Netflix And Chill: The Untouchables (1987)

Perhaps enough time has passed now, perhaps I was just being a bit too harsh and/or swayed by the opinions of others years ago, but I have finally reached a certain level of acceptance when it comes to The Untouchables. I always enjoyed the movie itself, and it's another great example of just how great director Brian De Palma can be when able to put considerable resources alongside his not-inconsiderable talent, but it's time to finally admit that I think, yes, Sean Connery actually deserved his Oscar for his performance here. Is that admitting that he's great in it? Is he giving the best performance of his career? No. There are a number of other roles to look at in that regard. But he's the absolute highlight in a film that is stuffed full of treats, and he's the one you remember for a long time after the film is over and done. It also helps that he gets most of the best lines of dialogue from writer David Mamet.

Kevin Costner is the legendary Eliot Ness, a Treasury agent looking to battle against those breaking the prohibition laws, and someone unafraid to go up against the ruthless Al Capone (Robert De Niro). Not knowing who he can trust, especially after being burnt during what should have been his first major operation, Ness assembles a small and capable squad that includes beat cop Jim Malone (Connery), an agent who also does accountancy (Oscar, played by Charles Martin Smith), and a hot shot youngster from the Police Academy (George, played by Andy Garcia). They intend to disrupt Capone's operations until they can bust him, but that gets them a lot of unwanted attention. As well as a number of anonymous threatening individuals, a dangerous man named Nitti (Billy Drago) aims to get rid of Ness and his colleagues, and aims to show that they're most certainly not "untouchable".

It's hard to think of where to start when praising The Untouchables, almost every individual element is as good as you'd expect. Mamet's script is snappy and entertaining, the camerawork and visuals are as wonderfully lush and stylish as they always are in any De Palma movie, and the score from Ennio Morricone feels like some kind of collage of the wonderful work he did over the years with director Sergio Leone. Production design is gorgeous throughout, and there are a couple of fantastic set-pieces that I am sure people have thought about way before getting to this part of my review.

The casting is spot on, for the most part, although I have never been completely convinced by De Niro in the role of Capone. He's fine, but it feels too close to a number of other roles he's already closely identified with. If he'd managed to nail the accent, Hoskins (the second one signed on when De Niro initially couldn't play the part) could have perhaps given us a more interesting portrayal. Hey, at least Hoskins got to enjoy a large paycheck for not doing anything. Costner is a good solid figure at the heart of everything, the kind of thing he has excelled at in a number of features, and he's somehow able to get the focus back on himself after spending time sidelined by more interesting supporting characters. Connery is brilliant, as I've already said, and both Smith and Garcia liven up scenes by bringing very different energies into their performances. Drago is entertainingly villainous, and I'll also mention how much I enjoyed seeing Patricia Clarkson, despite the fact that she's given little more than a token role of "worried wife of the hero".

(Re)watching a great Brian De Palma film always reminds me that I should make the time to watch his entire filmography. They're not all absolute greats, and not all as good as this one, but his best work is enough for me to never begrudge giving some time to the films that didn't work half as well. And I can always come back to something like this if I end up disappointed by too many others.

9/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share 

Filmstruck Friday: Glengarry Glen Ross (1992)

I haven't seen many other movies directed by James Foley. I can't even say that I remember his name when I am not ensuring that I get the details right for this movie review. But he's the man at the helm of one of my favourite films. Yet, and I know this may seem unfair, he's probably the person I would credit least with helping to make this film great. I save most of the praise for the writer, David Mamet adapting his own play for the screen, and the cast, which I will get to in due course.

The plot revolves around a bunch of real estate salesmen who get quite a shock when the company sends along a no-nonsense "axeman" to lay down the law - the top salesman will get a prize, the second will get a lesser prize, third place gets you fired. Knowing that there are a whole stack of new, promising, sales leads in the office, the group start to be tempted, being used to doing whatever it takes to get sales and earning their own commission.

It's hard not to write this review and just fill up space with choice quotes from this movie. Fans of Mamet will already know him as quite the wordsmith, pick any film he's been a part of and you can find some magnificent dialogue, but this may well be his best work, which is quite the compliment when you think of his other stuff (off the top of my head, I highly recommend both House Of Games and The Spanish Prisoner). It's not just the individual soundbites here, Glengarry Glen Ross is an ensemble piece that makes sure everyone involved has at least one chance to relish their role.

