Prime Time: Casper (1995)

If you're anywhere near the same age as me, or older, then you'll remember the cartoons featuring Casper, the friendly ghost. A lot of them followed the same template. Casper would float around, trying to make friends, and inevitably scare off almost everyone that he met. There would be cries of " it's a g-g-g-g-ghooooooooost" and everyone would flee. Even campfires would be shown as living entities, picking up their sticks and running away as fast as they could.

This live-action movie, featuring some decent CGI that holds up surprisingly well over two decades later, sees writers Deanna Oliver and Sherri Stoner taking that core idea and managing to nicely frame a whole movie around it. There are a lot of cute gags, plenty of supernatural shenanigans, and a perfect tone throughout that just about keeps the schmaltz palatable, thanks to the darker moments being handled with an impressively light touch.

Bill Pullman plays Dr. Harvey, and Christina Ricci is his daughter, Kat. The two end up in the same house as Casper (voiced by Malachi Pearson, and portrayed by Devon Sawa in one sequence showing him in "non-ghost" form) because the doc has been hired by a woman named Carrigan (Cathy Moriarty) who wants the house cleared of the spirits that live within it. As well as Casper, there are three nuisance ghosts named Stretch, Stinky, and Fatso. Carrigan needs them all gone so she can find the treasure that she knows is hidden somewhere inside the house, which she inherited from a dead relative.

Directed by Brad Silberling, who has a relatively small filmography with one or two gems tucked in there (why am I still the only one who enjoys A Series Of Unfortunate Events so much?), Casper is a pretty perfect way to adapt a cutesy cartoon character into a feature film. It doesn't waste too much time setting things up, with credit again due to Oliver and Stoner, who do a fantastic job in the script department, and it plants the more serious/emotional moments in between numerous gags (with the initial confrontation between Dr. Harvey and the three non-Casper spirits being a highlight).

Pullman and Ricci do very well in their roles, acting opposite the special effects naturally enough and doing a fine job when called upon to deal with the themes of loss and loneliness (both miss their wife and mother, respectively, who died some time ago). Ricci may be the focus of Casper's attention but it's a pleasant surprise to see Pullman get to have more of the outright fun moments, thanks to his interactions with the other ghosts. Moriarty is a good villain, helped in her scheming by Eric Idle (as the sycophantic and selfish Dibs), and both characters are led to a fitting end by their plans. There are also a number of fun cameos, none of which I will spoil by namechecking here.

Having not seen this since I first caught it when it was released on VHS, Casper was a pleasant surprise when I rewatched it recently. It's a great family film, dealing with some big themes that will surely lead to good conversations between kids and their parents, and I hope that others don't allow it to be completely forgotten further down the line.

7/10

Casper can be picked up here.
Americans can pick it up here.

Monty Python's The Meaning Of Life (1983)

I have a bizarre viewing relationship with this, the last, Monty Python movie. I first saw it many years ago and quite enjoyed it. I was young, there were many jokes that I didn't get, but it had enough amusing moments to keep me entertained. Just. Then I saw it as an adult and enjoyed it a lot more. I'm sure that I even thought those who criticised it were being unduly harsh. On a recent rewatch, with me still being an adult (I haven't suddenly developed some kind of Benjamin Button syndrome, despite my moments of immaturity), I have found that I fall in line with the majority. The Meaning Of Life has moments of greatness, but it's far from a great film.

Directed by Terry Gilliam and Terry Jones, this film suffers from excess in a way that neither of the previous Monty Python features could have tolerated. In fact, one segment entitled "The Crimson Permanent Assurance" almost unbalances the entire thing. The fact that it was directed by Gilliam, who can't seem to align the practical aspects of controlling costs and maximising efficiency alongside the need to express his artistic vision, should come as no surprise to those who have continued to watch the ups and downs of his career.

Putting that segment aside, despite the fact that it comes along at the start of the movie and then interrupts proceedings later on, what else is on offer here? It's very hit and miss. Written and acted, as usual, by the whole troupe - Gilliam, Jones, Graham Chapman, John Cleese, Eric Idle and Michael Palin - with supporting turns from Carol Cleveland, Patricia Quinn and a few others, the sketches touch on various aspects of life and humanity. Birth is covered, with the superb song "Every Sperm Is Sacred" being a highlight, war is looked at a couple of times, the significance of our lives (or lack of it) is brilliantly summed up in "The Galaxy Song" (^^^see above^^^), there's the unforgettable sight of a certain Mr. Creosote and, of course, Death makes an appearance towards the end of the movie.

