The Quarantine Collection: Week 4

As Boris Johnson spent his Easter weekend watching The Lord of the Rings in hospital, here is the next seven days of viewing. 

Fri. 10th April : David Brent: Life on the Road (2016)

Netflix. 

Gone is Stephen Merchant, Martin Freeman and Mackenzie Crook, but Ricky Gervais' David Brent remains, working again in an office for a cleaning company. Directing, producing, writing and of course starring, this is Gervais' film through and through, recreating the cringe-inducing comedy that can be found in any workplace. Brent wants to tour the UK with his band, consisting of musicians who cannot tolerate the continuously verbal and naive lead singer. It falls short of the comedic heights of the show, but Gervais is phenomenal with emotion and finding humanity. This film is a secret tribute to the people in your life who you can't stand to be around but don't have the heart to tell it to their face. And, ultimately, you realise that when they aren't around you, life seems a little more boring. We need Brents in the world. 

Also check out : After Life (2019-)

Sat. 11th : Crocodile Dundee (1986)

Netflix. 

A cult classic Australian film, Crocodile Dundee is considerably fun. It is a story of fish out of water: the first half dealing with urban based New York reporter Sue going deep into the sparse Northern Territory to meet local hero and bushman Michael 'Crocodile' Dundee (Paul Hogan) and the second half seeing Dundee coming back to New York with Sue. The politics are gloriously outdated; Dundee grabs two people's crotches to determine their gender after learning about transsexuals, whilst also asking a black cab driver which tribe he is from. But seeing as the film does a great job setting up the isolation in the remote parts of Australia, without television and international news it makes sense that Dundee would be so politically backwards. It is also important that none of it is to the detriment of his character; he is friendly and calm, embodying the spirit of the Australian people in a way that crippled me with gap year nostalgia. The inevitable love story between the Western reporter and the local Australia does work thanks to the shared feeling of being out of depth in the others' homeland. Quintessential Friday night viewing. 

Also check out : The Adventures of Priscilla: Queen of the Desert (1994)

Easter Sun. 12th : Ben-hur (1959)

DVD.

You know something is wrong with the world when you are allowed to watch a film in the morning of Easter Sunday. And what better film to see then the almighty Ben-hur. The biblical epic is best known for two things: its record breaking 11 Oscar wins and its titanic, nine minute chariot chase. It is an epic in every way; a near four hour run time, more extras than a chewing gum company and rousing action. It does take a while before Charlton Heston gets on the galleys, but the film really picks up with the brutal rowing sequences and an awesome naval collision between Romans and pirates. Ballistas and catapults sling flaming projectiles in the air whilst hulls are rammed and ships are sunk. Accomplished with miniatures, it only alludes to the forthcoming spectacle. When the chariot chase comes it truly is as fantastic as it is made out to be. It boils down to nine laps around an oval, but the fusion of meticulous stunt work, hair raising action and the dramatic power of the character rivalry makes for a sequence that is surely the apotheosis of classical filmmaking. Ben-hur may be overwhelmingly long and at times tedious, but as a vital piece of cinematic history it is worth the watch. 

Also check out : Star Wars Episode I: The Phantom Menace (1999) for the influence of the chariot chase.

Mon. 13th : The Robe (1953)

BBC 2. 

Another biblical film for the long weekend (not that you could tell it was a bank holiday); Richard Burton is Marcellus Gallio, the Roman tasked with the crucifixion of Christ. Afterwards. Marcellus wins Jesus' robe but is haunted by what he did. This kick-starts a journey to Palestine in order to find out more about the man he killed. More concerned with character than spectacle, The Robe is still a handsome production gleaming with lavish costumes and impressive sets. Released in the early 1950s, it is impossible to remove this film from the anti-communism that was so entrenched at the time: switch the Romans to capitalists and the followers of Jesus to communists and there is a wonderful dismantling of American culture. Indeed one of the writers, Albert Maltz, was on the Hollywood blacklist for his supposed connections to the Communist Party. An entertaining and illuminating film, this is a worthy watch. 

Also check out : The Ten Commandments (1956)

Tue. 14th : The Hunt for Red October (1990)

DVD. 

Sean Connery may not be a great actor, but he is always consistent in a prolific ouevre of films. He is terrific here as Ramius, a Russian submarine captain in charge of the Red October, a sub with the capability to travel undetected. On his way to the USA, both the Russians and the Americans have to work out if he intends to attack or defect. A very young and near unrecognisable Alec Baldwin plays Jack Ryan, the American who believes Ramius to be defecting and has to prove it before nuclear war can break out. The supporting cast is filled out with James Earl Jones, Tim Curry, Stellan Skarsgaard and Sam Neill. The atmosphere in submarine films is profound; a genius mix of claustrophobia, distrust and constant danger. Being confined in an inescapable box with potential mutineers would give anyone enough anxiety, but add the gigantic rock labyrinths that have to be negotiated, the threat of torpedoes and the failure of any part of the ship and you can reduce the men to nervous wrecks. But not Connery. With a resolve of steel and absolute faith in himself, he is a superb lead. The tiny details, logistics and technical know-how in submarine films makes them uniquely intelligent films despite the simplicity of their narratives. A sweaty palm watch. 

Also check out : Crimson Tide (1995)

Wed. 15th : As Good As It Gets (1997)

DVD. 

Jack Nicholson won his third Best Actor Oscar for playing Melvin, a bigoted man with crippling OCD. We have all met someone like him; talking to himself and refusing to walk on the lines of a sidewalk (pavement, the American just slipped out). His neighbour is a homosexual artist with a tiny dog and Melvin's favourite waiter is Carol who has a very sick son. Melvin has to look after the dog, falling in love with it and unaware its presence has altered his precious routine. The three take a road trip together and it soon falls into a rom-com of sorts which was surprising; Melvin and Carol I thought worked better as friends than lovers. But I guess the outcome of the film paints that Hollywood notion that there is hope for everyone no matter your mental condition. It is sporadically chuckle-inducing but heads into vanilla territory as the film goes on. A very three star film. 

Also check out : One Flew Over the Cuckoo's Nest (1975)

 Thu. 16th : Porco Rosso (1992)

Netflix. 

