Another Blindspot Review Roundup

Following on from the roundup of four of my Blindspot and “What Do You Mean You Haven’t Seen…?” reviews the other day, here’s another quartet.

In today’s roundup:

  • Gran Torino (2008)
  • Planet of the Apes (1968)
  • Nashville (1975)
  • A Matter of Life and Death (1946)


    Gran Torino
    (2008)

    2017 #78
    Clint Eastwood | 116 mins | download (HD) | 2.40:1 | USA & Germany / English & Hmong | 15 / R

    Gran Torino

    Clint Eastwood’s modern Western (thematically speaking), about a grumpy old loner who overcomes his inherent racism to bond with the immigrants who now dominate his neighbourhood and eventually come to their defence, is a well-liked film, generally regarded as a late career highlight for the director-star. I imagine it would play very nicely as a companion piece and/or counterpoint to his earlier Oscar-winner, Unforgiven — both are stories about old men in one final fight, essentially. Here, that comes with a subtext about the price that’s paid for standing up for yourself. It may be the right thing to do, and maybe it ends up with the right result, but the good guys really suffer to get to that point.

    While that aspect of the film is ultimately powerful, I was less won over by the actual filmmaking. It feels like it’s been jiggered around in the edit, with some odd bits where it just jumps into a new scene. Even before that, Nick Schenk’s screenplay occasionally features very heavy-handed dialogue, of the “explain what the character is feeling right now” variety. It’s especially bad when Eastwood just talks to himself in order to vocalise these points for the sake of the audience.

    Still, if you’re immune to such niggles then it remains a potent — and timely — tale of doing what’s right for the defenceless. Such themes never die, I suppose.

    4 out of 5

    Planet of the Apes
    (1968)

    2017 #96
    Franklin J. Schaffner | 112 mins | Blu-ray | 2.35:1 | USA / English | PG / G

    Planet of the Apes

    The original instalment in the long-running franchise (it’s up to nine films across three go-rounds now, plus a couple of TV series) sees astronaut Charlton Heston land on a mysterious planet where apes have evolved to have human-like intelligence, while men are mute wild creatures dominated by their simian betters. And eventually there’s a twist that everyone knows, which is a shame because I bet it was pretty darn surprising before that.

    Coming to Planet of the Apes for the first time almost 50 years after its release, there’s an unavoidable quaintness to some of it, mainly the monkey makeup. It was for a long time iconic, but it’s been abandoned in favour of hyper-realistic CGI in the new movies and therefore shows its age. That said, while the apes may not be as plausible as those produced by modern technology, the performances underlying them are still strong. It contributes to what is really a parable about dominance and oppression; colonialism inverted onto a white man, that kind of thing. All wrapped up in a sci-fi adventure narrative, of course.

    Honestly, it’s not just the effects that have improved — as a piece of speculative fiction, I think it’s now been outclassed by the recent trilogy. It’s still a cracking adventure, but a bit “of its time”.

    4 out of 5

    Nashville
    (1975)

    2017 #111
    Robert Altman | 160 mins | Blu-ray | 2.35:1 | USA / English | 15 / R

    Nashville

    Robert Altman’s low-key epic about 24 characters and how their stories interact, overlap, and collide across five days in the city of Nashville, Tennessee.

    The sheer scope of that makes it a tricky film to interpret. There’s a lot going on, much of it in snatched conversations and moments that leave it up to the audience to piece together what matters and why. Collision must be a theme: within the first hour there are three car crashes or near misses, and the climax is certainly a collision in its own way. I’ll be honest, this isn’t a fully-developed thought, so I’m not sure what the point of it might be. It’s a small element of the film, really — something like all the music being performed is much more obvious and therefore maybe more relevant.

    I guess I’m searching for meaning because the film in general is just casually observational of a bunch of characters meandering through a few days. Maybe there doesn’t need to be meaning — maybe that is the meaning. It’s certainly one way to interpret the finale. So, I kind of liked it — or, rather, admired it, perhaps — even if I didn’t necessarily ‘get it’.

    4 out of 5

    A Matter of Life and Death
    (1946)

    2017 #74
    Michael Powell & Emeric Pressburger | 100 mins | DVD | 4:3 | UK / English | U / PG

    A Matter of Life and Death

    I finally get round to watching this on a ropey old DVD, and then they announce a new 4K restoration (which was released in UK cinemas earlier this month). Hopefully a Blu-ray will follow. It will be very welcome, because I imagine this film will look magnificent in properly restored HD.

