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Elizabeth I (2005)
Elizabeth I
Two films that feature Helen Mirren as the eponymous English queen. I found the first to be the more interesting as it uses her relationship with Robert Dudley, Earl of Leicester (Jeremy Irons) as the conduit for turbulent times of her reign when she has to consider a marriage with the Duke of Anjou (Jérémie Covillault) whilst her cousin Mary, Queen of Scots (Barbara Flynn) was the source of malevolent rumours and plots, and thereafter her nation faced the threat of the Spanish Armada. The second focusses more on her supposed relationship with his adopted son, the Earl of Essex (Hugh Dancy) which gives Mirren much more free rein to break away for the better defined historical chronology of the earlier period of her rule. I am not the biggest fan of Irons finding him a bit of a rent-a-grizzle type of one dimensional actor, but here he works well with Mirren, Patrick Malahide's Walsingham and Ian McDiarmid's slightly mischievous representation of her chief minister Lord Burghley. Toby Jones picks up that latter role as his son and successor in her later government as she now starts to fall for the charms of the fiercely ambitious young Essex. Indulged and pampered, she soon realises that she may well have literally nursed a serpent in her bosom. As with the others, Dancy is well enough cast and is quite convincing as the dazzled young man who starts to seek just a bit too much lustre for himself, but there isn't the same degree of plausible chemistry between him and Mirren, nor do the supporting cast have quite so much input to beef up the storyline made more famous by Bette Davis and Errol Flynn (1939). There is some cinematic licence with the history but the gist is authentic enough and these are two enjoyable, if heavily CGI-enhanced, dramatisations that are well worth a few hours.
The Wednesday Play: The Vortex (1969)
The Vortex
Margaret Leighton turns in quite an emotional performance as the socialite "Florence", married to decent but rather subdued 'David" (Patrick Barr) and mother to her surprise visitor "Nicky" (Richard Warwick) who has arrived with some startling news. That's just the first shock for this family as the evening pans out delivering some home truths that have long been festering between mother and son. The play was written by Noël Coward in 1924 when it's subject matter must have ruffled feathers as it dealt with infidelity, drug use, and the desperate cravings for affection regardless of age and/or social standing. Though the production is a little stagey, it flows well for seventy minutes with Leighton and Warwick exchanging dialogue that vacillates between the loving and the positively loathing. Exasperation and frustration are never far from the lips of just about everyone, and the support from Felicity Gibson ("Bunty") and Barry Justice ("Tom") gives the crescendo effect at the end a sense of temperamental panic that is both dark yet ever so slightly optimistic, too.
Burton and Taylor (2013)
Burton and Taylor
For a mere $70,000 a week (each), the now sober Richard Burton (Dominic West) is convinced by the not so sober, pill-popping, Elizabeth Taylor (Helena Bonham Carter) to reunite and star in a version of Noêl Coward's "Private Lives". He has other irons in the fire, not least an impending new wife and an opportunity of a lifetime to play "Lear" so isn't so keen but she is persuasive. After almost false-starting on night one, they duly turn up and though the critics absolutely loathe it, the fans initially throughly enjoy what they see as the real lives of these two stars being enthusiastically and acerbically presented using the stage as a conduit for their bickering. Burton is narked that it's his ex-wife fans want to see whilst she selfishly keeps on hitting the bottle. When the audiences do start to dwindle and the show is halted, the pair face the nearest thing either can imagine to a fait accompli - but do they care? It is entertaining at times with both actors looking like they are enjoying this once in a lifetime opportunity to play this torrid partnership with gusto and a tiny bit of venom. Despite their best endeavours, though, it looks like the producers were more concerned about it's rating, and the thing has a sterile tameness that lets it down a bit. They are going through the motions of a vitriolic and addictive relationship but it just doesn't land enough punches - physically or metaphorically. It's watchable, but nothing special at all.
