win you, the film has little else of merit beyond its looks and moves.

Convictions (1997 TV Movie)

Should see. Given the subject, really it's a must see.

[10/10 · 5 June 2016]

Very well made, simple. Some would say the characterisation approaches cardboard. But that's absolutely the point.

Choices were made, big, difficult, choices, in order to make a very rare film about a very rare subject in today's societies. But a subject which has an absolutely central importance, given how much today's societies are moving in the direction of feudalism, collective 'gang-led' thought, status and revenge based life. More and more people are living by the perception of that a successful life means being hard, so hard, and having power over others rather than thought and understanding. The media seems to encourage it often - film, TV, news, current affairs, journalistic comment.

This very rare film is amazing in its simplicity, It resembles a stage play, with scenes painted by basic numbers and with very best acting.

It should be seen in all schools by 10 to 14 year olds at eldest. But then again around 16, when people may be leaving school and the adult societies' prescriptionism of ego in bravado and the weakness of being perceived to be successful in 'successful' emotional appearance has begun to take hold. This type of society has been increasing steadily, unfortunately - to the point where every 2nd 'judicial' summary seems to describe the convicted as a monster in some way. This was very rare 30 years ago, when, generally, criminals were still seen as men and women who made mistakes or whose whole lives were sidetracked but who still had potential for reform.

Today, we might sum up a huge part of society as "throw away the key" societies. When we sit and wait and mean that about every person who gets it wrong and we cower, ready to bolster our own sense of status and social relevance by using that phrase over and over - it seems this really must mean that we are becoming or have become a "throw away the key" society. For the more it goes on, the deeper it gets, it can seem increasingly that's what the society both reaps, but also deserves itself and for itself.

Angels Crest (2011)

Very good, recommended

[9/10 · 10 February 2015]

There is nothing challenging in the screenplay of this film, and the decision seems to have been taken to create a movie of a kind of easy access. It tries to treat a terrible occurrence in everyday lives, in a normal, small town community in those very terms, without making anything sensational.

The film deals with issues which are always relevant to so many people - loss, guilt, coping, addiction and, let me say kind of demonology perhaps in authority - in the most basic terms. Unlike similar kinds of films, this one never thinks it knows, never thinks it has to go beyond the fundamental realities of these situations in order to picture them well. For me, this leaves a lasting impression and means that I can think about these issues actually, much more easily than if I had not seen this film.

That's a rare occurrence in movies, to me. Usually I find that my mind is vacuumed by the end of a film, whether or not it was said to "deal with" issues or treat issues for discussion or awareness in the audience.

A nice, serious film which seems to present something of real life. Certainly of real life concerns, without patronising, feeling the need to suggest that life is more than life really is, nor getting lost in a fictional world of fantasies that have no real meaning for humans today.

There are twists, and the elements develop which allow the viewer to make conclusions for himself / herself. This then becomes the essence of this movie beyond the lovely cinematography, the latter becoming as an echo the expression of the ongoing, inexplicable beauty in life, a backdrop to the pain, struggles and torture.

Though the script is simple, with no pretensions or irrelevant ambitions, some viewers looking for something else may consider this a weakness in the film. For myself, it is a very strong point in a well crafted piece, from original idea, through very good, simple dramatic acting, to a full, beautiful, simple, understated presentation in the whole production.

The Place Beyond the Pines (2012)

One of the worst films of the last few decades; it warns 'if you tolerate this, then your children will be next.'

[1/10 · 20 January 2014]

In short, and not wanting to be impolite or offensive, though, this film is a pile of excrement. It's unbelievably bad, trite, lowest formula writing, and the whole mindset of everything in the making never transcends that depth (a limit of depth point, bear in mind).