For all my problems with it, Netflix made a very smart move in putting nearly all of the Studio Ghibli films up. Expensive to buy on DVD and hard to see anywhere else, this is easily accessible and allows Japanese filmography to permeate Western culture even more. Porco Rosso trots in at a brisk 90 minutes and tells the story of an anthropomorphic pig who flies his sea plane around the Adriatic Sea, defending boats from pirates and bounty hunters. Yes it is supremely odd (also odd that this is the first Ghibli film I have seen with a definitive setting and time) but it is captivating in its beautifully created dogfights, smart humour, gentle feminism and an intriguing eponym. 

Also check out : Castle in the Sky (1986)

TV Round Up: 

Stranger Things Season 1 (2016)

Netflix.

It took a while but I finally caught up with this 80s era phenomenon. It is essentially an eight hour film, set over a few days with the episodes flowing instantly into the next. A year before It: Chapter One took kids horror to the cinema, this show bred The Goonies, E.T and The Thing and birthed this sci-fi horror. In true 80s fashion there is the quiet town, no crimes or murders and run by a policeman who has very little to do. When young Will goes missing, the cop, Jim, is spurred into action. But he isn't the only one; Will's mum goes through a tedious and conventional 'crazy but not crazy' story; Will's three friends Mike, Dustin and Lucas search for their friend and encounter the mysterious and extremely powerful 11; and Mike's sister Nancy and Will's brother Jonathon also team up to do some detective work. It inevitably culminates with them all working together, before offering up largely satisfying endings to all of the characters. The story is engrossing and the characters are certainly likable, but the show is a little too in love with nostalgia and synths. There are some nitpicks too: the ability to spray paint a raised cinema sign in broad daylight seems ridiculous, the two handed child CPR is ridiculous, the monster is rapid in taking down government agents but takes its time walking towards the main characters. Dustin can also be insufferable. And does this show really need 11 executive producers? It might have overplayed its hand setting up a season 2, but I suppose I will have to watch it to see if its justified. 

Westworld Season 3, Episode 5

Sky Atlantic. 

After the barnstorming fourth episode, the fifth takes a tumble. Aaron Paul is drugged, and there are some creative choices to show the five phases of the substance during what I believe is the first driver-less car chase I have seen. The audio mix is often overwhelming but the music choices are still spot on. There is now a growing worry that it is repeating Thrones' season 7/8's mistake of having shorter episodes to allow higher budget, and then to spend it on nice visuals and fail to accommodate the genius writing that made the show a hit to begin with. There are scenes where the bad guys 'bullets just hit anything apart from our protagonists, whilst the bullets needed to kill them can be counted on one hand. I pray this was bad direction and not in the script, because if the action is going to take over from smooth dialogues and philosophy, then at least make it good. 

The Quarantine Collection: Week 3

Balancing out films with television.

Fri. 3rd April  : Revolutionary Road (2008)

DVD. 

Leo DiCaprio and Kate Winslet reunite in this spiritual sequel to Titanic, playing a suburban American couple in the 1950s negotiating the pitfalls of marriage. The two deliver mighty performances; a breakfast scene at the end is a masterclass in subtle facial expressions. It is directed by Sam Mendes, and it marks an interesting point in his career: from his debut in 1999 with American Beauty to this, all of his films are very American-centric. The American DiCaprio and the British Winslet feels like a passing of the baton, for Mendes next three films would all be ludicrously British (two Bonds and 1917). The film is largely held back because (despite Mendes' brilliance at turning suburban life into a nightmare) it does not have anything new to say that American Beauty already has. Still, Roger Deakins creates some memorable images and the Thomas Newman score is comforting (these two would also work with Mendes on Jarhead, Skyfall and 1917). 

Sam Mendes ranking: 

1. Skyfall    2. Road to Perdition    3. 1917    4. American Beauty    5. Revolutionary Road    6. Jarhead    7. Spectre

Also check out : American Beauty 

Sat. 4th : Jackie Brown (1997)

DVD. 

Ah, Quentin Tarantino. A teenage boy's ideal filmmaker. For some he is the zenith of modern filmmaking; a razor sharp writer with an eye for tension, violence and dividing audiences. He is a style over substance filmmaker who has since turned his hand to crafting period set revenge films for black Americans, Jews and Sharon Tate. Jackie Brown sticks out in QT's filmography as being the only adapted screenplay he has done. It stars Pam Grier, a popular star of 70s blaxploitation films, Samuel L Jackson, Robert De Niro and Michael Keaton. The plot sees Jackie Brown (Grier) as a middle woman between Keaton's FBI agent and Jackson's drug and arms dealer. The best way to describe how the film drags itself over a 150 minute run time is that in season 2 of Game of Thrones there is a scene where Tyrion tells a different lie to three of the King's advisers whilst formulating his own plan. The film is low on jokes and violence, heavy with tracking shots, racial language and a rather odd tone. I tried to watch this last year and got 31 minutes in before deciding I should watch it in a different frame of mind. My disinterest seems to be matched by Bobby De Niro who looks so out of it and disenfranchised that his performance barely scrapes 'phoning it in'. The soundtrack is notable however, with a Johnny Cash song being used, bringing us into....

Also check out : True Romance (1993)

Sun. 5th : Walk the Line (2005)

DVD. 

Johnny Cash, the Man in Black, is a grandad's artist. A prolific country come rock singer with a troubled past, he naturally makes for ripe biopic material. Joaquin Phoenix is Cash, bringing that nervous energy to the role in a relatively conventional musical biopic performance. Phoenix and Cash both lost a beloved brother in their life, and Phoenix gets a chance to weaponise that emotion in the role rather effectively. But the real star is Reese Witherspoon as June Carter, a supportive, extremely likable friend. It is the best I have seen her. It is a good film, far stronger than Bohemian Rhapsody (a film's strength should not come from an audiences love of the pre-existing music) but I would have liked a few more of his songs and a bit more of the creation of some of his songs. 

Also check out : Rocketman (2019)

Mon. 6th : Band of Brothers, Episodes 9-10

DVD. 