BBC2 Playhouse: A Song at Twilight (1982)
A Song at Twilight
"Sir Hugo" (Paul Schofield) is an acclaimed author who lives a comfortable life with his wife "Hilde" (June Tobin). Unexpectedly, he finds he is to receive a guest for dinner. "Carlotta" (Deborah Kerr) was an ex-girlfriend many years ago, and it is soon quite clear after her arrival that they didn't part well. Indeed, there is little more between them than a thinly veiled disregard wrapped in polite, if acerbic, dialogue. When she declares the reason for her visit, he wants nothing to do with things and hopes that will be that. She has another weapon in her arsenal though, one he cannot dismiss so readily and when his wife returns from her evening a little the worst for brandy, the triumvirate engage in some engagingly pithy vino veritas conversation that exposes all as people with secrets best kept and grudges best forgotten. There's a sharp chemistry between Schofield and Kerr that is enjoyable to watch as they dance around each other delivering rapier thrusts with varying degrees of success over a dinner of caviar and pink champagne. Director Cedric Messina uses the butler "Felix" (Bruce Lidington) as an useful fire-break for the proceedings, allowing everyone to sit back and recalibrate before the next onslaught into the integrity and ambitions of all concerned. This is a tightly cast adaptation of one of Noël Coward's better stories and one that is well worth a watch.
Dorian Gray (2009)
Dorian Gray
I know "Dorian Gray" was supposed to be beautiful, but I doubt if Oscar Wilde would have wanted something this insipidly pretty or seedy! It's Ben Barnes who tries to step up to the plate in the title role and he falls pretty flat. "Gray" is a young man who mixes with all and aims high after inheriting a modest house in London. Quickly he falls prey to the more debauched elements of society, led by "Lord Wotton" (Colin Firth) and begins to leave behind his moderating friends like painter "Hallward" (Ben Chaplin). It's a portrait done by that man that seems to be acting as a sponge for the increasingly selfish and odious "Gray". No matter how odious his behaviour, he seems to have the gift of eternal youth and immortality. He treats everyone around him with disdain and earns the enmity of just about everyone. Things take a bit of an unexpected turn, though, when he falls for "Emily" (the unremarkable Rebecca Hall) - the daughter of his duplicitous mentor. "Wotton" is quite happy to observe his charge use and abuse, but not in his own back yard - and that's when things start to come to an head for the over-confident libertine. Is there still time for some form of redemption? Well maybe for "Dorian" but not really for this plodding drama that relies too much on our own imagination rather than present us with a strong visualisation of the epitome of evil that I was expecting. Barnes is simply too nice, Chapin too - and though Firth fares a little better it is still lacking the subtly, mischief and punch of the original book. To be fair, this is quite a difficult story to dramatise. There isn't really enough to sustain almost two hours and maybe it would have been better shortened with a more focused direction from Oliver Parker. It does look good, is worth a watch but is really rather disappointing.
The Dreamers (2003)
The Dreamers
It's Paris in the springtime, in 1968, and the students are revolting. "Matthew" (Michael Pitt) is visiting from the USA and he encounters the siblings "Theo" (Louis Garrel) and "Isabelle" (Eva Green) with whom he shares a fascination with movies. They invite him to their home for dinner just as their parents are heading off on trip. It's clear to the visitor that these two have a curiously intimate relationship. Not incestuous, but not a kick in the shirt off it. What now ensues sees "Matthew" ensnared in their games that have basically few holds barred - an orgy of the body and the mind fuelled by curiosity, lust and fine red wines. There is something quite unique about the way in which Bertolucci uses sex (and there's plenty of nudity and sex here) as a tool to explore the character of these three young - and beautiful - people, probing their limits and their ideals in a provocative fashion. Until the very end, I'm not sure the ongoing civil disobedience has much to do with this, indeed I thought maybe that was a way of trying to add some intellectual gravitas to a narrative that is often thinly contrived and consists largely of what would have to be described as soft-porn. It's shocking at times, but the characters are completely undercooked with Garell, especially, having little to do except gradually come to resent the burgeoning sexual relationship developing between his sister and the stranger. It's not a good film, but it is a brave film and may well mark the end of the application of Victorian attitudes and mores to 21st century cinema.