    It begins with an incredible opening scene, in which an entire relationship is founded and ended over the radio in about five minutes. From there it’s the story of a World War Two pilot (David Niven) who avoids death by a fluke, then properly falls in love with the voice from the other end of that radio call (Kim Hunter) before the afterlife comes a-callin’ to take him where he was meant to be. Or maybe that’s all just a vision induced by the injury he sustained. Either way, he must argue his case to remain on Earth.

    It’s a grandly romantic film — it is all about the triumph of love over everything else, after all — but with a particular fantastical bent that I think remains unique. It has the wit to present a mildly irreverent stance on the afterlife, not taking the whole “life and death” thing too seriously. While the final result of the airman’s trial is never in doubt, the delight is in the journey there.

    5 out of 5

    Planet of the Apes, Nashville, and A Matter of Life and Death were viewed as part of my Blindspot 2017 project, which you can read more about here.

    Gran Torino was viewed as part of my What Do You Mean You Haven’t Seen…? 2017 project, which you can read more about here.

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  • A Fistful of Dollars (1964)

    The 100 Films Guide to…

    In his own way he is, perhaps, the most dangerous man who ever lived!

    Original Title: Per un pugno di dollari

    Country: Italy, Spain & West Germany
    Language: English and/or Italian
    Runtime: 100 minutes
    BBFC: X (cut, 1967) | AA (1981) | 15 (1986)
    MPAA: M (1967) | R (1993)

    Original Release: 12th September 1964 (Italy)
    UK Release: 11th June 1967
    Budget: $200,000

    Stars
    Clint Eastwood (High Plains Drifter, Gran Torino)
    Marianne Koch (The Devil’s General, Spotlight on a Murderer)
    Gian Maria Volontè (For a Few Dollars More, Le Cercle Rouge)
    Wolfgang Lukschy (Dead Eyes of London, The Longest Day)
    José Calvo (Viridiana, Day of Anger)

    Director
    Sergio Leone (The Colossus of Rhodes, The Good, the Bad and the Ugly)

    Screenwriters
    Víctor Andrés Catena (Kill Django… Kill First, Panic)
    Jaime Comas (Nest of Spies, Cabo Blanco)
    Sergio Leone (The Last Days of Pompeii, Once Upon a Time in the West)

    Dialogue by
    Mark Lowell (High School Hellcats, His and Hers)

    Story by
    Adriano Bolzoni (Requiescant, Your Vice is a Locked Room and Only I Have the Key)
    Víctor Andrés Catena (Sandokan the Great, Cabo Blanco)
    Sergio Leone (Duel of the Titans, Once Upon a Time in America)

    Based on
    Yojimbo, a Japanese samurai film written by Akira Kurosawa & Ryûzô Kikushima and directed by Kurosawa. (Not officially, but the makers of Yojimbo sued and it was settled out of court — presumably because it’s really, really obviously a remake of Yojimbo.)


    The Story
    The Mexican border town of San Miguel is ruled over by two rival gangs. When a gunslinging stranger arrives, he attempts to play the two gangs off against each other to his benefit.

    Our Hero
    The Man With No Name, aka Joe, seems to just be a drifter, who rocks up in San Miguel and sees an opportunity to make some money by doing what he does best: killing people.

    Our Villains
    Neither of the two gangs — the Baxters and the Rojos — are squeaky clean, but the Rojos are definitely the nastier lot. Led by three brothers, the cleverest and most vicious of them is Ramón, who’ll stop at nothing to punish Joe after he threatens their empire.

    Best Supporting Character
    The innkeeper Silvanito, who warns Joe away when he first arrives, but becomes his friend and almost sidekick later on.

    Memorable Quote
    “When a man with .45 meets a man with a rifle, you said, the man with a pistol’s a dead man. Let’s see if that’s true.” — Joe

    Memorable Scene
    As Joe heads off to confront three of Baxter’s men who shot at him earlier, he passes the coffin maker — and tells him to get three coffins ready. Coming face to face with four of Baxter’s goons, Joe asks them to apologise to his mule. They, naturally, refuse… so he shoots them all dead. As he walks back past the coffin maker, he casually apologises: “My mistake — four coffins.”