The delay in finishing this series is down to the return of my mother to the house, booting me out of the living room and not being allowed to conclude this miniseries without my dad also present. Such an opportunity presented itself and we exploited it. The penultimate episode focuses on Easy Company making their way into Germany. The first half is occasionally funny and warming, laying on the feeling of contentedness and that the hardest part is out of the way.  Indeed, the awkwardness of watching a raunchy sex scene with my father was swiftly avoided by my exclamation of "that's Tom Hardy!" This tone is instantly obliterated in the second half where the Company discover a concentration camp and the disheveled, physically and psychologically broken Jewish inhabitants. The episode is called 'Why We Fight' and it is a question on the lips of many weary soldiers, who find that their answer is not a welcome sight. Episode 9 is one of the finest hours of the television I have witnessed. It is sensitively composed and brilliantly executed to display the horrors of what is possibly one of the only justified wars in recent history. It is unflinching and profound, and came from nowhere. 

The finale deals with the closure of the European front and whether the soldiers will be re-deployed in the Pacific to aid in the conquering of Japan. It feels slightly anti-climatic after the heavy action and Holocaust drama, but Easy Company and its characters need closure. Damien Lewis narrating the real life fates of his men as they play baseball is on the nose but it bloody works, and the gut punch comes at the end as we see the real life heroes talk to the camera. "Grandpa were you a hero?" "No, I fought with heroes." 

Band of Brothers is one of the best shows created, ahead of its time (TV wise) with its gargantuan budget and gripping set pieces. 

Also check out : Schindler's List (1993)

Tue. 7th : The Funeral (1996)

DVD. 

Christopher Walken in a gangster film that doubles as a mediation on sin. Darkly shot, oppressively moody and so boring it makes my family dinner times seem rapturous. Move on.

Also check out : The Godfather (1972) - or any crime film for that matter. Chances are it will be better. 

Wed. 8th : Double Indemnity (1944)

DVD. 

Billy Wilder is an iconic director of the classical period with hits like Some Like It Hot (1959) and The Apartment (1960). But this might be his best. Double Indemnity is a neo-noir, namely a type of film that is focused on morally grey characters inhabiting the space between the black and white of the photography, which is usually lit by the mise en scene and not lighting rigs behind the camera. The story is this: a woman wants to kill her husband but wants to stage it in such a way as to get his money through the double indemnity clause. Slick, and probably the best film I saw this week. 

Thu. 9th : Casualties of War (1989)

DVD. 

During the Vietnam War there was an incident where a sergeant and his four men kidnapped a young Vietnamese woman to take with them on a long range patrol. The woman was repeatedly raped and abused in what the sergeant saw as a way of boosting his men's morale. One of the five morally objected and reported the incident to the higher authorities. This Brian De Palma war film is based on that story and is as hard to watch as the content suggests. Sean Penn is the sergeant; a scene-chewing, lust filled and morally bankrupt character so detestable that the film would not operate as well without him. His foil is Michael J Fox, the 'Nam newbie who has not been unhinged by the invisible enemy. Once adjusted to Marty McFly as a Vietnam soldier, the film gets going (109 minute run time makes it a breezy war film). The score is highly evocative of South East Asia and the camera work is dripping with confidence: one movement sees the earth consume the lens to reveal an intricate Vietcong tunnel directly below one of the characters. It may not reach the psychedelic fever dream of Apocalypse Now or the bluntness of Platoon, but this is a moderately good Vietnam War film. 

Watched throughout the week: 

Tiger King (2020)

Netflix. 

If people were still going to work then this would be the main conversation topic. A mass-watched meme goldmine, Tiger King is a seven part documentary series revolving around Joe Exotic, a gun toting big cat owner with two husbands. 'Exotic' barely covers it, he is a tour de force personality that feels like he was written by six year old. He walks around with loaded guns, owns hundreds of killer animals and has tattoos of bullet holes adorning his chest. The difference between reality and fiction is that fiction almost always has to make sense, because the events of this show do not come close. When perhaps the sanest person involved is a worker who returns to her job ONE WEEK after getting her forearm ripped off by a tiger, you know you have struck filmmaking gold. Each episode focuses on a different part of this zoo saga, eventually culminating in the case about Joe hiring (or not hiring?) someone to kill his rival, supposed animal rights activist Carole Baskin. As entertaining as it is, it does seem a shame that more people are discussing the 'disappearance' of Carole's ex husband (she 100% covered him in sardine oil) than are discussing the main issue: that there are more tigers in America captivity then there are in the world. It may be the closing remark of the show but all of the events and hypocrisies shown are a direct result of owning tigers, lions and snow leopards. It is a crippling illustration of American consumerism and their disregard for animals (and also workers). 

It is a classic Netflix show, released all at once for the world to 'binge' in a day or two, talk about online for a few more days, then slowly fizzle back out of the zeitgeist. Perhaps there would be more conversation about animal rights if the episodes were released weekly; allowing greater discourse and word of mouth to be promoted. Alas, if memes are the best society will get out of this eye opening series, then so be it. 

Westworld Season 3, Episodes 1-4

Sky Atlantic.

Post Thrones, Westworld established itself as my premier television show. Series 1 revolves around a symbiotic relationship between a Wild West themepark world and the technologically advanced future set in the 2050s. It satisfied my appetite for Western action and tropes with meticulous science fiction, all the while exploring consciousness and humanity. Season 2 continued ably, bringing in a Japanese world of samurai and a host of new characters. This third season is made up of eight episodes instead of ten, increasing the budget per episode (and it is obvious).

It seemed shaky at first without the powerful presence of Anthony Hopkins and Ed Harris (in a way that reminded me of Thrones when it lost Ned Stark and Tywin Lannister), but its footing has since been found. There is no WestWorld in sight, instead we are slap bang in the real world and all of its impressive advancements. Gone is the piano of previous seasons, for the synth as arrived. The vision of the future is clean and post-modern architecturally, fusing the world of Blade Runner with the science fiction of Alex Garland. The cast is expanded with Aaron Paul as a welcome addition whilst Thandie Newton and Evan Rachel Wood are still terrific as Maeve and Dolores.

Free will is the focus of this season, as well as motherhood, and there are the usual complex narratives, hidden meanings and ambiguous helpings of exposition. The fourth episode is among the show's best, no thanks to composer Ramin Djawadi knocking the roof off during a narrative convergence at an ostentatious party for the rich. This is the kind of television that gives me something to look forward to each week, and if it is the final season then it is shaping up for a grand ending. 

The Quarantine Collection: Week 2

One morning of snow but five glorious days of sunshine that we can only enjoy through a window. The nightly viewing continues.

Fri. 27th : Band of Brothers, Episodes 3-4

DVD.