An exception may be the acting of young DeHaan near the end, a short piece, and the cinematography he seemingly manages to command. As if the makers had seen the light at him, in their hallucinating tiredness. This tiny meadow of cinematic relief comes close to the end of producing this 2 hr 20 minute near epic from the really worst, disgusting, killer patch of story & popular culture trash heap land. Perhaps, even more than "Drive" (2011), it could have been intended at some time by the writer to expose the global cinema and disc audiences as gullible, brainless phoneys of humanoids, largely. If so, looks like it has succeeded, largely. However, unlike "Drive" there's no tenable, mature, serious element or message as of the story itself.

I think the only merit in experiencing this film may be to realise that how the very worst made-for-TV films ever can yet tower over much hyped Hollywood big screen fodder such as this. It's so, so bad.

Who cares about any element of the plot for those who want to say it talks about modern social issues, making them timeless in a Greek tragedy style? No, instead, this film only seems in some way to suggest an explanation of why society can have been so apathetic to wrongs in administration, law and politics. If real life would be anything like this truly abysmal film, all apathy and positively blinding oneself to unacceptable elements of society becomes instantly understandable, obvious, even the wise solution.

But I wouldn't be here typing this if life could be mirrored even distantly accurately by this awful film, I hope. If there was never any attention to make truly any creation which may reflect, comment upon or bear a resemblance to reality, and the intention was for pure, base, escapist entertainment, I can't even see how 'The Place Beyond the Pines' even makes that at the lowest possible level. No, base in entertainment is a few light years above this absolute, prize, legendary drivel which can't even be taken quite seriously enough to bother calling very clichéd or absurdly remedial. You can call it those things if you want, though the film just doesn't warrant the attention due for that. It's a much, much, much worse film than those descriptions. Much, much, much, much, much, much worse.

7 Days in Havana (2011)

Some really good short films in there

[8/10 · 12 April 2013]

n the whole, I found "7 Days in Havana" a really pleasing watch.

I had read reviews here before deciding to watch. During most of the film, I was happy to find myself disagreeing with the reviewers I have read in the internet which thought the movie was uneven, and that it should be expected because of the 7 different directors in one film.

There are a few things to say. First thing to say is that, of the short films I found worth watching in this, they may seem so unrelated that watching the movie is a pointless or disjointed experience. You just need to adjust with these shorts - it's just like that, and it does work. I had to adjust, as someone who likes and looks for shorts compilations. It's like a book of short stories - it's nothing like a movie with one story or idea.

Second thing to say, where other people have claimed the film is uneven, is that the film IS uneven. But I found that things only begin to degrade towards the end. It seems Cuban films is a working week thing - the first 5 days, Monday to Friday, had some really enjoyable, well made shorts indeed. But at the weekend, Saturday and Sunday, it all went downhill. And got really, really poor.

The short film for Saturday, "Bittersweet", began OK, and actually it was such a surprise to me in this collection that things got so bad so quickly, I didn't really realise what was going on. There was nothing in that film, while the acting was still reasonable or good.

The Sunday film, "The Fountain", some people might appreciate, and I suppose the idea was there for a good short. There could have been a good film. And I guess I could understand those who thought the lead actress performed very well. However, it just didn't work at all as film for me. While the script may have been quite well produced, the film making was bad and the whole concept, even in the actors, brought "7 Days in Havana" very downhill. Kind of to the world of comedy or human pastiche, where this should never have happened with that script or idea.

From cinematography (but for one memorable few second scene of men seemingly stealing paint, and a quick flash of some young guys fishing on a pavement). Visually, in terms of pace, of aim, of any real substance, of evoking any thoughts or types consciousness, but a simple 'story of folk', it was poor. The director of this one didn't seem to appreciate the format of film.

OK - that's the bad stuff over. The rest is really good. It is well to very well shot, well paced, acted. It is intriguing and rewarding. For the first five films, the convoluted, complex, maybe relatively vexing or provocative film shorts worlds such as "13 Conversations About 1 Thing", and Allen's "New York Stories" are happily a foreign land. The concerns are so simple, and things seem to get simpler and simpler.

