The Pelican Brief (1993)

I remember when I first read The Pelican Brief, another John Grisham "thriller" that was adapted into a slick Hollywood movie. I wasn't a big fan. And I was bemused by the fact that it did actually revolve around a plot point that concerned penguins. I had the same reaction when I got around to watching the movie.

Julia Roberts plays Darby Shaw, a young law student who comes up with a hypothetical link between some recent deaths that turns out not to be as hypothetical as she may have first thought. Denzel Washington is Gray Grantham, an investigative reporter who could be a great help to Darby, if she can really trust him. Politicians are nervy, but a chameleonic hitman (Stanley Tucci) remains calm as he looks to tie up a lot of loose ends.

Adapted and directed by Alan J. Pakula, a man who would seem to be as good a fit for the material as Pollack was for The Firm, the biggest thing working against The Pelican Brief is the weak source material. It's a decent idea, but the actual details are a bit too dull to hang the plot on, and the tense set-pieces are hampered by the fact that viewers will have a hard time thinking that the entire chain of events has a decent risk to reward ratio.

Roberts and Washington give the star turns they are paid to give, both doing well with roles that need their charisma to make the film even remotely watchable, and Tucci is sadly underused in a role he doesn't really fit. There's the usual great supporting cast though, including Sam Shepard, John Heard, Tony Goldwyn, William Atherton, Robert Culp, Hume Cronyn, John Lithgow, Anthony Heald, Cynthia Nixon, and Jake Weber. Whether you like them or not, many of these performers have very recognisable faces, even if you have to later search online to remember where you last saw them.

I was hoping that this rewatch would give me something else to mention. Me being a bit older, and sometimes a bit more patient, could maybe allow me to appreciate aspects of the film that I completely ignored when younger. But no, nothing here feels worthy of praise. The cinematography feels as dull as the material at times, I have already forgotten every part of the James Horner score, and, as rude as this may seem to say, even the wardrobe choices and production design, and other technical aspects, come across as a bit . . . lethargic and uninspired. It's almost as if the screenplay was putting everyone to sleep, leading to them throwing everything together as quickly and cheaply as possible.

I doubt I'll ever go back to this. Although there are a few Grisham adaptations I have yet to see, I'd put this one very near the bottom of the pile. And that is coming from someone who didn't mind Christmas With The Kranks. 

4/10

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Noirvember: Snake Eyes (1998)

Brian De Palma is a director not really known for his subtlety, which makes it all the more surprising that he has only made the one film starring the also-notably-unsubtle Nicolas Cage. Let's not mourn the films we haven't been given though. Instead, let's celebrate what we got. Snake Eyes is quite ridiculous, but I'll argue strenuously against anybody who tries to deny that it is also a hell of a lot of fun.

Cage is Rick Santoro, a dodgy cop who ends up with a chance to become a celebrity when he's attending a boxing match that is interrupted by the assassination of a major political figure. Working alongside a friend, Commander Kevin Dunne (Gary Sinise), Santoro needs to figure out what boxer Lincoln Tyler (Stan Shaw) has to do with the plot as he also tries to track down a mystery woman (Carla Gugino). And he does all this while being watched by some typically smooth and lively De Palma shot choices.

You know what you're in for almost as soon as Snake Eyes starts, quickly moving to a sequence that allows Cage to be as over the top and exuberant as usual while the camera seems to track through the onscreen environment with hidden edits that make it all seem like one huge tracking shot. De Palma wants viewers to have fun, but he also knows how to expertly ratchet up the tension in one or two key sequences. The screenplay by David Koepp (who developed the story with De Palma) is playful and energetic, despite the action mainly taking place in the one location, and there's a nice mix of subversion and tradition running through all of the key elements.

While he is always a divisive figure, Cage does his part to help make this as propulsive and energised as it is, delivering a typically robust turn that allows him to show a number of different facets of his character. Sinise isn't as well-rounded, but he does well with what he's given, particularly in the second half of the movie when things start to twist and turn more. Shaw convinces as a championship boxer, he certainly has the physique for it, and Gugino convinces as the kind of character who could be either a "damsel in distress" or a femme fatale. There are also moments for Kevin Dunn (a sports reporter who ends up in the middle of a big news story), Luis Guzman (the kind of guy who is forced to pay some money over to Santoro for a bit of peace), Mike Starr (working the security cameras), and John Heard (in a role that just feels like it was marked "get John Heard").