My dad and I cracked on with this stellar bit of filmmaking as the story moves into Holland. The third episode has a slight focus on Private Albert Blythe who experiences shock, temporary blindness and some intense conflict. The usage of German tanks is borderline frightening and the central scrap is tautly directed. 

Episode 4 details Operation Market Garden, the ambitious, colossal deployment of paratroopers in Holland which aimed at securing bridges in order to create an easier route into Germany. The action is just as riveting and frustrating as ever; one US tank shot early on could have averted the subsequent carnage if not for military protocol. The soldier in focus for this episode is Sergeant Bull Randelman, a cigar smoking, thick shouldered and capable soldier who ends up trapped alone in a German occupied village. It is inevitably a sequence that is wrung out for all the suspense it can produce. And yet despite the chaos, the episode still finds time for a little heart; a soldier giving a little Dutch boy chocolate leads to one of the most heartwarming shots I have seen as the boy eats away with the biggest smile on his face: we are told by his father that it is the first time he has tried chocolate. Now knee deep in this tv show, it is clear that the format is based around important military events but told through the eyes of a different soldier of Easy Company each time. 

Also check out : A Bridge Too Far (1977) for Operation Market Garden with one of the most legendary acting ensembles going. 

Sat. 28th : A Beautiful Mind (2001)

Blu-ray.

Before Russell Crowe and Paul Bettany navigated the Napoleonic seas in 2003's Master and Commander, they were navigating university together in this Best Picture winning bio-pic. I went in with the preconception that this was just Russell Crowe doing mathematics, so I was pleasantly surprised to see the narrative twists and turns that emerge in the second act. Crowe is pretty phenomenal as John Nash; indeed his output between 1997 and 2007 makes for a considerable decade: L.A Confidential, The Insider, Gladiator, Master and Commander, 3:10 to Yuma, American Gangster and this. It may have a conventional Oscar-friendly musical score, but this is a well shot (Roger Deakins) and inspiring story. There are some wholesome jokes and the film also treats the wife, Jennifer Connolly, with suitable care, something which true stories too oft forget. She is as vital to the true story as John Nash is himself. Ed Harris also stars as a black hat wearing William (*WestWorld bells ring*) who recruits Nash for Soviet code breaking. A Beautiful Mind is directed by Ron Howard who has certainly made some very good films over his career, but this is probably his best.

Also check out : Master and Commander (2003)

Sun. 29th : Public Enemies (2009)

Netflix.

Michael Mann is a repeatedly overlooked director. One of my favourites, he is responsible for three of the 1990s best pictures: The Last of the Mohicans ('92), Heat ('95) and The Insider ('99). 2004's Collateral is also fantastic but 2006's Miami Vice is a massive drop off. Public Enemies continues the Mann tradition of being crime centered with two high profile male leads. But rather than Al Pacino and Robert De Niro, or Tom Cruise and Jamie Foxx, Mann uses Johnny Depp and Christian Bale. This Prohibition era crime film revolves around true bank robber John Dillinger (Depp) and his gang enjoying their repeated success, whilst Christian Bale's FBI agent is hot on the heels. Now I do recommend this film for those that have not seen Heat; the blazing Tommy gun action and performances are probably worthwhile enough. But if you have seen Heat, then you will be dismayed to discover that Mann is simply remaking that story but with a Prohibition jacket. One of the characters is a bank robber who finds love; promising them that they will leave after one last score. The cop is hot on his heels, eventually gunning down most of the other crooks until it is just the leader left. But whereas Heat is a muscular, electrifying thriller with stunning set pieces and legendary performances, Public Enemies is an overload of information and characters that strains the two and a bit hour runtime. Depp takes a while to get used to as this mastermind crook, lacking the physicality and intimidation usually required. But once he gets going and the cocky charm reveals itself he is pretty magnetic. Bale on the other-hand is short changed with a role that is given next to no depth. His character is bland, uninspired and without an emotional drive. We don't even get a reaction from him when Depp escapes prison. On a positive, the final 45 minutes actually becomes engrossing, and the final fifteen is admittedly magnetic filmmaking. But to wade through so many boring characters and lackluster action scenes to get to that does not seem fair. 

Also check out : Heat (1995)

Mon. 30th : Band of Brothers, Episodes 5-6

DVD.

Damien Lewis gets the spotlight in the fifth episode, battling his conscience after shooting a very young SS officer, as well a whole batch of Germans in what can only be labelled as a massacre. Tom Hanks is the director of the hour, hence the typewriter pornography. It is a wise move as this is relatively quiet in terms of action and choreography, allowing Hanks to develop his skill with criss cross editing and an intriguing look at Lewis' Winters, the closest the show has to a leading man. Despite being an American production, it is pretty impressive that the British Lewis was cast as Winters. But there is an enigmatic appeal to his sharp face and husky tones that makes him ideal for the well trained, immensely consistent lieutenant turned captain. The episode ends with Easy Company being set into the frozen woods of Bastogne. An ominous end as troops are seen walking back from the front-line, heads lowered in silence. 

The following episode takes us into the Battle of the Bulge and this is an ordeal of a watch. The audience surrogate is Eugene, a medic. In terms of gore and wounds, this is a ferociously bloodthirsty episode. It gives a detailed look at the difficulties of being a medic: having to run to crippled casualties as bullets shred the landscape around you. Eugene also befriends a local Belgian nurse who supplies him with chocolate and someone to talk to as the psychological effects start tightening the grip. The woods of this front-line are draped in fog and snow, turning the battlefield into a claustrophobic huddle whilst fending off Germans and frostbite alike. The command is in the hands of Lieutenant Dike, a useless, head-in-the-clouds officer who inhabits his foxhole rather than maintain morale or check on the dwindling supplies. This is the episode that showcases another horror of the war: the outdoor waiting. Improperly clothed and supplied, the survivors of the Bulge are not the same men as when they entered those woods. 

Tue. 31st : She Wore A Yellow Ribbon (1949) 

DVD. 

John Ford's second film in the so called 'Cavalry' trilogy is the best of the bunch, though it isn't much of an achievement. The three films (Fort Apache and Rio Grande came out a year before and after) document John Wayne as some sort of captain in the US cavalry doing battle with Native Americans, who for the most part are ill-represented and are depicted as vicious killers. Oddly, She Wore A Yellow Ribbon would have been better off as the third film. Wayne plays a captain who, in the last six days of his service before retirement, has to escort a young lady away. It is a typical mission film, but this soon falls apart and becomes the plot soon starts orbiting character over action. It is a rare performance from Wayne in that he is actually pretty decent and likable; a weary man longing to retire but also feeling his men still need his experience and leadership. The theme of the changing of the guard would have been more potent if it was the third film, as well as the fact that this is the only one shot in colour (and it looks grand). A reasonably good Western, even if the set pieces are familiar and unexciting. 