The point is, plainly, just the film making with these. The simple visual capturing, pacing, editing, short story making. In the first film, "El Yuma", there may be nothing really in the story (as some reviewer has alleged against the whole film). It doesn't matter. The point is the lights - the colours, the simple acting, making a little picture of a suggested time in a place. OK, "El Yuma"'s lack of depth means it is nothing of a legend in film, but it never tried that, and things get better. Some of the remaining films of the first five are excellent film making, to be remembered.

The visual excellence of "Ritual" is so accomplished in that the immensely intriguing, very strong emotional impact is enabled strongly from low light visuals alone. One is lost in wonder and genuine basic experience. A genuine tour de force. A truly great short piece of film making.

Similarly, "Diary of a Beginner" is a truly astonishing feat in cinematography. The immense distance in vision, wonder and appreciation and the sheer, basic value of the human mind, rooted in the basicness of the world experience, and of human being, is so simply and mesmerisingly stated, again, more or less in sheer visuals alone (daytime, this time).

The lovely "The Temptation of Cecilia", with a universal theme, manages to enter that strange hispanic world of perhaps evoking personal expectations, but confounding them, perhaps, in the relationship between kind of open mindedness - normality if you will - and a devilishly buzzing prejudice. It capably and knowingly illuminates a hard dichotomy of real life, between the real life in the dream, of the dreams, of the suppositions and assumptions and desires, and the real life of blunt, concrete, true reality in a number of ways. Strangely, a more endearing thing about this short is that it can genuinely seem to be being a snob all round, or maybe not. Knowingly.

"Jam Session" is a very well carried off short film from the simplest of intentions. A tonic.

The movie is really satisfying.

I'm really disappointed that the film then went on to have the last 2 shorts ones that I wouldn't watch again - in such an otherwise good collection.

At the same time, there are five really good shorts there, and I think it's worth giving the whole thing 8 out of 10 rather than just 6 or 7 out of 10 because those 5 shorts are significant in film. (Forget the last two, some people forgot what they were doing.)

Electroma (2006)

For film fans, great

[10/10 · 8 July 2012]

A landmark movie. It's very attractive and will retain an emotional attraction and personal significance for many. One reason, as another reviewer remarked here, is its comforting simplicity. There is no cerebral requirement for external references etc. as in some art movies. Surely there can be cinematic references there to artistic movies, however the film kind of, simultaneously creates a visual artistic paradox in shunning any necessity or compulsion to know.

People shouldn't be put off this film by connections to the music world and the band Daft Punk, or associations with electro, disco or house music.

"Electroma" is a movie 100%, and is to be viewed 100% on movie terms. It is a feature film, and has nothing to do with music, disco music, electro music or Daft Punk in itself. It has no Daft Punk music and no club soundtrack, though the soundtrack is gorgeous. While, yes, Daft Punk the musicians see themselves as culturally varied artists and may kind of live some sense of concept art, and the film may fit within this notion; the characters in the film are based on the band characters. However, again, there's really nothing more connected to the film. The wider contextualisation, for anyone who needs it, need only be that to know the characters are meant to be the 2 band members. The artistic meaning of "Electroma" is self contained.

I feel this is a very deep film. While very sparse in elements of interpretation, this means that the meaning of what you can find in there can be incredibly strong indeed. You won't want to treat any of it lightly. There are very serious and emotional themes (and they're very difficult to treat well), such as predeterminism, life as disingenuous facade for the seeing, the lack of choice in life, perhaps, that worldly fate is doomed in the here and now.

What is astonishing about this film is both that this is done in the gorgeous visual way achieved, lovely cinematography, and then the sheer, deep endearingness that this gives way to in appreciation of the film. The themes call upon sympathy for those in the welded, inescapable routes, while we may surmise as to whether this has meaning for the two actual band members. It seems there is a lean to a theme of kind of artists as hero, yet anti-hero in a traditional sense, moreso again - as hero. Endearing and comforting. Lovely cinematography and soundtrack. Full of significance and far from flimsy.