The score by Ryûichi Sakamoto, the work from D.P. Stephen H. Burum, the editing by Bill Pankow, everything comes together here to elevate a wonderfully pulpy bit of neo-noir into something eminently watchable and satisfying, from the audacious opening to a darkly comedic footnote. It might never deliver a knockout blow, and it's not quite top-tier De Palma, but Snake Eyes is a loud and dazzling spectacle for most of the 98-minute runtime.

7/10

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Mubi Monday: Between The Lines (1977)

I've only very recently discovered the films of director Joan Micklin Silver, having just seen both this film and Hester Street in the past week or so. While I haven't been completely won over by either film, there's something very interesting in both, helped by the fact that Silver has a knack for assembling a great cast of people who feel perfect in their roles, whether they are the leads or supporting players, or even (as is the case here) part of a large ensemble that doesn't spend too much time focusing on just one character.

What you get here is the story of a small Boston newspaper that is poised to be taken over by a big business. The writers all have various strengths and weaknesses, and various fluid relationships between one another, and some already have dreams of moving on to bigger and better things. Some have a great book waiting to be written, some have a move to another city planned, and some think that they can use their place in the paper to make themselves into a revered writer worthy of far more than the relatively meagre paycheck that the paper can afford to pay them.

Written by Fred Barron and David Helpern, two people I am even less familiar with than Silver, Between The Lines is most interested in showing newspaper work as an unglamorous and slightly shambolic. It's a lifestyle, a skewed work/life balance, that will actually feel familiar to anyone who has spent time in any industry where they made firm friendships, and substitute family units, be it a writing job, hospitality, a small boutique business, or even factory/warehouse work. The work may differ wildly, but what keeps you getting through every day is the same, it's the connections made with other people and the idea of having something else on the horizon.

Silver does well in allowing the whole thing to feel so loosely assembled and frantic, presenting the characters and story in a way that could best be described as Altman-esque (I know, I know, that's lazy, but sometimes I'm lazy . . . and you know what I mean), while always moving back to one or two characters just in time to give the feeling of a proper story arc for them. She's helped enormously by the fact that those characters are played by the likes of John Heard, Lindsay Crouse, Jeff Goldblum, Jill Eikenberry, and Bruno Kirby.

I'm not going to single out any one performance, particularly when everyone works best while showing what they add and subtract from the group during any main sequence, but there's also room for performances from Stephen Collins, Lewis J. Stadlen (a bit of a standout as someone trying to keep an eye on the business side of things), Michael J. Pollard, Joe Morton, and Lane Smith, as well as a number of other familiar faces. As individual as each performer is, they make a wonderful addition, for better or worse, to the fluid group dynamic.

There's also now an undeniable romanticism about journalism that requires people to do more than scan social media for soundbites and write speculative pieces far removed from genuine news stories that result from hours of blood, sweat, and tears, and Between The Lines benefits from that romanticism. It's how you imagine the life of many writers to be, or to have been at one point, with these characters maintaining their erratic levels of energy thanks to bursts of creativity, numerous alcoholic drinks, and nicotine hits. 

7/10

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Filmstruck Friday: After Hours (1985)

I didn't love After Hours when I first saw it. I think I was almost twenty, I didn't really get the tone of the film, and I loved it more for the fact that Scorsese directed it than the content of the film itself.  It's a spiralling nightmare that can make it hard to find the comedy until you are in a position to identify more with the central character, which is why I like it a lot more today.

You see, as much as I hate to say it, I have now had episodes that come close to the feeling I get while watching After Hours. I've had nights that have gone from bad to worse, as I make numerous unwise decisions to stay in the company of an attractive woman who was also a bit . . . whacky. I've had nights when I have lost my money and had a hell of a long journey home ahead of me. And I've had nights when the fun has stopped but I have somehow found myself somewhere, or in the company of someone, that feels quite dangerous. Treading carefully while drunk is always harder than doing so while sober.

But let's get to the film. Griffin Dunne plays Paul, a man who ends up out later than intended after he meets the lovely Marcy (Rosanna Arquette). One thing leads to another and Paul eventually finds himself in the company of an artist (Linda Fiorentino), a lonely and sad bar worker (Teri Garr), and, eventually, another artist (Verna Bloom). That's not to mention his temporary state of poverty, a suicide, a surprisingly helpful barman (John Heard), and a woman who seems to want to help him while simultaneously testing his last nerve at the same time (Catherine O'Hara).