Also check out : Hostiles (2018)

Wed. 1st : Band of Brothers, Episodes 7-8

DVD. 

For 2001, the budget and production values of this show continue to stun. Episode 7 contains an overwhelmingly ferocious bombardment on the men of Easy Company as they struggle to find cover. The pyrotechnics display and the shaky, documentary style camera work makes an immersive sequence that shakes the very room with its sound design. The frozen woods are still the setting for another violent hour. This time Sergeant Lipton is the 'lead', narrating the events of the offensive capture Foy. The narration is not perhaps always needed, and it is jarring to suddenly have it seven episodes in, but the decision to focus on Lipton is inspired. This is one of the darkest hours for Easy Company; two of the best men get their legs blown off in another hideous display of the show's make-up team, hopeful future leader Buck is demoralised and taken off the front line and Lieutenant Dike continues to be frustratingly ineffective, in a short time joining Joffrey and Dolores Umbridge as a character who I just want to see brought down. The finale deals with Dike leading the offensive whilst Winters has to watch on powerlessly as his men get gunned down. There is fantastic moment where Winters grabs a gun and goes to run in, but is reprimanded by the higher powers. Lieutenant Speirs is sent instead, successfully taking Foy. Episodes 6-7 make for a bleak double bill in the frozen landscape, but the intensity rivals and even surpasses Saving Private Ryan. 

Episode 8 is a more upbeat episode with young Private Webster returning, as well as an ultra shiny and young new Lieutenant, desperate to see action. Through Webster's eyes we see Easy Company with a fresh lens: the men that remain from the start are unfriendly to those who did not fight at the Bulge or Foy and the brotherhood is now more closed off. The main focus on this episode is a raid into a German outpost to capture some prisoners. Whilst tense, the episode is relatively light on bloodshed and violence and instead focuses on the people and how the men are now seen. Despite the somewhat happy ending, the title cards at the end lay the show's endgame in sight: Germany is next.

Thu. 2nd : Absolute Power (1997)
DVD.
Having previously directed himself and Gene Hackman to Oscar glory in the almighty Unforgiven (1992), Clint Eastwood has another crack with this late-90s thriller. The plot is intriguing: Eastwood is stealing from a billionaires house when he witness an attempted rape followed by a killing. Escaping with a piece of evidence, Eastwood is hunted by those seeking to remain innocent, namely the President of the US (Hackman). Despite William Goldman's credentials on the screenplay, the dialogue does come off as ham-fisted and forced, with exposition laid on thickly. Luckily the bombastic story and sprightly, youthful performance by Eastwood keep things fun. Ed Harris also stars and there is something quietly comforting about his presence; I am not sure if it's because of the same balding resemblance to my father or his smooth diction and understated acting. Hackman, one of my favourite American actors, is reasonable as the President, though there is a ridiculously flamboyant sequence where he dances with his Chief of Staff, discussing the crime and what to do in a room full of people watching them. With constant cheesy smiles to the crowd, it belong in an 80s blockbusters and not a 90s political thriller. But this is an entertaining watch with enough thematic depth on voyeurism to keep the brain stimulated. Thanks for the recommendation Grandad!
Also check out : Unforgiven (1992)

The Quarantine Collection: Week 1

To help while away the languid hours of self-isolation here is a weekly round up of the films and occasional television shows I have been watching from Friday 20th to Friday 27th. 

Fri. 20th : Layer Cake (2004) 

Netflix.

Before Bond Daniel Craig can be found as the lead in this British crime caper that bears a striking resemblance to Snatch and Lock, Stock and Two Smoking Barrels. Alongside Craig there is Michael Gambon, a very young Tom Hardy, two EastEnders actors and Sienna Miller and Sally Hawkins. Directed by Matthew Vaughn (he of Kingsman and Kick-Ass fame), it is a familiar but entertaining enough slice of cinema, though I cannot really remember much of it a week later.

Also check out: The Gentleman (2019)

Sat. 21st : The Lost City of Z (2016)

Blu-ray.

Pronounced "Zed", this 'adventure' film is a smouldering slow-burn about one of Britian's most overlooked explorers, Percy Fawcett, here played by a serious Charlie Hunnam. There is solid support from a bearded Robert Pattinson, Tom Holland and Ian McDiarmid (Palpatine). Having impressed me with Ad Astra, I was eager to see what else director James Gray could do and it is clear he shines when focusing on a man on a mission. There is adventure here, as our protagonists explore the Amazon for a lost civilisation, but at its centre the film explores the familial sacrifice required for such an undertaking, and how those bonds evolve over time. 

I watched the Blu-ray with my dad, and despite the PlayStation choking on the disc for ten minutes halfway through, we were both gripped by the crisp photography and slightly unsettling tone. It's closing shot is one for the ages. 

Also check out: Ad Astra (2019)

Sun. 22nd : The Lady Vanishes (1938)

BBC 2.

It has been an awfully long time since I have seen a film on free-view telly but having eyed this up on the paper, I was ready to enjoy an advert-less old classic. The last film Alfred Hitchcock made in Britain before his Hollywood career kicked off, this black and white gem is immensely entertaining. The plot is simple: an assortment of characters get on a train including a woman named Iris. She is joined by an elderly lady, Miss Froy,  who subsequently vanishes. As the train journeys across Europe Iris attempts to uncover this perplexing mystery. It is a perfect Sunday afternoon film: light hearted yet thrilling, political but not overwhelming. It is also worth watching just for the cantankerous British duo who are obsessed with cricket; a prime example of comic relief characters used perfectly but who, when the time comes, can be serious and useful. This an old film that you shouldn't have to psych yourself up ready to watch. 

Also check out: Strangers on a Train (1951)

Mon. 23rd : McCabe and Mrs Miller (1971)

Blu-ray. 

