The 100-Week Roundup XXX

Featured

Bow-chicka-wow-wow!

Oh, er, no, sorry — it’s not that kind of XXX. It’s Roman numerals: this is the 30th 100-Week Roundup. (But if it is the other kind of XXX that you’re looking for, check out Roundup XX.)

Still here? Lovely. So, for the uninitiated, the 100-Week Roundup covers films I still haven’t reviewed 100 weeks after watching them. Sometimes these are short ‘proper’ reviews; sometimes they’re only quick thoughts, or even just the notes I made while viewing.

That said, as with Roundup XXIX, this week has run into some reviews that I feel would be better suited placed elsewhere; mainly, franchise entries that it would be neater to pair with their sequels. Consequently, sitting out this first roundup of May 2019 viewing are The Secret Life of Pets, Jaws 2, Ice Age: The Meltdown, and Zombieland. I’m going to have to get a wriggle on with these series roundups, though, otherwise that subsection of my backlog will get out of control…

So, actually being reviewed here are…

  • Eyes Wide Shut (199)
  • The Eyes of Orson Welles (2018)
  • Everybody Wants Some!! (2016)


    Eyes Wide Shut
    (1999)

    2019 #72
    Stanley Kubrick | 159 mins | Blu-ray | 16:9 | UK & USA / English | 18 / R

    Eyes Wide Shut

    I seem to remember Eyes Wide Shut being received poorly on its release back in 1999, but then I would’ve only been 13 at the time so perhaps I missed something. Either way, it seems to have been accepted as a great movie in the two decades since (as is the case with almost every Kubrick movie — read something into that if you like).

    Numerous lengthy, analytical pieces have been written about its brilliance. This will not be one of them — my notes only include basic, ‘witty’ observations like: one minute you’re watching a “men are from Mars, woman are from Venus” kinda relationship drama, the next Tom Cruise has taken a $74.50 cab ride from Greenwich Village to an estate in the English countryside and you’re in a Hammer horror by way of David Lynch. “A Hammer horror by way of David Lynch” is a nice description, though. That sounds like my kind of film.

    And Eyes Wide Shut almost is. It’s certainly a striking, intriguing, even intoxicating film, but I didn’t find the resolution to the mystery that satisfying — I wanted something more. Perhaps I should have invested more time reading those lengthy analyses — maybe then I would be giving it a full five stars. Definitely one to revisit.

    4 out of 5

    Eyes Wide Shut was viewed as part of What Do You Mean You Haven’t Seen…? 2019.

    The Eyes of Orson Welles
    (2018)

    2019 #74
    Mark Cousins | 100 mins | TV (HD) | 16:9 | UK / English | 12

    The Eyes of Orson Welles

    Mark Cousins, the film writer and documentarian behind the magnificent Story of Film: An Odyssey, here turns his attention to the career of one revered filmmaker: Orson Welles (obv.)

    Narrated by Cousins himself, the voiceover takes the form of a letter written to Welles, which then proceeds to tell him (so it can tell us, of course) about where he went and when; about what he saw and how he interpreted it. A lot of the time it feels like it’s patronising Welles with rhetorical questions; as if Cousins is speaking to a dementia suffer who needs help to recall their own life — “Do you remember this, Orson? This is what you thought of it, isn’t it, Orson?” It makes the film quite an uneasy experience, to me; a mix of awkward and laughable.

    Cousins also regularly makes pronouncements like, “you know where this is going, I’m sure,” which makes it seem like he’s constantly second-guessing himself. Perhaps it’s intended as an acknowledgement of his subject’s — his idol’s — cleverness. But it’s also presumptive: that this analysis is so obvious — so correct — that of course Welles would know where it’s going. His imagined response might be, “of course I knew where you were going, because you clearly have figured me out; you know me at least as well as I know myself.” It leaves little or no room for Welles to respond, “I disagree with that reading,” or, “I have no idea what you’re on about.” Of course, Welles can’t actually respond… but that doesn’t stop the film: near the end, Cousins has the gall to end to imagine a response from Welles, literally putting his own ideas into the man’s mouth in an act of presumptive self-validation.

    I can’t deny that I learnt stuff about Orson Welles and his life from this film, but then I’ve never seen or read another comprehensive biography of the man, so that was somewhat inevitable. It’s why I give this film a passing grade, even though I found almost all of quite uncomfortable to watch.

    3 out of 5

    Everybody Wants Some!!
    (2016)

    2019 #79
    Richard Linklater | 112 mins | TV (HD) | 1.85:1 | USA / English | 15 / R

    Everybody Wants Some!!

    Everybody Wants Some Exclamation Mark Exclamation Mark (that’s how we should pronounce it, right?) is writer-director Richard Linklater’s “spiritual sequel” to his 1993 breakthrough movie, Dazed and Confused. That film has many fans (it’s even in the Criterion Collection), but I didn’t particularly care for it — I once referred to it as High Schoolers Are Dicks: The Movie. So while a lot of people were enthused for this followup’s existence, the comparison led me to put off watching it. A literal sequel might’ve shown some development with the characters ageing, but a “spiritual sequel”? That just sounds like code for “more of the same”.

    And yes, in a way, this is High Schoolers Are Dicks 2: College Guys Are Also Dicks. It’s funny to me when people say movies like this are nostalgic and whatnot, because usually they just make me glad not to have to bother with all that college-age shit anymore. That said, in some respects the worst parts of the film are actually when it tries to get smart — when the characters start trying to psychoanalyse the behaviour of the group. Do I really believe college-age jocks ruminate on their own need for competitiveness, or the underlying motivations for their constant teasing and joking? No, I do not.