Part of the pleasure of watching After Hours, and why I enjoyed it enough before identifying more with Dunne's character, is seeing this material handled by Scorsese. It has a number of his familiar directorial flourishes, a typically eclectic soundtrack, and benefits from his ability to make some of the darkest moments still seem entertaining. This is a film in which a man finds the corpse of someone who has committed suicide and then has to stick up signs pointing towards the dead body as he leaves the scene, after calling to inform the police.

The script by Joseph Minion helps a lot, bringing in plenty of memorable characters and plot elements that plague our lead more than once. Although the general feeling is one of chaos and madness, the script is very tightly put together, slotting various pieces together expertly and leading to an insane final sequence that serves as a brilliant punchline to the proceedings.

Dunne is wonderful in his role, but he's not left with the whole film on his shoulders. Everyone I have already mentioned above does great work. Many are absolutely right for their roles, but O'Hara and Garr are the real standouts. You also get fun cameos for Will Patton, Cheech Marin, and Tommy Chong.

If, like myself, you last watched After Hours before you recognised exactly how those nights can occur then I encourage you to give it a rewatch. Despite the title, this is not a film just about a late night out. It's about a state of mind.

8/10

I recommend buying this set.
Americans can get it here.

Would You Rather (2012)

Horror films that are based around forcing people to make unpleasant choices have been increasingly popular since the Saw series became a huge hit. We've had some good ones (although I admit that there isn't a title springing to mind right now) and some not so good (Choose being a pretty lacklustre effort). Thankfully, Would You Rather is a good one, helped enormously by a typical performance from Jeffrey Combs that mixes charm with more than just a hint of lunacy.

The plot revolves around a young woman (Iris, played by Brittany Snow) who is desperate to turn her life around. She needs money, and a lot of it. Not for herself, you understand. She has a younger brother who is very ill. Combs is Shepard Lambrick, a very wealthy man who occasionally invites a number of people to dine in his home, before revealing to them the particulars of a game that he likes to play. A game that sees how much people can be bought for, and how quickly they can change the nature of their ways for a large enough reward.

There's a solid cast of supporting players onscreen here, including John Heard and Sasha Grey (not the best actress ever, but she acquits herself just fine), but there's no mistaking that Snow is the leading lady and plenty of time has been set aside for Combs to grandstand as he so easily can. The fact that the likes of Eddie Steeples, Robin Taylor, Enver Gjokaj and Jonny Coyne all still manage to make an impression is testament to the capable script (by Steffen Schlachtenhaufen) and direction (by David Guy Levy) giving everyone at least one memorable moment.

A number of moments made me really wince, so kudos to the warped minds who came up with the increasing pain meted out to everyone involved, but it's a shame that Would You Rather undermines its own premise far too early, making everyone a forced participant in the sadistic game rather than having their conscience eroded gradually by the riches on offer.

Well worth a watch, even if you look away during the harsher moments.

7/10

http://www.amazon.com/Would-Rather-Blu-ray-Brittany-Snow/dp/B00CBFB8WG/ref=sr_1_3?s=movies-tv&ie=UTF8&qid=1389209604&sr=1-3&keywords=would+you+rather

Sharknado (2013)

Don't pretend that you haven't heard of this one. The movie that had a poster/DVD cover featuring a tornado full of dangerous sharks, with the tagline: "Enough said!"

Sharknado is exactly what you think it will be. The plot is all about a freak hurricane that picks up lots of sharks and throws them into the streets of Los Angeles. While it's raining sharks (hallelujah?), our hero (Ian Ziering, playing a man named . . . . . . Fin) takes a few people along for the ride as he desperately heads out to help his ex-wife (Tara Reid) and protect his teenage-ish kids.

On one hand, there's no point in criticising Sharknado for succeeding at what it aims to be. Director Anthony C. Ferrante and writer Thunder Levin have crafted what may well be the new benchmark for Asylum movies (taking the crown from the mighty Mega Shark Vs. Giant Octopus). It's so high concept while also scraping the bottom of the barrel that it forms one almighty paradox wrapped in an oxymoron wrapped in a . . . . . . . . . CGI shark.