Dot the I (2003)
Dot the I
Though it's pretty far-fetched, I quite enjoyed this. "Kit" (Gael García Bernal) goes out for a meal with his pals "Tom" (Tom Hardy) and "Theo" (Charlie Cox) when he becomes embroiled in the celebrations of an hen night at the table next to them. His job is to give the bride-to-be her final kiss as a free woman. This kiss ends up being a bit more intense that anyone was comfortable with, and she flees the place. "Carmen" (Natalia Verbeke) is clearly impacted by this and her fiancé "Barnaby" (James D'Arcy) knows it. As the story progresses, "Kit" and "Carmen" meet again and, well you can guess what happens - expect, well you can't really. It turns out completely differently from how I was expecting - and that quirky scenario plays out in quite an original and innovative fashion. There's an hint of chemistry between GGB and Verbeke and even the handsome but wooden D'Arcy turns in a decent effort. Fans of Hardy and Cox needn't really bother - they are rarely on screen, but there is something about the sneakiness of the whole thing that worked for me. Not great, no - but the concept is a bit more unique than many.
The Hollow Crown: Richard III (2016)
Richard III
Richard III: Historians now dispute the extent to which Richard III (Benedict Cumberbatch) was actually the malevolent and power-hungry creature depicted here, but there can be no doubt as to William Shakespeare's interpretation - nor of Cumberbatch's either. With the sudden death of his brother Edward IV and his other brother Clarence having been reputedly drowned in a vat of wine, it falls to the young Edward V to succeed. His uncle, though, has other plans and whilst demonstrating all outward signs of friendship he manages to concoct a deviously effective plan to sow seeds of doubt on the legitimacy of this young lad (Caspar Morley) by suggesting his mother (Keeley Hawes) wasn't legally married. Cleverly, he ensures that it looks like he is responding to a public plea as he supplants his nephew, takes crown and so spawns the still largely unsolved mystery of the princes in the Tower. Even his own mother (Dame Judi Dench) is apalled by this action, but not so aggrieved as Henry Tudor, Earl of Richmond and a claimant via Edward III (Luke Treadaway) who raises an army determined to restore the throne to the Lancastrians. It's a fairly well known story and this adaptation from Dominic Cooke and Ben Power stays fairly faithful to the bard's assessment of the man's character - and it's that character than Benedict Cumberbatch plays extraordinarily well. Right from the start he has an evil glint in his eye and throughout he maintains a characterfully unpleasant and duplicitous nature. This playwright was used to using ghostly apparitions in his work, or using mind tricks to symbolise guilt - and here he does both to harangue the king's conscience as his sins mount up with fairly incredible speed. Even the laws of sanctuary are not sacrosanct. There features a solid cast to support, though this play doesn't really offer much meat on the bones for Ben Daniels, Keeley Hawes, James Fleet or the scarcely featured Treadaway. That doesn't rally matter so much as this is essentially a one-man show and from very capable hands it is presented, too. With well executed battle scenes and a great aesthetic depicting dark castles and perfect costume design, this is a fitting conclusion to this superior seven part history of a time when neither God nor birth guaranteed the king would keep the crown ere long.
Dracula Untold (2014)
Dracula Untold
I think you have to treat this depiction of Dracula on it's own merits. There is no point comparing it with anything you've seen already. Given that, it is a perfectly watchable, and forgettable, adventure film with Luke Evans as Prince Vlad making the vampiric equivalent of a "deal with the devil" with Charles Dance to prevent his family and his kingdom from being over-run by the Turks. Dominic Cooper is really terrible as the Ottoman Sultan, though - his accent sounds like it's been finessed in his local kebab shop after too many tequila slammers on a Friday night. Evans is fine in the role, there is plenty of action and the visual effects are adequate too. Expect nothing earth shattering and you won't be let down.
Dream Boy (2008)
Dream Boy
What a shame this couldn't have stuck more to the book...! "Nathan" (Stephan Bender) is a newcomer in a rural bible-belt American school where he meets and falls for "Roy" (Max Roeg) an only slightly older boy who drives the school bus. They embark on a clandestine relationship. Slowly, however, their passion becomes subsumed in issues of trust and filled with dread and fear of being caught - leading to an horrific conclusion that is done for cinematic effect; it isn't as Jim Grimsley ends the novel. The performances from the two principals is actually quite strong and endearing, though, and for a very low budget film it is a decent effort.