    Still, while most of the characters are no less unlikeable than those in Dazed and Confused, I found the film itself marginally more enjoyable. These aren’t people I’d actually want to hang out with, and that’s a problem when the movie is just about hanging out with them; but, in spite of that, they are occasionally amusing, and we do occasionally get to laugh at (rather than with) them, so it’s not a total washout.

    3 out of 5

  • Palm Springs (2020)

    Featured

    2020 #163
    Max Barbakow | 90 mins | digital (HD) | 2.39:1 | USA / English | 15 / R

    Palm Springs

    For a couple of decades, Groundhog Day stood alone in a genre of one. But no good idea is allowed to rest in the Hollywood machine, and so the last few years have seen a veritable explosion in time loop stories, like sci-fi-actioner Edge of Tomorrow; or a slasher variant in Happy Death Day; or darkly comic Netflix mystery Russian Doll; or, most recently, teen romance The Map of Tiny Perfect Things. But just as you begin to think that maybe time loop comedies are becoming repetitiously overdone (irony), along comes one of the most acclaimed entries in this newly-abundant subgenre: Palm Springs, which debuted on Hulu in the US in the middle of last year and is now finally coming to the UK via Amazon Prime Video.

    In this instance, the scene is set at a wedding, where two disconnected guests — Nyles (Andy Samberg), the boyfriend of the maid of honour, and Sarah (Cristin Milioti), the sister of the bride — end up stuck in a loop together, reliving the day of the wedding over and over. And I’ll say no more on that, because even giving away that it’s time loop comedy spoils what would otherwise be a first-act twist. (I don’t know if they ever thought they’d get away with keeping that a secret, what with it being a foundational conceit of the entire film, but some official blurbs do try to keep it hush-hush. Not many reviews, or even news articles, have been similarly circumspect, so I feel at this point trying to pretend you, dear reader, don’t already know (or wouldn’t accidentally find out some other way) is a fool’s errand.)

    While the premise may be more-or-less familiar, one thing Palm Springs has in its favour is it upends numerous tropes that the subgenre has already acquired, even in its short lifespan. Some of these variations have already been explored in other examples listed in my opening paragraph, but Springs has one or two more up its sleeve, and its own way of tackling them. It can also boast its own tone and style of humour, which will be broadly familiar if you’ve seen any other Samberg vehicle (Brooklyn Nine-Nine, say, or Popstar: Never Stop Never Stopping). For the uninitiated, it’s kinda silly without going to Pythonesque extremes, and kinda earthy without being vulgar (that the BBFC classification says the film contains “strong sex” is ridiculous).

    Let's do the time loop again

    Notably, when Palm Springs was sold at Sundance it went for the highest price ever paid for an acquisition at the festival: $17.5 million… and 69 cents, those few cents adds in order to beat the previous record. That they chose that additional figure gives you some insight into the film’s level of humour. But it also says something about how positively the film was received, which led to a degree of buzz that, personally, I found crippled the final film somewhat. To be clear, I still really enjoyed it, but, from reading reviews and watching the trailer, I was half expecting to be blown away by a new comedy masterpiece. Such is the danger of letting yourself get hyped up — if I’d seen it with no prior knowledge, I might’ve enjoyed it even more. The one benefit from the ludicrous delay in it crossing the pond is that hype has cooled to an appropriate background level; from a “OMG watch this new innovative groundbreaking amazing best comedy ever!” to more of a “that’s good, you should see it”.

    All of which said, you should see it. I don’t want to accidentally undersell the movie by citing my own misapprehensions, because it’s definitely a funny, likeable, surprisingly romantic (but not twee) film. Indeed, even without the time loop USP, Palm Springs would be welcomed because it hits a really good tone on the romance angle. It doesn’t dive into full romcom cheesiness, but it’s also not that kind of “tacked on love story that the filmmakers clearly wish they didn’t have to bother with” that you normally find in these sorts of (for want of a better word) edgier comedies. Rather than rolling your eyes as the inevitable plays out, you might actually be rooting for these crazy kids.

    4 out of 5

    Palm Springs will be available on Amazon Prime Video in the UK from tomorrow.

    The 100-Week Roundup XXIII

    Regular readers will remember that I started 2021 on the back foot with these 100-week roundups, being about a month behind. Well, after some effort the past few weeks, I’m pleased to report I’ve now caught up — which, if you think about it, only means I’ve caught up to being just 100 weeks behind. Hurrah?

    Anyway, as always, this roundup covers films I still hadn’t reviewed 100 weeks after watching them. Sometimes these are short ‘proper’ reviews; sometimes they’re only quick thoughts, or even just the notes I made while viewing. This week’s collection includes the final film from February and the first from March 2019

  • Sherlock Gnomes (2018)
  • Swimming with Men (2018)


    Sherlock Gnomes
    (2018)

    2019 #22
    John Stevenson | 86 mins | digital (HD) | 2.35:1 | UK & USA / English | U / PG

    Sherlock Gnomes

    As if the idea of making a children’s animated movie based on Romeo & Juliet but starring garden gnomes and the music of Elton John wasn’t barmy enough, here we have a sequel that riffs off another classic of English literature, Sherlock Holmes.