The acting from almost everyone onscreen is pretty dire. That's not to say that everyone is unforgivably bad. They're bad, but somehow still manage to win viewers over just by turning up and taking part in the madness. Tara Reid may be the most famous face onscreen, but you wouldn't know it from her acting skills. Let's be generous and assume that she lowered her performance levels to be in line with everyone else around her. Ziering isn't bad, but he's not very good either. John Heard is good fun, despite not being onscreen often enough, and Cassie Scerbo, Jaason Simmons, Chuck Hittinger and Aubrey Peeples all try their best to act like people . . . . . . . . . running scared from sharks that are being thrown from violent tornadoes.

The script is bad, with the obvious Jaws reference(s) being particularly groansome, the continuity is non-continuous and the special effects aren't all that special, but this has some fun moments here and there and certainly can't be accused of being dull.

I think I can sum up my reaction to Sharknado by summing up my reaction to one scene, in particular. The main characters try to tell people about the danger that they're in and try to move people away from shark-infested rainwaters. While doing so, one woman is knocking on the exterior of her car and asking someone to help her dog, who is locked in the car. This is obviously supposed to be a "save the dog, at least save the dog" moment a la Independence Day. But . . . . . but . . . . . but . . . . . the dog is INSIDE the car. The dog is LOCKED IN the car. This means that either a) the woman now wanting help to get her dog out somehow locked it in there in the first place and is, therefore, a bit of an idiot or b) the dog knew that shit was going down and decided to lock itself within the relatively safe shell of the car. Either way, that dog seems to be one of the smartest characters. Enough said!

4/10

http://www.amazon.co.uk/Sharknado-DVD-Anthony-C-Ferrante/dp/B00EAR5PV8/ref=sr_1_2?ie=UTF8&qid=1376258930&sr=8-2&keywords=sharknado

Heaven Help Us AKA Catholic Boys (1985)

Set in a Catholic Boys' School in Brookly in the 1960s, Heaven Help Us takes the standard elements of any "coming of age" movie and bakes it in the greenhouse effect created by teenage rebellion coming up against overly strict monks. It benefits from a nice sense of time and place, an enjoyable soundtrack and a cast of '80s favourites.

Andrew McCarthy plays Michael Dunn, the new boy at the school who quickly has to learn how to fit in. He befriends Caesar (Malcolm Danare) and that seems to be his first mistake when he sees how Caesar is treated by the bullying Rooney (Kevin Dillon). Thankfully, the boys don't stay enemies for too long because they have a common foe in the shape of the monks running the school. Brother Thaddeus (Donald Sutherland) seems a bit strict when speaking to the boys, but isn't all that bad, and Brother Timothy (John Heard) is new to the school and pretty damn cool for a monk, but Brother Constance (Jay Patterson) is a real nasty piece of work, always ready to dish out punishments far outweighing any perceived crime. When out of school, the boys try to relax and enjoy time at a local hangout, where Michael meets Dani (Mary Stuart Masterson), but the hangout is not safe from the monks, who often raid the building as they attempt to catch wrongdoers.

Michael Dinner directs this charming slice of teenage turbulence, from a script by Charles Purpura, and he takes the standard storyline and mix of characters and elevates them with a superb cast. As well as those already mentioned there are roles for Shawn Wallace, Yeardley Smith, Patrick Dempsey and Stephen Geoffreys (stealing the show as a young man addicted to onanism).

Kevin Dillon may not be the best of the leading players, but his slightly weaker performance is compensated for by the work from everyone else involved. McCarthy is in great form here, especially during the powerful and pleasing final act, and Mary Stuart Masterson is wonderful, as usual (okay, I had a crush on her in the '80s, so sue me). Malcolm Danare is fine in his role while John Heard does such good work that it's a shame he didn't get more screen-time. Indeed, it's a shame that he didn't get many more roles like this one to remind people of how good he could be.

It's a tricky film to track down on this side of the pond (but it's also on YouTube in sections for those who cannot afford, or are unable, to get the DVD) but it's one worth trying to get hold of, even for just the one viewing to see if you agree or disagree with those who really like it.

8/10

http://www.amazon.com/Heaven-Help-Us-Patrick-Dempsey/dp/B0007TKNEC/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1357052451&sr=1-1&keywords=heaven+help+us