Pride & Prejudice (2005)
Pride & Prejudice
You can't help but feel sorry for poor old "Mr. Bennet" (Donald Sutherland) in this drama. He is married to a domineering wife (Brenda Blethyn) and has five, yes - five daughters! They are upper-middle class, gentile and well-to-do but have a problem. The laws of inheritance insist that upon his death, their home shall pass to a distance cousin so it's important that the girls make as best a way in life for themselves as they can. That might be simpler for the beautiful "Jane" (Rosamund Pike) but for the others. Well there's the girlish "Kitty" (Carey Mulligan); the tomboyish "Lydia" (Jena malone); the studious "Mary' (Talulah Riley) and the independently minded "Elizabeth" (Keira Knightley). It's the last who is likely to prove the most problematic as she has no intention of just marrying the local cleric "Collins" (Tom Hollander) or some drippy soldier like "Mr. Wickham" (Rupert Friend). Indeed, she only just manages to stay on the right side of good manners at a supper with the imperious "Lady Catherine" (Dame Judi Dench) who is surprised by her youthful fortitude of character. As ever, though, with Jane Austin there is a degree of inevitability about the denouement and when we are introduced to the equally strong willed "Darcy" (Matthew Macfadyen) we know that for all of their dancing around each other, their sparring, strops and tantrums there will be a spark, and whether or not that spark manifests itself into true love is the purpose of this story. Along the way, the production designer and the costumers have filled their boots. The film oozes stately homes and fine costumes, the writing enlivens almost everyone - especially the on-form Blethyn whilst Dames Judi and Penelope (Wilton) bring some gravitas to offset the engaging effort from Knightley in a role the could almost have been written for her engaging performance here. The Darcy role is amiably enough played, but that role isn't really so important in substance - it's more about his dashing eye-candiness factor that is supposed to have the hearts a-fluttering. Dario Marianelli has written a score that complements the story almost perfectly and though I did think it just a bit too long, this is classily constructed assessment of the vagaries of human nature, snobbery, aspiration and sheer bloody-mindedness and is well worth a gander.
The Hollow Crown: Henry V (2012)
Henry V
With Henry V now firmly on the throne, this drama moves on to challenge not only the robustness of his character but also Tom Hiddleston's characterisation - and I didn't really love the latter. His success in the Henry IV stories was as much to do with his evolving personable playboy persona accompanied by some solidly entertaining efforts from the likes of Simon Russell Beale and Julie Walters. Now he has the top job, the political intrigues at home and abroad take over the story, the humour deserts it and we find ourself in territory that has been frequently covered before. The gist of the plot sees the king rather manoeuvred into a battle with Charles VI (Lambert Wilson) over some claims to the French throne that derived from Edward III of England. It turns out to be the Dauphin (Edward Akrout) who is the main antagonist, but his is just one of the difficulties the new king must face asserting his authority and learning that difficult art of knowing whom to trust. What do stand out here are the battle scenes. The stunt arranging, execution and production design deliver impressively with what must have been a modest television budget and limited numbers - director Thea Sharrock does not resort to endless CGI to pad things out visually. The script adaptation is succinct and effective but somehow this is just isn't so hard hitting. Perhaps that's because the story and characters are so much better known, or perhaps just because the star here hasn't the gravitas to deliver the part compellingly? It's still a very watchable history but perhaps more of a shallow crown than an hollow one.