    The plot naturally takes the form of a whodunnit, with Gnomeo (voiced by James McAvoy) and Juliet (Emily Blunt) recruiting Sherlock Gnomes (Johnny Depp, for some reason) and his assistant, Dr Gnome Watson (what creative renaming), to investigate the disappearance of their garden ornament friends. Don’t worry too much about the plot, though: I guessed the twist in the very first scene. (Fortunately, there is another twist beyond that.) Instead, treat it as a bright and breezy kids’ adventure. It’s not particularly clever or funny, but much of it is perfectly fine, with the occasional bit that’s quite good, like a Flushed Away-esque sewer scene or a hound of the Baskervilles gag, plus some creative use of animation to render things like Sherlock’s visions or Romeo’s escape plan.

    The Elton John songs are even more incongruously shoehorned in than they were last time — I know he’s a producer, or it’s made by his company or whatever, but, other than that, they have absolutely no reason to be here. Worst of all is a new number, written by Elton and regular collaborator Bernie Taupin but sung by Mary J. Blige. At least it makes the rest of the John back catalogue on the soundtrack seem less objectionable.

    3 out of 5

    Swimming with Men
    (2018)

    2019 #29
    Oliver Parker | 97 mins | digital (HD) | 2.35:1 | UK / English | 12

    Swimming with Men

    Here’s a sort of aquatic riff on The Full Monty, as a man suffering a midlife crisis (Rob Brydon) joins an all-male amateur synchronised swimming team, mostly made up of other mostly-middle-aged British character actors: Rupert Graves, Jim Carter, Daniel Mays, Adeel Akhtar, and Thomas Turgoose. It seems like your typical Britcom setup, but it’s actually based on a true story — the Swedish team it’s about play themselves in the film — which has been filmed several other times now: in Sweden as The Swimsuit Issue; in France as Sink or Swim; plus a documentary about the real team, Men Who Swim. I haven’t seen any of those to compare, but the British variant holds up pretty well by itself, with enough gentle amusement and heartwarming camaraderie to make for a pleasant watch.

    3 out of 5

  • Rope (1948)

    2019 #24
    Alfred Hitchcock | 81 mins | Blu-ray | 1.33:1 | USA / English | PG / PG

    Rope

    Nowadays fake single takes are all over the place — some of them even last whole movies. But, as with so much cinematic trickery, it’s not actually a new idea. I don’t know if Alfred Hitchcock was the first director to attempt to trick the viewer into thinking they were watching one long take, when in fact it’s several shots stitched together via hidden cuts, but his effort is certainly one of the most famous. As an exercise in style, it’s a mixed success. Hitch is presumably inventing techniques that other filmmakers would polish and perfect in later attempts at the same stunt, but these first attempts don’t always come off perfectly. For example, every ‘hidden’ cut comes via an unmotivated camera move into the back of someone’s jacket — it may hide the cut in a literal sense, but there’s no doubting what’s going on. The entire movie is staged in actual long takes — just ten in total, most of them running seven to ten minutes. That means there are just nine cuts in the entire film, but several times (four, to be precise) Hitch just gives in and resorts to a regular cut. Sometimes you have to put the needs of the story before your showing off, I guess.

    But, in other ways, the film is a great technical success. The camera moves elegantly around the apartment, employing moveable walls and stagehands shifting props while out of shot to get the moves Hitch was after. A large window at the back of the set shows a cityscape, which in other films would’ve just been a photo blowup, but here is made more convincing and alive with smoke and lights. Similarly, the passing of time is subtly emphasised because, through that window, we can see the sunlight gradually transition from daytime to evening. All of this helps sell the fact that the film takes place in real-time… sort of. Although it only runs 80 minutes, scientific analysis (yes, some scientists analyse this kind of thing) has shown the events cover about 100 minutes. Certain action is sped-up to close that gap — for example, the sun sets too quickly. Apparently this is so effective that the analysis concluded audience members feel like they’ve watched a 100-minute movie, even though it’s only 80… which, er, I don’t think was meant to sound like a criticism…

    Look, a rope!

    Ostensibly based on Patrick Hamilton’s play of the same name, which in turn was inspired by the Leopold and Loeb case (also the inspiration for Compulsion, amongst various other works of fiction), this adaptation changes the setting, almost all of the character names, and some of their personality traits too. Wherever they come from, the film offers an interesting array of characters. The most obvious are the two murderers — smug, cocky Brandon and worrisome Phillip — along with James Stewart, who portrays a gradual realisation that something is amis, culminating in devastation at what was really a silly thought exercise being writ into reality. Apparently Stewart thought he was miscast, but I think he’s very good, conveying much with just looks and expressions, and making you believe his moral about-turn at the end.

    Other parts have, perhaps, dated: the film attracted some controversy for its homosexual overtones, but to modern eyes there’s very little to emphasise such an interpretation. Perhaps some social cues that once indicated homosexuality have fallen by the wayside in the past seven decades; or perhaps, because there’s no need to bury such things anymore, what was once ‘weird’ is now just normal behaviour. Nonetheless, much of the screenplay remains quite fun, including various nods and winks to the situation, and one slightly meta scene where two female characters talk about male movie stars they adore in front of Jimmy Stewart. But there are also sequences of familiarly Hitchcockian suspense, one great bit coming when all the characters are distracted chatting but we’re watching the maid who, while she slowly clears stuff away, is on course to discover the hidden body…

    As the end credits roll, the actor who plays David — the victim, who dies in the first shot of the movie; really, no more than a prop — Is listed first, and then every other character is defined in relation to him. It’s almost like they film’s very credits are underlining the message of the film: that no one’s inferior, including David; like they’re giving him some kind of dignity in death by making him the focus of the final element of the film. It’s another neat little trick in a film that’s full of them.