    Memorable Music
    Ennio Morricone’s score is as much a defining element of this movie as the visuals or the cast. His later theme for The Good, the Bad and the Ugly may be his best-known work, but there’s a cracking main title theme here too.

    Letting the Side Down
    It’s just a fact of this kind of production from this era, but the English dubbing is really quite terrible. Well, the acting’s not all that bad, as it goes, but the lip sync is not very synced.

    Making of
    When it premiered on US TV in 1977, the network found the film’s content morally objectionable: the hero kills loads of people, apparently only for money, and receives no punishment. While that might sound perfectly attuned to US morals today, they had different ideals back then. So they ordered a prologue be shot, showing Eastwood’s character receiving a commission from the government to go sort out the town of San Miguel by any means necessary — thus morally justifying all his later killing, apparently. The short sequence was directed by Monte Hellman (Two-Lane Blacktop) and starred Harry Dean Stanton (RIP).

    Next time…
    The loosely connected Dollars (aka Man With No Name) Trilogy continued with For a Few Dollars More (which was part of my 100 Favourites last year) and concluded with The Good, the Bad and the Ugly (which someday will get the “What Do You Mean You Didn’t Like” treatment).

    Verdict

    The Dollars trilogy were among the first Westerns I saw, and I’ve been meaning to revisit them for many years. I was finally spurred on to start by watching Yojimbo for the first time. Watching that and this back to back, you can’t miss how similar they are — no wonder they settled the legal case, they wouldn’t’ve had a leg to stand on. Yojimbo is the classier handling of the material, giving the whole scenario a weightiness that has gone astray here. Fistful has its own charms, of course, as director Sergio Leone merrily reinvents the Western genre before our eyes — out go the simply white hat / black hat moral codes, in comes baser motivations (greed, lust) and quick sharpshooting. What it lacks in classiness or weight, it makes up with coolness and style.

    Musical Review Roundup

    My blog is alive with the sound of music, courtesy of…

  • Sing Street (2016)
  • Jersey Boys (2014)
  • Sing (2016)
  • Into the Woods (2014)


    Sing Street
    (2016)

    2017 #13
    John Carney | 106 mins | streaming (HD) | 2.35:1 | Ireland, UK & USA / English | 12 / PG-13

    Sing Street

    A struggling busker — sorry, a failing record exec — no, sorry, a misfit teenage boy… sets out to impress a beautiful fellow busker — sorry, a promising singer-songwriter — no, sorry, a cool girl… by helping her record a record — sorry, by coercing her to record a record — no, sorry, by persuading her to star in the music video for the record he’s recorded. Except he hasn’t actually recorded that record yet. In fact, he doesn’t even have a band.

    Yes, the writer-director of Once and Begin Again has, in some respects, made the same film again. Yet somehow the formula keeps working. Here there’s extra charm by it being school kids dealing with first love and finding their place in the world. It’s something we all go through, so there’s a universality and nostalgia to it that perhaps isn’t present in the story of twenty/thirty-somethings who are still floundering around (especially Begin Again, which made them cool twenty/thirty-somethings living in cool New York).

    It’s fuelled by endearing performances, particularly from young leads Ferdia Walsh-Peelo and Lucy Boynton, and a soundtrack of era-aping toe-tappers — in an alternate (better) universe, The Riddle of the Model and Drive It Like You Stole It competed for the Best Original Song Oscar, and one of them won it too. And those are just the highlights — the rest of the soundtrack is fab as well. I imagine if you were a music-loving teenager in the ’80s, this movie is your childhood fantasy.

    5 out of 5

    Sing Street placed 7th on my list of The 17 Best Films I Saw For the First Time in 2017, which can be read in full here.

    Jersey Boys
    (2014)

    2017 #97
    Clint Eastwood | 134 mins | streaming (HD) | 2.35:1 | USA / English | 15 / R

    Jersey Boys

    A musical biopic about Frankie Valli and the Four Seasons doesn’t seem like a very Clint Eastwood film at first glance, but when it turns out to be kind of Goodfellas but with the music industry, it becomes at least a little more understandable.

    Based on the hit Broadway musical, it retains a staginess of structure — the four band members take turns narrating the story by speaking to camera — while also opening out the settings so it feels less “jukebox musical” and more “biopic with songs”. It takes some liberties with the chronology of events for dramatic effect, but that’s the movies for you.