The Hollow Crown: Henry VI Part 2 (2016)
Henry VI, Part 2
Henry VI, Part 2: With virtually nothing left to call English in France now, the ailing and mentally strained Henry VI (Tom Sturridge) returns home with his French wife Margaret (Sophie Okonedo) to a court that is just as rife with intrigue as the one he has just left. The King has been enthroned for many a year now, but that isn't going to stop Warwick (Stanley Townsend) from advancing the claims of Edward (Geoffrey Streatfield) as more legitimate by way of his lineage from the deposed Richard II and before. What does temper his treasonable intent is the decency of York (Adrian Dunbar) who having the throne at his feet, agrees to allow Henry to continue to reign provided he grants the succession to the Yorkist heirs. Needless to say, this irks his wife who brutally ensures the truce is broken. Now Edward and Warwick imprison the King whilst she and her son flee to the court of King Louis XI (Andrew Scott). To cement his role as kingmaker, Warwick follows shorty afterwards and proposes a marriage of state without realising that his new boss has fallen deeply for Elizabeth Woodville (Keeley Hawes). Feeling embarrassed and betrayed, he jumps ship (again) and promises to restore Henry VI to his crown. We all know how that went, and also just how brutally menacing Shakespeare liked to portray his real villain of the piece - Richard (Benedict Cumberbatch). This production ventures outdoors a lot more and the combat scenes are really well arranged to give us a genuine feeling of not just the terrain and conditions, but of the severity of the weapons at the time - no quick kills here! The acting is really only adequate here, though - Sturridge does well as he slowly loses what grasp on the plot her ever had, but is rarely on screen as the king and I didn't really find Townsend's duplicitous Warwick nor Dunbar's ambitious York to have quite the impact I would have wanted. Cumberbatch does give us an indication of what is to come but otherwise this has much more of an holding role in the tale of the War of the Roses, condensing the decline of one king and the ascension of the other in quite a rushed fashion. I know that was as much down to the bard as to Dominic Cooke, but it still seemed a bit shallow at times and a little too much of a chronology. Still, it's a great piece of television theatre that does illustrate well that the crown might well be hollow, but never more than when the head that wore it was even more so.
The Hollow Crown: Henry VI Part 1 (2016)
Henry VI, Part 1
Now that Henry V has died young, the crown passes to his infant son who grows under the regency of his uncle, the lord protector Gloucester (Hugh Bonneville), into Tom Sturridge. Despite claims to his throne from others with quite possibly more legitimacy, there is a period of stability in England whilst the warmongers battle it out in France against Jean D'Arc (Laura Morgan). As part of a complex series of negotiations, a deal is struck that will see the young king marry Margaret of Anjou (Sophie Okonedo). It's a bit of an one-sided arrangement that essentially sees the King dispossessed of his French possessions. Back at home, and with the married king now in his majority, the conspiracy from Somerset (Ben Miles) and York (Adrian Dunbar) works to manoeuvre Gloucester from power and ultimatly restore the deposed Plantagenet line to the throne. The king's problems aren't helped by his wife's infidelities with Somerset or by Gloucester's wife (Sally Hawkins) being accused of witchcraft! It's actually Okonedo who steals the show here as the clearly ambitious and manipulative Queen; Bonneville is decent enough too, as is the underused Dunbar, but Sturridge doesn't impress so easily and that leaves part one of the story of Henry VI's near forty year reign looking great but lacking a degree of potency. By it's very nature, this has less variety to it's history and so delivers a more dry and less engaging tale of court intrigues and betrayals. Both Richard II & Henry IV (especially part 1) have more diversionary visuals to help keep the narrative from becoming too bogged down in the dialogue. This has fewer elements to entertain in that fashion and so, despite it's fiery start, is a much more procedural enterprise to watch. It's the second part of this play where the bolder elements emerge, but this lays the ground well for even more turbulent times to come.
The Drum (1938)
The Drum
There's a bit of Rudyard Kipling to this quite colourful story from Zoltan Korda telling of the ruthless "Ghul" (Raymond Massey) who usurps his brother after he makes a treaty with the British. Luckily, the heir "Azim" (Sabu) manages to escape the coup and make his way to "Capt. Carruthers" (Roger Livesey) who is to return to "Tokot" as an emissary but who might well be walking into a deadly trap designed to show the other mountain kingdoms that the Raj was not so invincible as they all thought. Can the young Prince get a warning to his friend in time to thwart disaster? Sabu holds this together quite enthusiastically, with Massey also effective as the menacing baddie who would steal his kingdom. Livesey is just a little too stiff as is Valerie Hobson as his altogether too prim wife and the writing is a little staccato but there's plenty of adventure and intrigue as the story races along entertainingly, if predictably. The production is almost lavish at times and there's some gorgeous location photography and even a game of polo to add a bit of richness to a lively tale of derring-do. It's not an history and like so many tales of the British "benevolence" in princely India takes a slightly rose-tinted view of the history, but it's still an enjoyable watch.