    5 out of 5

    Rope was viewed as part of Blindspot 2019.

    Patrick (2019)

    aka De Patrick

    2020 #221
    Tim Mielants | 96 mins | digital (HD) | 2.39:1 | Belgium & Netherlands / Flemish, Dutch, French, English & German

    Patrick

    Patrick’s hammer is missing. More accurately, one of Patrick’s hammers is missing — he has seven, of different sizes, arranged in a neat row on a bespoke wall mount, and the middle one is no longer there. Patrick is the handyman at a nudist campsite run by his father, who is old and sick. The head of the residents’ council is a busybody; his wife is secretly sleeping with Patrick, not that Patrick seems to care. A famous musician Patrick has never heard of arrives to stay, followed by his pretty but frustrated girlfriend. Then Patrick’s father dies. But, most importantly, Patrick’s hammer is still missing. Fortunately, a former police officer friend turns up to pay his respects, and gives Patrick advice on how to find his hammer — so Patrick launches his investigation.

    To sum Patrick up as “Agatha Christie meets the Coen brothers in a nudist camp” doesn’t feel too wide of the mark. Okay, there’s no murder, so perhaps mystery-genre fans could think of a better (though, unavoidably, less famous) author than Christie to sub in. But the fact remains that the missing hammer isn’t just a story hook to hang something else on: it’s a solid mystery narrative, with clues and red herrings and twists. Conversely, it’s not just a mystery, which is where the second comparison comes in. The overall quirky, just-left-of-reality, slightly-heightened tone evokes the Coens’ work, without (thank goodness) being a rip-off. It’s very much a comedy-drama, in that it’s not out-and-out seeking to provoke laughs, but it’s frequently absurd to the point of being laughable — although, with What We Do in the Shadows’ Jemaine Clement among the supporting cast, you can be assured of some genuinely humorous moments too.

    One element that isn’t mined for amusement, to the film’s credit, is the nudity. Equally, if you’re the kind of person who hears “set in a nudist camp” and thinks “wah-hey!”, don’t get your hopes up. These are real nudists, not pretty movie ones: middle-aged to older, with lumpy flesh wobbling around all over the place. The one conventionally attractive member of the cast (Hannah Hoekstra as the musician’s girlfriend, Nathalie) remains clothed. Indeed, the positive aspect of how the film treats nudity is that… it doesn’t really treat it at all. It’s doesn’t use the nudity for laughs, nor does it sexualise it, nor does it linger on it, nor does it avoid it. It’s just there; a fact of life. This story takes place in a nudist camp, so people are naked — that’s that. Even if all sorts of bits flopping about strikes you as giggle-worthy at first, before too long you stop even noticing.

    Anyone could have taken it

    What is often visually appealing is Frank van den Eeden’s cinematography. There are some beautiful shots and scenes, from your obvious screen-cap-able pretty lensing (like a funeral where the whole camp are scattered around a smoke-filled forest), but the way the camera moves, with slow pans (like the one when Nathalie first visits Patrick’s workshop), or clever angles (like when Patrick has to climb out of a tipped-over caravan).

    The combination of all of the above made me rather love Patrick. While the limits of a five-star rating system mean I’m only going to give it a 4 for now, it’s sort of a 4+, thanks to a litany of great shots and moments that spike above the overall quality of the film (which, I should make clear, is still high). It’s a movie that appeals to my taste: unmistakably absurd, but without revelling in that absurdity to the point where the wheels of momentum come off and it all falls apart. It satisfies as a mystery; as a pillorying of the politicking that goes on in small organisations; and as a character study of a man who just wants to find his hammer.

    4 out of 5

    Patrick is streaming on AMPLIFY! from today until 17th November. It’s on general UK release from 20th November.

    It placed 16th on my list of The Best Films I Saw in 2020.

    Disclosure: I’m working for AMPLIFY! as part of FilmBath. However, all opinions are my own, and I benefit in no way (financial or otherwise) from you following the links in this post or making purchases.

    Enola Holmes (2020)

    2020 #214
    Harry Bradbeer | 123 mins | digital (UHD) | 2.35:1 | UK / English | 12 / PG-13

    Enola Holmes

    The latest screen incarnation of Sherlock Holmes is not really about the Great Detective at all. Instead, Enola Holmes introduces us to his eponymous young sister — not part of Sir Arthur Conan Doyle’s original canon, but a creation of author Nancy Springer, on whose series of young adult mystery novels this film is based. (Nor, I feel I should point out, was Sherlock’s Eurus drawn from canon, despite what some hardcore Sherlock fans berating Netflix’s Enola promos seem to believe.) Indeed, the film imagines a whole family for Sherlock and his elder brother Mycroft: a father who died when Enola was young; and a mother, Eudoria, who has since raised Enola to be a multi-talented, independent, forward-thinking young woman.