    The shape of the story feels familiar and it feels leisurely in the time it takes to tell it, but the songs are good and most of it is perfectly likeable. It’s by no means a bad movie, just not one that’s likely to alight any passion.

    3 out of 5

    Sing
    (2016)

    2017 #107
    Garth Jennings | 108 mins | download (HD+3D) | 1.85:1 | USA / English | U / PG

    Sing

    The seventh feature from Illumination (aka the Minions people) comes across like a cut-price Zootopia: in a world where animals live side-by-side in cities like humans, a struggling theatre owner launches an X Factor-esque singing competition to revive his fortunes. Naturally there’s a motley cast of participants, all with celebrity voices, and hijinks ensue.

    Apparently the film features 65 pop songs, the rights to which cost 15% of the budget — if true, that’s over $11 million just in music rights. The big musical numbers (all covers, obviously) are fine, with the best bit ironically being the new Stevie Wonder song on the end credits, which is accompanied by Busby Berkeley-ing squid. Elsewhere, there are some moments of inventiveness, but it doesn’t feel as fully realised as Zootropolis. Perhaps that’s part and parcel of Illumination’s ethos: to make films that translate internationally, presumably by being quite homogeneous. And to make them cheaply (their budgets are typically half of a Pixar movie), which has its own pros and cons.

    Anyway, the end result is fine. Much like Jersey Boys, Sing is perfectly watchable without ever transcending into anything exceptional.

    3 out of 5

    Into the Woods
    (2014)

    2017 #118
    Rob Marshall | 125 mins | streaming (HD) | 2.39:1 | USA, UK & Canada / English | PG / PG

    Into the Woods

    Fairytales are combined and rejigged in Stephen Sondheim’s Broadway musical, here brought to the screen by the director of Chicago. The original is a work that definitely has its fans, but doesn’t seem to have crossed over in the way of, say, Phantom of the Opera or Les Mis — I confess, I’m not sure I’d even heard of it before the film was announced.

    The film adaptation readily suggests why that might be. For one, it’s light on hummable tunes. It’s almost sung through, with only a few bits seeming to stand out as discrete songs in their own right. For example, it takes the opening number a full 15 minutes to reach its culmination, having been diverted into a few asides. Said song culminates with most of the main characters going into the woods while singing about how they’re going into the woods, and yet the film doesn’t put its title card there. The placement of a title card is a dying art, I tell you.

    Performances are a mixed bag. Everyone can sing, at least (by no means guaranteed in a modern Hollywood musical adaptation), and the likes of Emily Blunt, James Corden, and Anna Kendrick are largely engaging, but then you’ve got Little Red Riding Hood and her incredibly irritating accent. Fortunately, she gets eaten. Unfortunately, she gets rescued. On the bright side there’s Chris Pine, his performance well judged to send up the romantic hero role. You may remember Meryl Streep got a few supporting actress nominations for this, which is ludicrous. It’s not that she’s bad, but she’s in no way of deserving of an Oscar.

    There are witty and clever bits, both of story and music, but in between these flashes it feels kind of nothingy. It’s also overlong — the plot wraps up at the halfway point, with the second half (presumably what comes after an interval on stage) feeling like a weak sequel to the decent first half. All in all, another one for the “fine, but could do better” pile.

    3 out of 5

  • Sully: Miracle on the Hudson (2016)

    aka Sully

    2017 #58
    Clint Eastwood | 96 mins | download (HD) | 2.39:1 | USA / English | 12 / PG-13

    Sully: Miracle on the Hudson

    You remember that time someone landed a passenger plane on New York City’s Hudson River, right? This is about that. At the time the pilot was widely hailed as a hero… or so we thought! Turns out that, behind closed doors, some investigators seemed keen to put the blame on his poor decision-making (or they did in movieland, anyway — the real world may’ve been a bit different). So rather than just an exciting drama about a guy landing a plane (which does sound like a thin story for an entire movie), Sully is almost a legal drama: was the heroic captain actually heroic, or did he make a stupid decision that lucked out? (I’m sure you can guess which wins.)