For me, this is a masterpiece of the Western genre. For a great deal of other people, it is probably a bleak, overly serious and bland film. And I can see that. Perhaps the only reason I was so enthralled with this picture is that I have seen a considerable number of Westerns and, at the risk of sounding too pretentious and intolerable, I have studied this section of film history. Because McCabe and Mrs Miller is barely a Western at all: it may be set on the frontier but rather than being driven by such narrative thrusts as revenge, justice or duty (the usual hallmarks), McCabe is driven by economics. The main character is an aspiring businessman who is also cowardly. He can only kill people by shooting them in the back. It is a totally, wonderfully subversive film that, because of its authentic production design and detail, probably gives us the screen's best look at what frontier life was actually like. And the snow capped scenery is always to a Western's advantage, not just because blood on snow looks aesthetically pleasing, but it also fits the theme of violence removing purity. The rich photography, Leonard Cohen music and strong title characters makes for compelling viewing. Just watch a handful of Westerns before.

Also check out: The Grand Silence (1968)

Tues. 24th : The Man Who Would Be King (1975)

DVD. 

Rudyard Kipling is best known for The Jungle Book, but this is an adaptation of one of his other popular stories of the same name. Before Michael Caine was talking about a ruby the size of a tangerine to Batman, he was holding one the size of two tangerines in The Man Who Would Be King. Cockney Caine makes up half of a terrific double act; the other half? Only the well-whiskered Sean Connery, the titular man. The two of them are ex-British military in 1890s India. They plan to take rifles north to Afghanistan in the hopes of becoming kings over the warring tribes there. Naturally, friction is generated between their friendship once Connery starts to be treated as a god by the locals. Directed by John Huston (best known for The Maltese Falcon and The African Queen) and also starring Christopher Plummer as Rudyard Kipling, this is a riveting piece of grandad cinema. It's old school, slightly politically incorrect but ultimately charming. It is the kind of adventure film I will be watching aged 75 and still be chuckling along to Caine's dry wit. 

Also check out: A Passage to India (1984)

Wed. 25th : Band of Brothers, Episodes 1-2 (2001)

DVD (charity shop).

A vastly revered television series, I was fortunate to discover the set in a nice tin case for £3 at a British Heart Foundation. I brought it back home and my dad was eager to watch it, if only because it says "Steven Spielberg and Tom Hanks present" on the cover. The first episode is a solid start, with the at first jarring arrival of Friends' David Schwimmer as the dickhead army commander soon leading to some terrific drama. The ever stoic Damien Lewis is the Lieutenant of Easy Company on the eve of the Normany invasion, leading a group of young but familiar British faces: Simon Pegg, Stephen Graham, Andrew Scott and even James McAvoy and Michael Fassbender briefly show their faces. The first episode details the intensive training for the Airborne Division and culminates with the planes heading to France. The second episode opens like an aerial Saving Private Ryan, a horrifying sequence that retains some serious weight despite the dated visual effects. Amidst the chaos of the landing, Lewis gradually reunites with his men as they take a German gunning emplacement. Not a lot happens in the second episode due to the action, but the constant reminders that bookend each episode that this is true lends the show the emotional weight needed to neutralise the intense violence. I look forward to the next two episodes (my dad won't binge).

Also check out: Flags of our Fathers / Letters from Iwo Jima (2006)

Thu. 26th : Doctor Zhivago (1965)

Blu-ray.

Adjusted for inflation this is one of the top grossing films of all time, yet is barely in the film conversation. Capping off the incredible run of The Bridge on the River Kwai, Lawrence of Arabia and then this, director David Lean meticulously crafts another screen epic in all senses of the word. The visuals and photography are stunning, all underpinned by another frequently repeated Maurice Jarre musical score. The 3 hour 20 minute long story is set in Russia before and during WW1, and then into the Feb / Oct Revolutions and Russian Civil War. It is a heavily romantic odyssey about Zhivago and Lara, two Russians thrown together and repeatedly separated by the turbulent political era. The cast is vast: Rod Steiger, Omar Sharif, Julie Christie and, being Lean, Alec Guiness as the man narrating the events. The twinkly eyed Sharif makes for a compelling Zhivago and Julie Christie is a revelation as Lara, largely because I have only seen her with a Cockney accent in McCabe and Mrs Miller. Yes the length is formidable (20 minutes shorter than Lawrence though!) but it is hard not to get swept up in it all. Do not come for a history lesson because you aren't going to get one. Do not come for big scale action because that is sparse. Come to see a master director working with a monolithic canvas and how titanic spectacle can be created without computer effects.

Also check out: Brief Encounter (1945)

Environmentalists in Cinema: Why are they always the baddies?

As Covid 19 sweeps the globe and halts the world's economy, now is probably not the best time to watch films where the villain is an environmentalist. As devastating as this virus is, I am still of the mindset that it was needed. We have always seen the biggest threat to the human race being other humans but nature has stepped in to prove that we are not as invincible as we thought, and the rampant interconnectedness between countries has only shown our vulnerable we are. The excessive consumption of resources and heavy pollution is depleting our planet and radicalising our climate. And so comes along the coronavirus; a respiratory pandemic that has halted Earth. The lack of flights and travel has lowered carbon dioxide emissions drastically whilst animals are returning to habitats that previously were off-limits due to the heavy sound and land / water pollution (dolphins in Italy etc.) There is no denying that, in the grand scheme of things, the virus has lessened the human impact of climate change for the better.  And yet this mindset, combined with the belief that there are simply too many people inhabiting this planet and are consuming too much, leads to the labeling of one as a super villain. But why? And why is Hollywood, home of the super villain, so bad at misrepresenting extreme environmentalists? 

The need to preserve a natural order has been illustrated in numerous films from Princess Mononoke to Avatar. But they are also relatively people-centric. In the last five or so years the aim to restore a natural order to things are predominantly found in antagonists. 

In 2015's Kingsman: The Secret Service, spies Taron Egerton and Colin Firth are tasked with stopping Samuel L Jackson's Richmond Valentine, who uses SIM cards to kill millions of people with the dream of ridding the planet of as much of the human race as possible. "Mankind ith a viruth. And I'm the cure," he states. Climate change is addressed in the film, with Firth's Harry saying that it is past remedy. But surely Valentine gets points for trying, even if it is grossly immoral? In spy movie fashion, our heroes win and the human race is saved. Except the planet is not. 