Duplicity (2009)
Duplicity
This is a bit of a mess. It centres around the antics of former CIA operative "Claire" (Julia Roberts) and her ex-MI6 equivalent "Ray" (Clive Owen) who had a very brief dalliance five years earlier that saw him with an hangover and some egg on his face. Now, employed in the private sector, he encounters her at Grand Central station in New York whilst he is on a job only to discover that she is still in the same line of work too - and it's industrial secrets being bartered this time. They both know that a ground-breaking announcement is due imminently, so conclude that maybe the best plan is for them to do some of thieving for themselves and pocket a cool $35 million. The thing is that even though their romance is burgeoning, they still don't quite trust each other - and neither do we. Nor, I have to say, did I really care. Roberts tries quite hard here but Owen only ever really had eye-candy value and here is little different. Tom Wilkinson sports an unnecessary American accent as the owner of the magic formula and Paul Giamatti appears sparingly as the man determined to pinch it, but once we get the gist of the premiss the thing just recycles itself and for the next two hours we sort of keep going round the same block. The story is quite weakly written with some fairly formulaic attempts at comedy and a denouement that is hardly a surprise if you're still remotely paying attention. Perhaps it might have worked better with a stronger leading man but...
The Duchess (2008)
The Duchess
In theory, a more sophisticated period drama based on the true story of Georgiana (Keira Knightley), an aristocrat married off to a loveless marriage with the enormously wealthy and politically influential Duke of Devonshire (Ralph Fiennes). She is treated little better than a brood mare in fancy dress but has way to much independent spirit to settle for that and is soon having an affaire de coeur with Dominic Cooper "Earl Grey" (yes, he of the tea...). Meantime, the Duke has taken a mistress and so the film depicts how our multiple ménages-à-trois work out. It very much emphasises the (very) limited choices of women in 18th Century Britain - regardless of their status - but unfortunately, save for a few brief appearances by Charlotte Rampling - the characterisations were way too sterile for me. It is a great looking costume drama, though - some of the finest stately homes shown off to their best effect but in the end it was much more style than substance.
The Whalebone Box (2019)
The Whalebone Box
I haven't really much idea as to what this film is trying to achieve here, to be honest. Andrew Kötting takes us, and writer Iain Sinclair, on a journey to the Isle of Harris with the eponymous box that can, apparently, alter the lives of anyone who touches it. The film makes no pretence to entertain in any sort of traditional fashion, nor does it try to engage on any intellectual or cultural level either. It appears to be little more than a self-indulgent documentary-style exercise peppered with curious whalebone stories, some beautiful cinematography from far-flung parts of the country and a disabled performer who appears to have been promised a role in a film without having that having been properly, or favourably defined.
The Sound of Music (1965)
The Sound of Music
The opening scene from this film has been parodied umpteen times, and I think that just goes to show just how impactful Robert Wise's adaptation of the Rodgers and Hammerstein story has been on cinema. The idea that one could have seven children is, frankly, quite terrifying (I have none) so I can readily empathise with poor old Julie Andrews "Maria" as she is despatched from the safety of her nunnery to be the governess to this extended brood in the home of Captain von Trapp (Christopher Plummer). After an initially hostile reception from both father and youngsters alike, "Maria" soon ingratiates herself with all concerned - except, perhaps, for the Captain's beau Eleanor Parker who is wonderfully elegant and aloof as the "Baroness" - and romance gradually takes firm hold. The anschluss injects some seriousness into the fluffiness of the plot - the family must adjust to their new Nazi "protectors", but when the Captain is invited to take up a commission in the Navy they realise that they must act. Though a little cheesy at times, Andrews and Plummer are terrific, the songs are the stuff of musical legend, and I suspect one of the things that makes this more enduring is the fact that it is based on truth. The happiness tinged with the peril of the enveloping ruthlessness of the Nazis gives this an authenticity that would have been felt by many in Europe as Hitler was in the ascendancy and Wise manages to capture a little of that feeling. It's got some classy supporting performances from Peggy Wood (the Mother Abbess), a super Richard Haydn as the charming, if slightly opportunistic "Uncle Max" and even the ordinarily upstanding nuns get in on the act. There is definitely a chemistry between the two stars as their love story enfolds with the help of the children, a rather lavish puppet show - and a bit of Strauss! It looks great, too - musical cinema at it's best, this...