    Tom Hanks is perfect for the lead role: he’s the exact right mix of everyman and hero; the unassuming guy who knows the right thing to do, and does it. He even doubts himself after the fact, just so we can be even more sure that he’s a genuinely good guy. The rest of the supporting cast fade into the background a little, with Aaron Eckhart solid as his supportive co-pilot (I assumed he’d turn on Sully, for some reason, so that was nice) and Laura Linney as his wife on the other end of the phone, in a subplot that I suppose is meant to help humanise the hero pilot but really goes nowhere. The same is true for a scattering of flashbacks to Sully’s previous adventures in flight. Even having expanded the film out to the post-landing investigation, it still struggles to find enough material to fill its short 96 minutes.

    Landin', landin', landin' on the river

    I liked Sully a lot while it was on. It’s well made (though sadly not available in its IMAX format for home viewing), Hanks is always watchable, the supporting cast are good too, and the headline incident is effectively staged, including the post-landing rescues. It’s a heartwarming story of real-life drama and heroism, with a punch-the-air-type moment when Sully is vindicated. But as that outcome never seems in doubt, and the film sometimes twiddles its thumbs in getting there, it’s not all it could be. Or, actually, maybe it is all it could be — and that’s fine.

    3 out of 5

    I could tenuously link this review to American Independence Day by talking about Sully being an American hero or somesuch, but… oh wait, I just did.

    For a Few Dollars More (1965)

    100 Films’ 100 Favourites #31

    The man with no name is back!
    The man in black is waiting…

    Original Title: Per qualche dollaro in più

    Country: Italy, Spain & West Germany
    Language: English and/or Italian
    Runtime: 132 minutes
    BBFC: X (cut, 1967) | 15 (1986)
    MPAA: M (1969) | R (1989)

    Original Release: 18th December 1965
    UK Release: January 1967 (BBFC)
    First Seen: DVD, 2003

    Stars
    Clint Eastwood (Dirty Harry, Unforgiven)
    Lee Van Cleef (High Noon, Escape from New York)
    Gian Maria Volontè (Investigation of a Citizen Above Suspicion, Le Cercle Rouge)
    Klaus Kinski (Aguirre, Wrath of God, Fitzcarraldo)

    Director
    Sergio Leone (The Good, the Bad and the Ugly, Once Upon a Time in the West)

    Screenwriters
    Luciano Vincenzoni (Death Rides a Horse, The Good, the Bad and the Ugly)
    Sergio Leone (A Fistful of Dollars, Once Upon a Time in America)

    Scenario by
    Sergio Leone (The Colossus of Rhodes, A Fistful of Dynamite)
    Fulvio Morsella (My Name is Nobody, A Genius, Two Friends, and an Idiot)

    The Story
    A pair of bounty hunters team up, in spite of their mutual distrust, to capture the most wanted fugitive in the Wild West. That’s the short of it — the ins and outs get complicated.

    Our Heroes
    The Man With No Name (who this time is called Monco) is played as coolly as ever by Clint Eastwood. This time he teams up with The Man In Black — not Johnny Cash, but Colonel Douglas Mortimer. Much older than Monco, but played with equal amounts of cool by Lee Van Cleef.

    Our Villain
    El Indio, a murdering, raping, bank-robbing outlaw. Has his own gang; has greater loyalty to money. May also be the first character to smoke marijuana in a major film production.

    Best Supporting Character
    Klaus Kinski plays a hunchback. I mean, what more do you need to know?

    Memorable Quote
    “Where life had no value, death, sometimes, had its price. That is why the bounty killers appeared.” — title card

    Memorable Scene
    It’s a Leone film; there’s a tense climactic pistol duel — surely that’s all the recommendation you need.

    Memorable Music
    The score is by Ennio Morricone, of course, so of course it’s fantastic. His main theme for The Good, the Bad and the Ugly may be more famous, but personally I prefer this one.

    Letting the Side Down
    I suppose I should mention the dubbing, which is always skew-whiff in these movies. But it is what it is.

    Making of
    Leone felt that Gian Maria Volontè’s performance was too theatrical, so he often subjected the actor to multiple takes in an attempt to tire him out. Volontè eventually stormed off the set… but, unable to get a ride out of the desert, returned to filming.

    Previously on…
    A Fistful of Dollars, also starring Clint Eastwood and directed by Sergio Leone, started both the Man With No Name Trilogy (aka the Dollars Trilogy) and the entire Spaghetti Western subgenre.

    Next time…
    The Good, the Bad and the Ugly completes the trilogy — not that it was intended as such by Leone: US distributor United Artists invented the “Man with No Name” concept as a way to sell the three films together. Eastwood’s character actually has a name, and a different one in each film at that.