In 2018 we had perhaps the most popular example of it yet in the almighty Thanos, the antagonist (or protoganist if you look at the film's structure) of Avengers Infinity War. Thanos' backstory is this: his homeworld Titan was once plentiful, but his people overconsumed and it led to famine and chaos. Thanos proposed killing half the inhabitants so that there were more resources and space to go around, thereby preserving the planet and his people. He was ignored, and his people died. Not wanting this to be the future of the universe, the Mad Titan seeks the Infinity Stones so he can eliminate half of all life forms on every planet ever. The genius of Infinity War is that he succeeds. In the final few minutes we see 50% of people dissolving into nothing painlessly before Thanos sits alone at peace. Not only is he correct in the problems of consuming too much and growing too quickly, but his execution is pretty spot on too: it is random and fair. But the problem comes with Avengers Endgame in 2019 which inevitably retcons all the death, bringing everyone back. The problem? They are brought back to a universe five years on. If you imagine a husband dissolving and leaving his wife alone, and then in that five year gap the wife finds a new man and has children with him, when the original husband and maybe a child or two are brought back, you suddenly have more people than when you started. So the irony in this film is that whilst the heroes succeeded, they actually contributed to the resources and population problem that started Thanos' journey.

And finally, 2018's ridiculous Aquaman also alerts its audiences to the mass pollution of the oceans by humans; namely the fuel and plastic that are mercilessly dumped into the waters. The villain wants to rise up from the sea and take out humanity because of this whilst our half human, half Atlantean titular hero comes along as a representation of the bridge that can be made between the two sides. Aquaman becomes King of Atlantis at the end and we are supposed to be happy. Is there an environmental message to the film beyond pointing things out? No. And it isn't hard either. 

Take Black Panther for instance. The antagonist, Kilmonger, is outraged that black people are repressed around the world whilst Wakanda's technological and financial power remains hidden from the world; assets that could change African American fortunes. But Kilmonger wants to use that power to conquer, meaning he has to be stopped. However, T'Challa the Black Panther takes this on board at the film's conclusion: he does open up to the world and offers his resources because he has learnt a lesson from his antagonist and by ignoring that plight, it opens the doorway for more Kilmongers to come. All it took was a little scene. 

Now I wouldn't overwhelmingly change any of those films' plot points, but they all required just one scene at the end to show that the heroes did listen and are aware of some of these environmental concerns. Blockbusters, especially superhero films, have huge family audiences that are ripe to be educated and informed. Our heroes need to be as associated with environmentalism as the bad guys, and then some. Maybe it is because those in Hollywood don't see their own wealth and consumption as bad and are therefore ignorant to such plights or maybe it is because the writers are too scared to propose softer solutions to the aforementioned issues, but either way if you are going to raise topics and problems that affect the modern world, you need to have an answer for them. And extreme environmentalism should not be always linked to megalomaniacs. 

The Tony Scott x Gene Hackman Double Bill I Didn't Know I Needed

It is hard to find a better feeling than monging out on a sofa or bed, Stella Artois in hand, a bowl of Pringles in your lap and smiling to yourself as you watch an incredibly entertaining film that you are fully invested in. I had these back to back this weekend with two films that beautifully compliment one another.

The first is Crimson Tide, directed by Tony Scott. This not only solidified 1995 as a blooming entertaining year but also how much I enjoy Scott's style. Whilst his brother Ridley favours more precise, money-shot based photography as well as balancing philosophical or literary themes, Tony goes for sensation. His camera is quick and the pacing rapid, offering repeated adrenaline rushes. True Romance is a fantastically re-watchable blast and Top Gun is pure cheese, but Crimson Tide goes for sheer thrills and atmosphere. Denzel Washington (Scott's muse) is Ron Hunter, the second in command of a nuclear submarine. He is cautious and crew-orientated. His captain is Gene Hackman's Frank Ramsey, the polar opposite. Orders are final, morale comes second and his pet Jack Russell is everything. Inevitably the two personalities repeatedly clash as nuclear orders come through, but then are followed by a half-intercepted message that could either say launch or not launch. It not only creates sizzling tension among the crew but also makes the audience decide on the best course of action. The two men get so wrapped up in it that there is a look in Gene Hackman's eyes that shows how he wants to launch the nuclear weaponry just to prove Hunter wrong. The claustrophobia of a submarine is palpable; trapped low in the sea with hot heads and world ending missiles. The torpedo sequences are as exhilarating as the mutinies and arguments, whilst pre-Aragorn Viggo Mortenson gets a particularly tense dilemma towards the climax. Washington and Hackman are superb. Hackman does the angry, self-assured leader so well that though it may be type-casting sometimes, its welcome type-casting. And as Hans Zimmer's score swells throughout (with a whiff of Pirates of the Caribbean) it is impossible to not be fully *ahem* on board with it. Blockbusters with an eye for character and character conflict as well as awesome action are just a joy. 

With the beer refilled and my lips tingling from excessive salt and vinegar, I followed swiftly with my next Tony Scott 90s film: Enemy of the State. This 1998 thriller sees Will Smith at the peak of his powers and, again, Gene Hackman as the other half in a duo that takes an hour to form. Paying homage to 1974's The Conversation (a more contained Hackman performance), Enemy of the State sees Will Smith's lawyer caught up in a National Security Agency chase when an incriminating tape ends up in his possession. Ostracised through a smear campaign, Smith's Robert Dean teams up with seasoned surveillance man Brill Lyle (Hackman) to clear himself and expose the villainous government officials led by Jon Voight and including Jack Black. It is filled with satellite and CCTV photography, as well as all the 80s and 90s techie dialogue you would expect. Scott crafts a great sense of paranoia and government ubiquity and despite how much movement across Washington DC there is, it feels very claustrophobic because of this. This is why the companionship with Crimson Tide works: the tight geography of a submarine evolves into the tight geographical of the city where the powers that be always have eyes on everyone. There is no escape in either. Smith is ultra charismatic and believable, stammering his way through buying lingerie etc. Hackman takes a while to show up but, in a referential or continual performance of his Conversation character he is excellent. Their argumentative chemistry is a joy, and Hackman drops f-bombs with relish. It is less an angry role and more a tough and wizened role. He is likable and clever, but can also be a dick. And in the sequences set away from government eyes and ears there is brief catharsis; a blip in the otherwise perpetual paranoia. Another complimentary comparison between the two is that Hackman's Jack Russell in Crimson Tide becomes a cute ginger cat in Enemy of the State. Yes, the latter raises questions on surveillance, privacy and civil rights and is ahead of its time in that regard, but it is pure escapism and fun. Scott is a kinetic director interested in giving audiences a thrilling time and with a belly full of hops and crisps, these are two quintessential Friday night films. 