Willy Wonka & the Chocolate Factory (1971)
Willy Wonka & the Chocolate Factory
"Charlie" lives in one room with his mother and four grandparents all sharing the same bed and sustained on a diet of cabbage soup! Then the eponymous chocolatier announces a chance of a lifetime. In only five of the tens of millions of bars of chocolate they produce, there will be hidden a golden ticket. Find the ticket and you win a trip around the factory. Now his family clearly don't have much money so his chances aren't high, especially as he watches the television and sees a collection and spoiled and obnoxious children with equally odious parents snap them all up. What chance when he finds some money on the street that the bar he buys will win? Well that bit of the story hardly requires Sherlock Holmes, but he does receive an intriguing proposal from competitor "Slugworth" before he and his "Grandpa Joe" (Jack Albertson) arrive at the appointed time. Out comes a purple velvet clad gent with a big hat - that's the hugely eccentric "Wonka" (Gene Wilder) who speaks a form of gobbledygook and promises them a trip of a lifetime! There is something of the parable about the ensuing story as the children face tests of character and fall foul of their own excesses with the occasionally quite menacing "Wonka" ensuring that just desserts are dished out to the wrongdoers. It's got to be the ultra-petulant "Veruca Salt" (Julie Dawn Cole) who topped my list of those deserving the compost heap, but "Mike Teevee" (Paris Themmen) wasn't far behind. As we travel through the place we are introduced to the mysterious "Oompa Loompa" people who keep the place running and help him produce the perfect chocolate but the big question is, though, will "Charlie" and "Joe" make it through the challenges of the trip themselves? Wilder is on super form here as he takes them on a moral maze that is just as sugar coated as the candies, and Leslie Bricusse and Anthony Newley have written some of the best songs to grace the silver screen. "Pure Imagination", "The Candy Man" and the delightfully annoying "I Want it Now" from the aptly named "Veruca" all top off a colourful, acrobatic and magical tale of trust and decency that you can't fail to enjoy. Perhaps Roy Kinnear sould have considered drowning at birth?
The Wizard of Oz (1939)
The Wizard of Oz
I was really fortunate, recently, to catch this on a big screen and it is still wonderful. After her dog is taken by "Miss Gulch" (Margaret Hamilton), "Dorothy" (Judy Garland) is all in a tizz. She decides to run away from her kindly aunt and uncle but only gets about a mile down the road before she encounters a medicine show run by "Prof. Marvel" (Frank Morgan). A twister is approaching - she must get home before she is blown away. She makes it into her room but is clouted by a blown-in window and next thing, the house is flying through the air and she lands in Oz and on top of the "Witch of the East" - exposing only her ruby slippers. "Munchkinland" proves to be a friendly enough place, but the good witch "Glinda" (Billie Burke) tells her that she must seek the help of the great and powerful Oz should she wish to get home. Now in possession of the dead witch's slippers, she sets off down the legendary "Yellow Brick Road" along which she encounters the scarecrow, the tin man and the frequently scene stealing cowardly lion (Bert Lahr) as they set off on their adventures - constantly harassed by the evil "Witch of the West" (Hamilton) who has designs on the shoes! The story evolves in the best traditions of a classic fairytale. Good vs. Evil, humour, friendship, a good degree of pantomime menace, a can of WD40 and some small people with squeaky voices all contributing magnificently to the overall cinema experience. The colours of 'Oz" are vivid and joyous - contrasting well with the drab, downbeat monochrome Kansas from whence "Dorothy" has come and to where she hopes to boldly go again! The cast is small and tightly knitted, allowing the relationships and momentum to build up stealthily from Frank Baum's original story to probably the finest denouement of any fantasy film made since. Miss Hamilton's characterisation (I always love a good baddie) reminded me of my English teacher at school - only this one wore less make up; and Bert Lahr and Jack Haley never fail to raise a smile - or even a tear - as they follow their own yellow brick roads. Yip Harburg and Harold Arlen have worked their magic with a score and songs that compliment the adventure splendidly - I wonder how many singers have had a go a "Somewhere Over the Rainbow" since 1939? Despite being over eighty years old, it has lost little of it's magic. The visual effects rely on simplicity and vivacity, and they deliver well a thoroughly engaging story of longing, companionship and the most fiendish laugh in cinema history. Watch it, my pretty...or else!