Where to begin with the cast? Al Pacino is there, giving a very entertaining performance even as he teeters on the edge of the full self-parody he would ease into by the mid-1990s, Ed Harris is at his angry best, and Alan Arkin is a man who feels less assured and more out of place among the more savage salesmen he works with. Jonathan Pryce is also wonderful for every moment he's onscreen, playing a potential customer being "wooed" by Pacino. You also get Kevin Spacey as the man in charge of the office, and in charge of those precious sales leads, and Alec Baldwin in such a brilliant bit of scene-stealing that I believe, but could be wrong, it set him on the right path of decades of scene-stealing ahead of him, something he does so much better than any lead roles (sorry Alec . . . like he'd ever read this). Despite all of that talent on display, and not one of the cast members lets the side down, the best performance in the movie comes from the one and only Jack Lemmon. It's hard to properly convey just how absolutely brilliant he is here, giving a masterclass in acting as his character is, by turns, bitter, manipulative, charming, depressed, elated, foolish, wise, and more. He seems to be the hungriest of the group, a hunger born of his current situation and his recollection of his past glory days.

Okay, I guess I should give more credit to Foley. Not only does he make sure that the camera is pointing the right way (although this is a very unfussy adaptation of the play that could just as easily have been, with a few tweaks, a straight recording of the show) but he makes the most of the cast and does a great job of not trying to fix anything that isn't broken. Unlike the onscreen events, this is very much a team effort.

The only things stopping Glengarry Glen Ross from being a perfect movie for me are the fact that a) it feels a bit stagey during the few times when I am not distracted by the script, b) I would have preferred some better resolutions for a couple of characters who just end up exiting before the final scenes, and c) there is no c. I just wouldn't have felt right if I ended the review without a reminder to Always Be Closing.

9/10

You can buy this fantastic movie here.
Americans can buy it here.

Deceptive Practice: The Mysteries And Mentors Of Ricky Jay (2012)

You may not think that you know Ricky Jay, but if you're a movie fan then there's a good chance that you know Ricky Jay. What you might not know, and what I certainly didn't know, is that Ricky Jay is a skilled magician, with his main area of expertise being cards. This documentary looks at Ricky Jay as a magician, and allows him to wax lyrical about the people who influenced him during his upbringing, and about the general joy of magic.

Suitably enough, considering the central subject, this documentary seems deceptively simple. While Ricky Jay is relating moments from his life he is often playing with a deck of cards in his hands, riffling through them, cutting to an Ace, and just nonchalantly displaying a complete mastery of prestidigitation. And as he speaks of his influences it's hard not to warm to the man and his obvious passion for magic, despite his cool, slightly gruff, persona.

There are also comments from writer-director David Mamet, who has helped stage a number of  the magician's live shows, and some other people who have either worked with, or just befriended, him over the years. And there's plenty of archival material to enjoy, with some clips from live shows being a particular treat.

As skilled as he has become at it over the years, Ricky Jay often manages to move the focus away from himself, assuring that the documentary never feels all about him. In fact, he's a supporting player in the grand show that is being presented here as documentary. The people who get to be front and centre include his grandfather, Max Katz, the legendary Dai Vernon, equally legendary Charlie Miller, ALSO legendary Max Malini and many other skilled magicians who don't always get the credit they deserve for being such skilled professionals in their chosen fields and paving the way for many who would come along afterward.

If you like Ricky Jay then this is definitely worth your time, but if you like magic and skilled magicians then this is DEFINITELY worth your time.

8/10

http://www.amazon.co.uk/Deceptive-Practice-Mysteries-Mentors-Ricky/dp/B00GTKC6MA/ref=sr_1_2?ie=UTF8&qid=1389645685&sr=8-2&keywords=deceptive+practice+the+mysteries+and+mentors+of+ricky+jay

Spartan (2004)

As enjoyable and smart as any of his other works, Spartan is another great script by David Mamet that's backed up with his solid direction. It may feel more open than many of his previous works, but it's still very much a character piece full of the cool dialogue and twisty turny mindgames that populate all Mamet movies.

Val Kilmer plays the lead character, Scott, a top military man who helps find out just who has what it takes for life in the tougher roles. He is asked to help out when the daughter of someone very important goes missing, but as the investigation uncovers a number of uncomfortable details it soon becomes clear to some people that Scott may end up causing embarrassment for some. When the case comes to an end, Scott then finds himself in a very strange situation. The mind that was so valued by the military, and his country, has now put him in a lot of danger.

There's nothing here that's really original, especially to viewers who have enjoyed the wealth of American TV detective shows in recent years (from the C.S.I to Monk, as the best examples), but what is here is given a thin coating of just enough paint to make it seem nice and new. The direction, also by Mamet, is unspectacular, but it's probably no coincidence that Mamet the director knows how best to serve the material provided by Mamet the writer.