    What the Critics Said
    For a Few Dollars More, like all of the grand and corny Westerns Hollywood used to make, is composed of situations and not plots [but] on a larger, more melodramatic scale, if that’s possible. […] The rest of the film is one great old Western cliché after another. They aren’t done well, but they’re over-done well, and every situation is drawn out so that you can savor it.” — Roger Ebert

    Score: 94%

    The Joys of Putting Different Reviews Right Next to Each Other

    What the Public Say
    “It’s a wacky and irreverent film, exactly the type of cheeky genre fare that you’d expect as the follow-up to a blatant act of plagiarism […] This irreverence is what makes the film fun, but it also never stops it from being intelligent. Like its predecessor was to a slightly lesser extent, For a Few Dollars More is a film about the value of life (often literally and monetarily) and the cost of our connections with other human beings (specifically men in this predominantly male society).” — Wes, Screening Notes

    Verdict

    Sergio Leone defined the Spaghetti Western subgenre with A Fistful of Dollars, and some would argue perfected it with The Good, the Bad the Ugly, but in between those two he made this, my favourite of the trilogy. Leone’s trademark style tells a story whose scope is in the sweet spot between the first film’s one-town tale and the third’s epic narrative, with a pair of sparky heroes going up against a ruthless villain, and a nice twist in the tail.

    #31 will be… Бонд зовут. Джеймс Бонд.

    American Sniper (2014)

    2015 #131
    Clint Eastwood | 133 mins | streaming (HD) | 2.35:1 | USA / English | 15 / R

    Politics aside, American Sniper is an adequately-made film. Eastwood’s direction is at best workmanlike, at worst laughably clichéd. Jason Hall’s screenplay rehashes better movies’ insights into the mental effects of war on combatants. Neither elicit much excitement from a half-arsed sniper-vs-sniper storyline. The film belongs to a bulked-up Bradley Cooper, who reportedly displays more nuance than Chris Kyle had in real life.

    Politically, it isn’t quite the distasteful right-wing paean its American reception and success might have you expect, but it’s certainly blinkered, nationalistic, occasionally racist, and unenlightening. Perhaps, as a portrait of a modern American serviceman, that’s only appropriate.

    3 out of 5

    Midnight in the Garden of Good and Evil (1997)

    2015 #33
    Clint Eastwood | 146 mins | TV | 16:9 | USA / English | 15 / R

    Midnight in the Garden of Good and EvilSent to write “500 words on a Christmas party” in Savannah, Georgia, journalist John Kelso (John Cusack) instead finds himself covering a murder trial where he’s become friendly with the accused (Kevin Spacey).

    Based on the bestselling book of a true story, Midnight in the Garden (as my TV’s EPG would have it) benefits from that reality to guide it through the quirky locals and unusual turns of its true-crime plot — there’s no doubt that Spacey killed the man, but the exact circumstances of the act are disputed. There’s been some movieisation in the telling of the events (the shooting happened in May; there were four trials, here condensed to one; a romantic subplot for Kelso is a (clichéd) addition), but the sense that enough of the truth remains keeps the film inherently captivating.

    That’s handy for the film, which almost leans on the “it’s all true!” angle as a crutch to help the viewer through its own production. Eastwood’s direction might kindly be described as “workmanlike” — it’s strikingly unremarkable. Cusack is as blank as he ever seems to be (have I missed his Good Films that once marked him out? I say “once” because he’s only a leading man in shit no one notices these days). He’s fine, just borderline unnoticeable, which is why the romance subplot feels so misplaced — he’s an audience cipher to access this interesting location and set of events, not a character in his own right. Apparently Ed Norton turned down the role — now he might’ve brought some personality to it. Spacey is worth watching, at least.

    What's in the jar? WHAT'S IN THE JAR?Like many an “adapted from a bestseller!” movies, I guess Midnight in the Garden was a big deal in its day that’s faded to semi-obscurity since (see: Captain Corelli’s Mandolin, increasingly The Da Vinci Code, and on and on). It’s no forgotten masterpiece, but has enough going for it to merit a rediscovery by the right people who’ll enjoy it. Like me. For that, much thanks to Mike at Films on the Box, whose insightful review I naturally recommend.

    4 out of 5