    But when Enola (Mille Bobby Brown) wakes on her 16th birthday, she finds that Eudoria (Helena Bonham Carter) has disappeared. She summons her brothers, famous detective Sherlock (Henry Cavill) and uptight government man Mycroft (Sam Claflin), and various clues to Eudoria’s actions and intentions are unearthed — but not always shared among the siblings, because the brothers want little to do with their younger sister, resolving to send her to a finishing school to learn how to be a ‘proper’ lady. That doesn’t fit with Enola’s plans, though, so she escapes and runs away to find her mother. On her journey, she runs into similarly young Lord Tewkesbury (Louis Partridge), who is also on the run from his family, for reasons that, it will emerge, are even more sinister than Enola’s…

    Enola and Sherlock

    As a story set in the world of Sherlock Holmes, Enola Holmes is… well… um… Look, I’ve been fond of Henry Cavill since The Tudors, but he’s not my idea of Sherlock Holmes; and apparently Dr Watson doesn’t even exist? Sacrilege! While I can’t forgive the latter, the weird casting decision of Cavill is somewhat justified by the film itself. I’m not sure it was conceived to include a ‘traditional’ Holmes, and Cavill fits the character as he has been written: as an admirable, kindly, almost mentor-like older brother to Enola. Perhaps if they’d cast a more traditionally Holmesian actor then that person would have managed to shift it towards a traditional portrayal, but I suspect that’s not what the filmmakers wanted. Arguably that makes this a bad Holmes adaptation (if you’ve changed the style and nature of the character, is it actually an “adaptation”?), but then, it’s not really about him.

    It’s about Enola — as per, y’know, the title — and in that role Mille Bobby Brown proves that her success as Eleven in Stranger Things was not a fluke. In the wrong hands, the confident, capable, and headstrong Enola could have been brattish, but Brown brings enough charm to sweep us along. She frequently turns to speak to camera, like some kind of Victorian teenage Fleabag, which, again, could have been irritating, but mostly works to bring us into her confidence and, occasionally, underscore the fun and thrill of her adventure. However, there’s more room for nuance in how the character is written. Enola is by no means perfect, but we’re rarely allowed to see deficiencies. This works when she’s putting on a brave face to a world that would underestimate her, but a little more sense that she’s new to all this and doesn’t always get it right wouldn’t go amiss.

    Victorian teenage Fleabag

    So, while I don’t imagine Sherlockians will be inducting this into their favourite screen iterations of the Great Detective, it works as a female-led YA mystery-adventure. Originally produced by Warner Bros for a cinematic release, but sold to Netflix after the pandemic hit, I suspect this might have actually done quite well in cinemas. It’s good fun, accessible entertainment; the kind of thing that once upon a time would have been a PG-rated family blockbuster hit (nowadays it’s rated 12/PG-13, though with their “allow children in so long as they’re with adults” rules, those certs are really the modern-day equivalent of what used to be PG). Now, it looks to have been a hit for Netflix: it seems to have been widely viewed, based on how the number of ratings on IMDb and Letterboxd shot up over the first 24 hours (and kept going), and it’s been the #1 film on Netflix UK for a whole week (and, apparently, set a record for being #1 in the most countries on its release day). I suspect this won’t be the last adventure we see for Miss Holmes…

    4 out of 5

    Enola Holmes is available on Netflix now.

    Memories of Murder (2003)

    aka Salinui chueok

    2019 #15
    Bong Joon Ho | 131 mins | download (HD) | 1.85:1 | South Korea / Korean | 15

    Memories of Murder

    South Korean director Bong Joon Ho has gradually risen in prominence over the past few years, culminating in Parasite’s history-making success at this year’s Oscars (yes, that was only earlier this year). Memories of Murder wasn’t his debut work, but it was what initially garnered him some attention outside Korea. It’s been surprisingly hard to come by for a while now, but a new 4K restoration is released in the UK via Curzon today (it’s coming to US cinemas for a limited run in October, and new Blu-ray releases (including one from Criterion) will follow).

    In 1986, two women are raped and murdered in provincial South Korea. The local detective, Park Doo-man (Bong regular Song Kang-ho), has never dealt with a case of this magnitude and relies on old-fashioned methods — his main one being to have his partner, Cho (Kim Roi-ha), beat confessions out of suspects. After a modern-minded big-city ‘tec, Seo Tae-yoon (Kim Sang-kyung), volunteers to help, the old and the new clash. As more crimes are committed, more clues are gathered, and more suspects are apprehended, but then cleared. Can the police ever get close to their man?

    Loosely based on the true story of Korea’s first serial murders, and taking a procedural approach to the crime thriller genre, Memories of Murder invites comparison to David Fincher’s Zodiac for its methodical, realistic narrative style and plot that follows obsessed investigators chasing unsolved murders in the past. Zodiac is one of my favourite films (it placed 3rd in 100 Favourites II), so it’s a tall order to be pitched against it. Fortunately, Memories of Murder is strong enough to withstand the comparison.

    Investigators

    A lot of praise that applies to Zodiac could be copy-and-pasted here. In addition to the facets I’ve already mentioned, there are several fine performances (not least from Song, who’s clearly become a Bong regular for a reason); several striking set piece crimes and/or discoveries without indulging in glorification of real crimes; and a commentary on the methods and obsessions of investigators that goes beyond ‘doing the job’. It does none of this in the same way as Fincher would a couple of years later, but it’s a different perspective within the same genre headspace.

    Memories of Murder is already a well-regarded film (on top of a 91% Tomatometer score, it’s on the IMDb Top 250 and in the top 100 of Letterboxd’s version ) but, having been out of widespread circulation for a few years, and with renewed interest in Bong’s back catalogue, it’s ripe for wider (re)discovery.

    5 out of 5

    Memories of Murder is available to rent on Curzon Home Cinema from today.

    It placed 5th on my list of The Best Films I Saw in 2019, after being viewed as part of What Do You Mean You Haven’t Seen…? 2019.