The Decline of Superhero Cinema: Is it on?

Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) was released in cinemas a few weeks ago, to a very weak box office. It accumulated $33 million in the US in its opening; the kind of numbers you expect from a mid-budget, well received film rather than a tentpole superhero film. And whilst Birds of Prey may have a much smaller budget than most others in the genre, it was undoubtedly a dismaying figure for the Warner Bros. executives. It raises that controversial topic whether superhero and comic book movies are in decline or if there is 'supehero fatigue'. 

Perhaps I am writing this prematurely, because the critical and commercial success of superhero films this year will be the deciding answer. The 2010s will go down as THE decade for comic book films. Whilst the 00s laid the groundwork for special effects, storytelling and tone, the last ten years cranked it all up. Audiences witnessed shared universes, characters referencing other characters, superhero films in the guise of heist, spy and comedy films and admittedly it was satisfying to see a lot of these elements come together well. 2019 saw Avengers: Endgame smash its way to becoming the highest grossing film of all time, ending eleven years of storytelling and pay off with a fan-friendly epic. It waved goodbye to two of the decades most quintessential characters (Iron Man and Captain America) and effectively left a clean slate. The last MCU film released was Spider-man: Far From Home in July 2019. It cracked a billion worldwide with ease and was largely well reviewed. But the marketing of that film labelled it as an epilogue; a final chapter in the story that had to be seen. It was clever marketing on Marvel's part and in many ways it did close the Tony Stark arc. The next Marvel picture is Black Widow in May. It is hard to predict how well this film will do because it suffers from a basic problem: the story is set before Infinity War and Endgame and the lead character was last seen dead in the latter film. It begs the question: what is the point of seeing this film? If it was worthwhile to the character and overall story one would have thought that Kevin Feige would have cranked this one out sooner rather then delaying it so that it now feels like an apology for all the fans who demanded Black Widow's own film since the first Avengers. There is an online apathy towards it; a sort of 'I will catch it on Blu-ray / Disney +'  due to the fact it cannot exactly be spoiled. I would be surprised if it broke past $800 million worldwide. 

The second Marvel film of the year is The Eternals in November. There is no trailer for it as yet and it is an unknown property so it is impossible to comment on it other than to the general audience, there is no awareness of it. This will be the interesting one; the first MCU film set properly after Endgame (Spider-man was directly affected by that movie's events). It raises the question of where the film series will head next: what the new goal is. Because this is where the franchise could struggle; the Infinity Saga had clear momentum and direction with nearly all the films being billed as important to the overarching threads. Not having this could cause the MCU to collapse with audiences only going to see the characters they are familiar with. In an age where getting people to go to the cinema is proving increasingly hard, Feige and co need a strategy. And with nothing big to lead up to, the ticket buyers will just be asking 'what is the point then?' With The Eternals it is even more impossible to gage how well it will do: will it break out through word of mouth like Guardians of the Galaxy? Or will it have big Civil War level drop offs? 

If we move away from the MCU and focus on the other big superhero pictures of the year, then the argument that superhero cinema is declining continues to be more apparent. The DCEU launches its hopes with Wonder Woman 1984 in June. The delayed sequel to the very successful 2017 hit is looking like one of the summer's biggest hits, by default of it being a weak looking year. The first one received a big boost from the media making it out as a socially groundbreaking film due to its female lead. It also benefited from its lack of connections to other superhero films, operating firmly as its own story. It crossed $800 million worldwide with half of that from America. Anticipation seems reasonably high; the trailer was well received and the character is always the strongest part of each film she has starred in. But again, where is it leading? The DCEU established a universe where the characters all met up, but now is doing its best to undo that and focus on solo stories. And whilst Wonder Woman and Aquaman proved wildly successful, you have to ask how long can they go on for until they have to start pairing the characters up again. 

Then there is the X-Men. 20th Century Fox launched X-men in 2000 and the series has largely stayed alive for twenty years, even if the majority are pretty weak films. The high point for the main series was the deftly handled Days of Future Past (2014) and then 2017's Logan earned its place at the top end of most loved superhero films. It was an emotional sendoff to an iconic character that remained grounded, heartfelt and earned. But then came along Deadpool with the R rating, universal audience acclaim and satirical tone. It kept Fox's X-men films alive by taking the piss out of them. But now that seems under threat due to Disney's acquisition of Fox. The chances of another R rated Deadpool film seem slim, and the thought of adding Ryan Reynolds to a PG-13 Marvel superhero film is akin to putting John Wick in a Pixar film: you lose what is great. Last year saw Dark Phoenix become a catastrophic bomb, ending the series on an abysmal note. In April we are at long last treated to The New Mutants, a film that  I think I saw a trailer for back in October 2017. This is not going to make much money and it will either be good or awful. So I think it is fair to say that the X-Men brand is dead. The Gambit film will never happen and maybe X-Force might not happen. A franchise that endured for twenty years has been lost. 

A fourth studio/series is Sony. Sony has two films this year: Morbius with Jared Leto and Venom 2. The weak trailer and lack of interest in the character of Morbius points to disappointing box office receipts already (as well as the post-Joker dislike towards Jared Leto). Venom 2 I do think could work. If they focus on an R rating and fix the problems the first film had then they could be onto something. Woody Harrelson is Carnage and Andy Serkis is directing so there is room for much improvement. But where is this new series leading to? A Tom Holland Spidey vs Tom Hardy Venom would be pretty cool to witness but there is no sign as to what Sony is scheming. 

Ultimately it may come down to a weak year for tentpole superhero films and 2021 (with Shang-Chi and the Legend of the Ten Rings, Doctor Strange 2, Spider-man 3, The Suicide Squad, Thor 3 and THE BATMAN all coming out) may perhaps be a better year to reflect on due to the bigger brands being released. My hope is on The Batman. 

But on the flip side, if the box office of superhero films take a hit this year, and if the more ambitious and original projects like Tenet, Dune, The French Dispatch and Soul do really well, we could be treated to more original movies again. So maybe the likes of Marvel and DC should quit whilst they are ahead (well Marvel anyway).