Pretty Woman (1990)
Pretty Woman
"Lewis" (Richard Gere) is a ruthless merger merchant who loves nothing better than a lucrative deal that will line his pockets regardless of the impact on anyone else. He arrives in town and has a one-night stand with call girl "Vivian" (Julia Roberts). He likes her, she likes him - so he decides that she can stay on. Maybe help him out with a few formally social occasions where she can smile and stay schtum? To that end, he gives her a credit card so she can go shop to look the part, and that's when we discover that this girl is no pushover. Despite his rigidity, "Lewis" starts to realise that he's beginning to fall for her, despite her unsavoury provenance but what happens next? The story is simply constructed and fairly predictable, but there is loads of chemistry on display between a more relaxed and natural looking Gere and an on-form Roberts. Hector Elizondo also chips in well as the hotel manager who also begins to fall for her charms and who can ever forget the saleswoman (Dey Young) who judges a book by it's cover and loses out on some mega-commission. The writing is sparing, but funny and observational of a society that judges relentlessly without ever really taking any time to get to know the people it is harshest to. Roberts offers us a cheekily endearing and spirited character that just belongs in that stretched limousine. Good fun.
Mamma Mia! (2008)
Mamma Mia
How can anyone not like this? Phyllida Lloyd has managed to convince half a dozen serious A-list stars to take part in this Mediterranean musical extravaganza. Meryl Streep and Christine Baranksi are cracking and Julie Walters - when the three together sing "Chiquitita" is glorious. Sure, it's not a wonderful piece of classic cinema; but it must bring a smile to your face (even if - as Pierce Brosnan, Stellan Skarsgård or Colin Firth break into song, it's more of a grimace). Dominic Cooper makes a valiant effort as "Sky" who is to wed the orchestrator of this whole predicament "Sophie" (Amanda Seyfried) who has invited the three men to her wedding in the hope that she might find out which of them might be her father. If you don't like ABBA and musical theatre, then don't waste your time; otherwise this is just good fun!
Edison (2005)
Edison
Well there's certainly nothing original here, but it's still not a badly executed crime drama that sees spunky young journalist "Pollack" (Justin Timberlake) fall out with his boss "Ashford" (Morgan Freeman) over some sloppy article he wrote about a man convicted that he doubts is guilty. Indeed, he is convinced that there are some crooked goings-on here and determines to investigate. This is a dangerous path to follow, though, as swiftly he and his girlfriend are on the end of a nasty beating and are only saved by the timely intervention of "Deed" (LL Cool J) whom by now we know is part of the specialist police FRAT squad, and they are the folks that seem to make the rules up as they go along. Soon "Ashford" starts to believe his young reporter and things get even more deadly for just about everyone. For some inexplicable reason, auteur David J. Burke lets the audience in on pretty much all of the secrets right from the get go, so there is precious little jeopardy as this set piece narrative unfolds. Timberlake looks good, Kevin Spacey features competently as the investigator of the investigators and Freeman sinks some Scotch meaningfully, perhaps to alleviate the predictability of the whole thing. It's well put together and to be fair, the writing isn't the worst - but it just comes across as a market research exercise to see how the public react to JT (keeping his clothes on). Instantly forgettable, sorry.
Maze Runner: The Scorch Trials (2015)
Maze Runner: The Scorch Trials
Well, if you are looking for a collection of good looking folks lurching from one perilous scenario to another - desperate to escape the clutches of the arch villain that is Aiden Gillen; then this is the film for you. If you are looking for anything remotely akin to the books that tell of the continuing adventures of "Thomas", "Newt" etc. As they attempt to defy the will of "WIKD", then get ye hence (as Shakespeare might have said) for this film has nothing for you. Gillen has all the terror-factor of Mary Poppins and whilst Dylan O'Brien, Kaya Scodelario and Thomas Brodie-Sangster; along with a seriously hammy Giancarlo Esposito look like they are having some fun with their escapade-driven flight; the dialogue is all over the place and the story lacks any sort of structure. The effects work well and the battle scenes are well put together but, ultimately, it is a sort of "Percy Jackson" version of the story; watchable but forgettable and not in the same class as the first film.