    The 100-Week Roundup XI

    This week: an underrated crime thriller based on the same true-life story as a Hitchcock classic; an investigation of the trauma left by conflict in a film I’ve nicknamed “Gulf War Rashomon”; and a test of this “just post my notes already” roundup format with one of my favourite films I watched in 2018.

    They are…

  • Compulsion (1959)
  • Heathers (1988)
  • Courage Under Fire (1996)


    Compulsion
    (1959)

    2018 #194
    Richard Fleischer | 99 mins | TV | 2.35:1 | USA / English | 12

    Compulsion

    Based on a novel that was based on the Leopold and Loeb case (which has also been the inspiration for various other films, most notably Alfred Hitchcock’s Rope), Compulsion is the story of two students who think their intellectual superiority will allow them to get away with the perfect murder.

    Playing the students, Dean Stockwell and Bradford Dillman are both fantastic. They’re two different types of well-to-do prodigies: Dillman charming and cocksure; Stockwell both awkward and supremely confident of his own exceptionalness. Their performances keep things compelling, even as the events unfolding are a foregone conclusion. You should and will hate them — even if they weren’t murderers, they’d be insufferable pricks (they sound like any number of modern-day politicians, don’t they?); that they’re cold-blooded killers just makes them worse. But even though you’ll never root for them, they’re still addictively watchable. Also, bearing in mind when the film was made, there’s a strong undercurrent of their homosexuality. It disappears as the film goes on, becoming more concerned with the case than the relationship between the two guys, but it’s discernibly there at the start.

    And then Orson Welles turns up. Despite getting top billing, he has more of a third act cameo that turns into the film’s most grandstanding moment: his closing speech at the trial; a real tour de force against capital punishment. Apparently it was issued on vinyl, it’s that good. The three stars got and get all the recognition (they shared Best Actor at Cannes that year), but there are also fine supporting performances from Martin Milner and Diane Varsi as a couple of fellow students who get caught up in the case in different ways; and E.G. Marshall is very good as DA Horn, the man who eventually catches the guys and therefore becomes Welles’ courtroom nemesis. He’s particularly understated during Welles’ big speech, gradually shifting from annoyance and hatred to agreement, ultimately rising to his feet at the end as if in a silent standing ovation.

    Stillman, Stockwell and Welles

    Aside from that obvious Big Scene, there are several other memorable ones: Dillman calmly talking to his teddy bear while Stockwell frantically searches for misplaced glasses, for example; or the cat-and-mouse scenes where the DA interviews the lads separately. Much of it is fantastically shot, too. There’s an occasional showy bit (like focusing on glasses on a nightstand as it gets dark outside, then showing the culprit and investigator reflected one in each lens), but also a general level of quality that often helps emphasise the darkness in the lads’ souls.

    I don’t think Compulsion is widely discussed anymore (it has fewer ratings on IMDb than Love on a Leash!), but I thought it was a brilliant film; one that can withstand comparison to more-acclaimed versions of the same story. It’s definitely underrated today.

    5 out of 5

    Heathers
    (1988)

    2018 #196
    Michael Lehmann | 103 mins | Blu-ray | 1.85:1 | USA / English | 15 / R

    Heathers

    Heathers was one of my favourite films I watched in 2018 (it placed 5th on my list of The 26 Best Films I Saw For the First Time in 2018), but I didn’t make any notes on it at the time, and (obviously) it’s now two years since I watched it. Oh dear.

    So, in the spirit of the point of these roundups (to clear old unreviewed films, regardless of how much or little I have to say about them), we’ll have to make do with repeating my brief summary from the aforementioned “best of” list. Though I’ll also add that I watched this on Arrow’s then-new Blu-ray edition, which comes from a 4K restoration and looks absolutely fantastic.

    The darkness that’s barely concealed beneath the pleasant veneer of American high schools is exposed in this pitch-black comedy, which mixes violent teen wish fulfilment with a certain degree of societal satire to boundary-pushing effect. It’s not as transgressively shocking 30 years on as it might’ve been back in the ’80s, but it’s still so very.

    5 out of 5

    Courage Under Fire
    (1996)

    2018 #197
    Edward Zwick | 108 mins | TV (HD) | 1.85:1 | USA / English | 15 / R

    Courage Under Fire

    It’s “Gulf War Rashomon” when a traumatised tank commander (Denzel Washington) encounters conflicting accounts of what happened while he investigates whether a helicopter pilot (Meg Ryan) deserves to be posthumously awarded the Medal of Honor, which would make her the first woman to receive it. As higher-ups put pressure on him to just push the honour through, he remains committed to uncovering the truth…

    The mystery of what really went on is not as clever or engrossing as the film thinks it is, but it still works as a meditation on how we acknowledge wartime heroism and the place of truth in doing so. It’s also a consideration of how many people are affected, in different ways, by the sacrifices of war.

    There are some decent performances along the way: Washington is always good value, and a before-he-was-famous Matt Damon demonstrates his commitment to the profession by losing a ton of weight between filming the flashback and “present day” scenes (endangering his health in the process) to portray a medical specialist indelibly affected by what went on ‘over there’. Apparently Mark Kermode said the casting of Meg Ryan as a chopper pilot was “the benchmark for a casting decision so ludicrous that it takes the viewer out of the film,” but I suspect that says more about how she was regarded at the time (best known for romcoms) than her actual performance (she’s no standout, but she’s fine).