Kilmer is great in the lead role, it's certainly one of his best performances in the past decade (which, admittedly, isn't saying much since he started to slide downhill in his career, sadly . . . . . I am still holding out for a great comeback though). The supporting cast features Clark Gregg, William H. Macy, Derek Luke, Kristen Bell, Aaron Stanford and Ed O'Neill, and all of them do good enough work, despite Bell being the weak link. Macy is particularly good fun, while the twists and turns make every performance worth closer scrutiny than usual.

It's not quite up there with some of Mamet's better movies, but this is still a very good film indeed, and one that deserves to retain a loyal fanbase through the years.

8/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share 

The Postman Always Rings Twice (1981)

Another version of the tale originally written by James M. Cain, this movie caused quite a sensation when first released in 1981. Viewing it today, it's hard to tell just why people thought it was so good. It's also hard to tell why people thought stars Jack Nicholson and Jessica Lange decided to actually have sex in their passionate sex scenes. It may be spicy stuff, but there's nothing to suggest that it's more real than many other movie sex scenes.

Nicholson plays drifter Frank Chambers, and Lange is Cora Papadakis, married to the kind and trusting Nick Papadakis (John Colicos). As Frank and Cora grow closer to one another they decide to get Nick out of the picture. Things don't go quite according to plan (do they ever?) and the two characters soon find themselves being played against one another by those seeking justice. Thankfully, they have the shrewd Mr. Katz (Michael Lerner) on their side.

Directed by Bob Rafelson, and adapted for the screen this time by David Mamet, this focuses more on the fires that burn within the central characters, and the almost masochistic nature of their relationship, than the main crime and its repercussions.

Nicholson and Lange are both very good in the lead roles, as you'd expect from this pair in the 1980s, and the support cast are great (Colicos is just jovial and sweet, Lerner does well with a relatively small role, likewise with John P. Ryan, William Traylor and Anjelica Huston).

The problem I have with the film nowadays is that it feels as if it was designed to shock, with very little else to it. The fact that it still proves relatively watchable is due, mainly, to Nicholson and Lange, but the sex isn't sexy, the characters aren't people that you want to spend too much time with and even the very end of the film disappoints, especially compared to the 1946 version of the tale.

Still one to watch, and there are lots of people who rate this higher than I do, but I didn't find anything more to it than the sex and treachery. I love a bit of sex and treachery, but I also love a bit more going on, either technically or throughout the script, which this doesn't have.

6/10

http://www.amazon.com/The-Postman-Always-Rings-Twice/dp/079073219X/ref=sr_1_4?ie=UTF8&qid=1384339166&sr=8-4&keywords=the+postman+always+rings+twice

The Spanish Prisoner (1997)

Written and directed by the great David Mamet, this is a typically twisty and turny thriller from the man, with his usual cool dialogue permeating every scene.

Campbell Scott plays Joe, a man who has managed to create a very important, though never revealed, process that will allow the company he works for to make lots and lots of money. He is the man of the moment, but that moment seems all too fleeting. When he comes into contact with an interesting stranger (Steve Martin) who happily passes along some of his wisdom, Joe realises that he's maybe selling himself a bit short. With that realisation comes an extra helping of mistrust and paranoia. Who can Joe trust and what will other interested parties do to get their hands on his mysterious, valuable process.

Although there are many times when this feels as stagey as so many other Mamet movies (not the worst crime in the world), there are also plenty of moments that open up the world that the characters are inhabiting. The events may be happening to Joe, but the movie feels like things are being manipulated on a grand, at times even global, scale.

As well as Scott and Martin, who both do a great job, the film features some solid performances from Rebecca Pidgeon, Ben Gazzara, Ricky Jay and Felicity Huffman (with a small, but enjoyable, cameo from Ed O'Neill). Viewers may be put off by the rhythm and delivery of the dialogue, but it's an interesting choice to ensure that every line is given its due. There are no ramblings here, no words that don't seem carefully planned.

Fans of Mamet will need no further persuasion to see yet another fine example of his work. This is up there with the best that he can produce, even if it doesn't quite reach the heights of House Of Games or Glengarry Glen Ross, and deserves to find an appreciative audience for a long time to come.

8/10

http://www.amazon.co.uk/The-Spanish-Prisoner-Steve-Martin/dp/B00009KOYB/ref=sr_1_1?ie=UTF8&qid=1376917281&sr=8-1&keywords=the+spanish+prisoner