    3 out of 5

  • The 100-Week Roundup X

    These 100-week roundups are a clearing house for reviews I haven’t got round to writing up 100 weeks (i.e. almost two years) after I actually watched the films in question. As I mentioned in my August review, I’ve recently fallen behind even on that, so the 100-week moniker isn’t technically accurate right now. Hopefully I’ll catch up soon.

    This time, we have a motley bunch from September 2018: two one-star films that made my “worst of year” list; and two four-star films, one of which made my “best of year” list. They are…

  • Lost in Space (1998)
  • Skyline (2010)
  • April and the Extraordinary World (2015)
  • I Kill Giants (2018)


    Lost in Space
    (1998)

    2018 #189
    Stephen Hopkins | 125 mins | digital (HD) | 2.39:1 | USA / English | PG / PG-13

    Lost in Space

    I remember this reboot of the classic ’60s sci-fi series being received very poorly indeed when it came out in 1998; and so, even though I was a young sci-fi nut at the time, I didn’t bother to see it — and then spent the next 20 years not bothering to see it. But with the recent re-reboot on Netflix going down rather well, I thought maybe it was time to see for myself. I shouldn’t have bothered — it’s truly terrible.

    It gets off on the wrong foot, starting with a load of over-ambitious CGI, and that continues unabated throughout the entire movie. Anyone who moans about the quality of CGI in modern blockbusters should be made to watch this so they can understand what they’re complaining about. Maybe it looked ok back in ’98, I can’t remember (I suspect not), but watched now it looks like an old computer game, never mind an old movie.

    Poor effects can be forgiven if the film itself is any good, but the opening action scene is both fundamentally needless and stuffed to bursting with cliches, and the rest of the film is no better — just nonstop bad designs, bad dialogue, bad ideas, more bad CGI… Even the end credits are painful, playing like a spoof of the worst excesses of the ’90s, from the trippy “look what our computer graphics program can do” visuals to the dance-remix-with-dialogue-samples version of the theme.

    So, it turns out the critics at the time were right. I have seen even worse movies in my time, but there aren’t many merits here — there’s one effect that is well realised, at least. But that doesn’t come close to justifying the film, or for anyone to waste their time watching it. It really is very, very bad.

    1 out of 5

    Lost in Space featured on my list of The Five Worst Films I Saw For the First Time in 2018.

    Skyline
    (2010)

    2018 #190
    The Brothers Strause | 93 mins | digital (HD) | 2.35:1 | USA / English | 15 / PG-13

    Skyline

    In a Cloverfield-esque setup, a bunch of young people awaken from a boozy party to discover an Independence Day-esque alien invasion happening outside their window. What follows just feels like familiar parts from even more movies Frankensteined together in a failed attempt to produce something original.

    In terms of overall quality, it’s like a direct-to-Syfy movie granted a minor-blockbuster effects budget. Goodness knows how it landed a cinema release. The directors were visual effects artists who, based on their IMDb credits, moved into directing music videos before springboarding into film directing with Aliens vs Predator: Requiem, the sequel to the much maligned AVP that, shockingly, managed to be even worse. Skyline was their second feature — and, in a seemingly-rare bit of justice for directors making shitty blockbusters, their last (they’ve gone back to effects, where they continue to have a long list of high-profile credits). They completely financed Skyline themselves, forking out just $500,000 for the shoot before spending $10 million on the effects. It couldn’t be any clearer where their priorities were…

    And it feels like a film made by VFX artists. For one thing, one of the main characters is a VFX artist. He lives in a swanky apartment, with a hot wife and a hot mistress, drives a Ferrari and owns a yacht. Either this is extremely obvious wish fulfilment, or at one point VFX guys were doing very well indeed. (Considering there was that whole thing a few years back about major VFX companies shutting down, either this was made before the bubble burst, or some were able to weather the storm to a sickening degree. Or, like I said, it’s wish fulfilment.) Aside from that, it’s like a CGI showcase. Everything’s shot handheld, all the better to show off how realistically the CGI’s been integrated. The screenplay puts in no effort, with thinly sketched characters and a flat, uninspired storyline that rips off other movies with abandon, runs on a shortage of logic, features weak world-building with inconsistent rules, and seems to just… keep… going… until, after you think it’s definitely over this time, there’s yet another scene: a mind-bendingly gross and laughable finale.

    And yet, years later, someone made a sequel! I’ve even heard it recommended (though it has a lowly 5.3 on IMDb). Someday, I’ll have to see…

    1 out of 5

    Skyline featured on my list of The Five Worst Films I Saw For the First Time in 2018.

    April and the Extraordinary World
    (2015)

    aka Avril et le monde truqué

    2018 #191
    Christian Desmares & Franck Ekinci | 102 mins | digital (HD) | 1.85:1 | France, Belgium & Canada / French | PG / PG

    April and the Extraordinary World

    This French animation is an alternate-history steampunk adventure that follows orphan April (voiced by Marion Cotillard in the original audio) as she investigates a decades-long spate of missing scientists, including her own parents.

    The tone is one of pulp adventure, which is right up my street, and consequently I found the film a lot of fun. It’s a great adventure, abundant with imaginative sci-fi/fantasy ideas, engaging characters, and laced with humour. The independent French production means it’s not beholden to Hollywood homogenisation — there’s some very dark stuff in the world-building details, which contrasts somewhat with the light adventure tone of the actual plot, and some viewers may find this spread of tones problematic. More of an issue for me came when, a while in, the plot heads off into barmy sci-fi territory. No spoilers, but it wasn’t quite what I was expecting from the original premise. But this is perhaps more an issue of expectation than actuality — it wasn’t severe enough to lose me, just take the shine off something that was otherwise headed for perfection; and, as I adjusted to where the story was going, I enjoyed it more again.

    Resolutely unproblematic is the visual style. The design and animation, inspired by the works of comic book artist Jacques Tardi, are absolutely gorgeous — like a ligne claire comic sprung to life. When US animations try to ape an artist’s style, it often winds up as a movie-ised imitation — at best you can recognise the inspiration, but it’s still been filtered and reinterpreted (cf. Batman: The Dark Knight Returns). But this is like the panels just started moving, with full fluidity (none of the “jerkily moving between static poses” you sometimes get with cheaply-done modern animation). That applies to character animation as much as anything, but the wildly imaginative steampunk alternate history allows the designers and animators to really cut loose, with a fabulously invented world.

    Put alongside the likes of Long Way North and The Secret of Kells, it’s a reminder that we should look further afield than the US and Japan for great animation.

    4 out of 5

    April and the Extraordinary World placed 26th on my list of The Best Films I Saw in 2018.

    I Kill Giants
    (2018)

    2018 #193
    Anders Walter | 106 mins | digital (HD) | 2.39:1 | Belgium, UK, USA & China / English | 12 / PG-13

    I Kill Giants

    The past few years have seen a random, unexpected mini-genre pop up: dramas about Serious Issues where the protagonists also have something to do with giant monsters. I’m not talking about Pacific Rim or Godzilla, but movies where the monsters are either imaginary or in some other way analogous to the very real problems experienced by the characters. Films like A Monster Calls, about a teenage boy coping with impending bereavement, or Colossal, in which Anne Hathaway discovers she’s controlling a giant monster that keeps appearing (and which kept its big issue a secret in the marketing, so I will too). I don’t know if there’s really enough of these to call it a “genre”, but three films in as many years that fit roughly in that very specific bucket strikes me as a lot; and I watched all three in the span of a few months, just to emphasise the point.

    Anyway, the latest entry in this genre I may’ve just invented is I Kill Giants. Based on a graphic novel by Joe Kelly (who also penned this adaptation) and J.M. Ken Niimura, it’s about American schoolgirl Barbara (Madison Wolfe) who believes giants are coming to attack her hometown and she’s the only one prepared to fight them. Whether these giants are real or just an outward expression of an inner conflict is, of course, why this ties in with the other films I mentioned.

    There’s plenty of stuff I liked a lot in I Kill Giants. The female focus. The power of friendship, and of small acts of kindness. The acceptance of being a bit different and an outsider, within reason. The magical realism in its handling of the giants. Unfortunately, it takes a bit too long to get to its conclusion — it’s not exactly repetitive, but there is some running on the spot. When the finale comes, it’s an effective twist. I’d guessed many of the reveals, and I think the film definitely expects you to guess at least one (which it then wrong-foots you about). But narrative trickery isn’t really the point. It’s impossible to discuss which other film it’s most similar to without spoilers, but the other one dealt with certain stuff better due to being upfront about it, rather than lacking it all into the final ten minutes. That’s the ending’s biggest flaw: that another film did fundamentally the same thing recently and, overall, better. That’s not the film’s fault.

    Not a perfect film, then, but it has a lot to commend it. Just be aware it’s one where the journey is more rewarding than the destination.

    4 out of 5

  • Searching (2018)

    2019 #51
    Aneesh Chaganty | 102 mins | digital (HD) | 16:9 | USA & Russia / English |
    12 / PG-13

    Searching

    When his 16-year-old daughter Margot goes missing, David Kim (John Cho) does the most logical thing in this day and age: he turns to her computer and social media to try to work out where she’s gone. What Searching does to really sell this concept is place us inside the tech: everything we see takes place on the screen of computers, be it searching the internet, chasing leads via video chat, or compiling evidence in spreadsheets.

    It’s a conceit that is clearly innovative, but also feels like it has the potential to grow old fast. After all, it’s inherently limiting, and if the filmmakers tried to coast on the novelty factor, you’d probably grow bored within the first half-hour. Fortunately, Searching has more to offer. Indeed, long before you’ve had a chance to become fed up with the unique storytelling method, you’re absorbed in the narrative.

    It works on two fronts. There’s a degree of commentary on modern society and parent/child relationships, as David begins to discover all the things Margot has been hiding from him, realising he didn’t know his daughter as well as he thought he did. In some respects this is nothing new — we’ve had decades of films and TV dramas where parents discover their perfect little darling isn’t who they thought — but here it’s cannily updated for the social media era.

    Searching the web

    Secondly, it’s an engrossing mystery. Director Aneesh Chaganty uses the visual concept perfectly to help craft a storyline with compelling characters that keeps us thoroughly engaged. Pleasingly, the film never breaks its own rules, instead finding new ways to use the limitations to tell the story. The only possible misstep comes in the final act, when some developments begin to succumb to Movie Logic and get a bit grandiose for the previously-grounded film. But the array of twists here actually had me on the edge of my seat, and, really, what more do you want from a thriller than that?

    Searching is the kind of film you come to thanks to its USP, your interest piqued by seeing how they can tell a story under such limitations; but what makes you stay, and want to come back, is how well it tells that story. It’s not unconventional for the sake of it, but a new and very timely way of viewing a narrative.

    5 out of 5

    Searching is available on Netflix in the UK from today.

    It placed 6th on my list of The 15 Best Films I Saw For the First Time in 2019.