Fans of the Pythons will still find enough to enjoy here. Gilliam gets to throw in some crazy imagery, everyone has at least one scene-stealing moment and the surreal "find the fish" sequence has grown from something that I simply endured to an inspired moment of brilliance that I could probably watch repeatedly without never becoming bored. There are many great lines, but they often happen to be caught amongst many distinctly average, or even unfunny, moments.

I can't say this is a BAD film, and I'd hope that any Monty Python fan would agree, but it's a big step down from the previous movie outings. The BIG laughs are few and far between, though it's important to remember that they are still there, but a lesser Monty Python film is still full of more wit and ideas than a hundred other movies released in the same year.

6/10

http://www.amazon.co.uk/Monty-Pythons-Meaning-Special-Edition/dp/B0001WAGHO/ref=sr_1_4?ie=UTF8&qid=1373148756&sr=8-4&keywords=monty+python%27s+the+meaning+of+life

And Now For Something Completely Different (1971)

The first movie outing for the Pythons, this is little more than a loosely connected series of sketches taken from the first series and the, yet to be aired at the time, second series. The fact that most of the sketches are typically brilliant is what makes this film so enjoyable, even if it's a lesser outing when compared to the features that the gang would release.

All of the guys are here - Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones and Michael Palin - and all have their usual heavy workload, sharing in the scripting duties before taking on multiple character roles to act out everything onscreen. They are joined by Carol Cleveland, Connie Booth and one or two others, but they remain front and centre, with Gilliam providing numerous bits of animated madness, as ever.

Director Ian MacNaughton doesn't really do much to move the material firmly away from TV territory. In fact, the familiarity of it all adds to the enjoyment. Any fan hearing of "the dead parrot sketch" or "the lumberjack song" will be ready to laugh and fire quotes at anyone else willing to listen. These are much-loved comedy sketches for good reason, because they're fantastic.

One of my favourite sketches sees a milkman lured into a household by a voluptuous housewife before things get absurd. It takes the easygoing attitudes of the time - typified by the "Carry On..." films and, later, the "Confessions Of..." movies - and then twists them to great comic effect. The perfect blend of clever and stupid, much like the absurd brilliance of "Hell's Grannies" and, of course, the grand finale showcasing "The Upper Class Twit Of The Year."

The Monty Python movies were never really designed to win over new fans. The group already had a sizable, loyal fanbase and rewarded them with a number of fun features. It's this first outing, however, that makes no concessions whatsoever to people new to the humour on display. Which is fine by me, especially when the result is as funny as this.

In summation - it breaks no new ground, but it sure does still tickle the funny bone.

7/10

http://www.amazon.co.uk/Monty-Pythons-Something-Completely-Different/dp/B00009PBSJ/ref=sr_1_1?ie=UTF8&qid=1373095874&sr=8-1&keywords=and+now+for+something+completely+different

Monty Python And The Holy Grail (1975)

Monty Python And The Holy Grail is my favourite film from the Pythons. I really love Life Of Brian, but this film just has even more inspired lunacy in the mix. The big laughs here are BIGGER laughs, to me, and it's one of the most quotable movies of all time. Don't believe me? Ask any fan about it and see how long it takes to hear them reel off a full quote.

What's the story? Well, it's supposed to be all about King Arthur (Graham Chapman) assembling the Knights Of The Round Table and going on a quest for the holy grail, but it's really just a series of fantastic sketches that use the time and characters to wring the maximum comedy from every moment of screentime.

It starts off with the opening of Dentist On The Job (a gag that surely confused a number of cinema-goers back in the mid-70s), moves into a number of sequences in which those responsible for the subtitles try to further their own bizarre agenda and then, eventually, gets to the main "storyline".

Directed by Terry Gilliam and Terry Jones, and written and acted by the whole gang (Chapman, John Cleese, Gilliam, Eric Idle, Jones and Michael Palin), there are also small, but memorable, roles for Connie Booth - playing a witch, with a witch nose and everything - and Carol Cleveland.

I have tried to refrain from simply listing all of my favourite scenes, but it's hard. The film is like a Greatest Hits Of Comedy album with no weak spots. There are amusing animated skits from Gilliam, some hilarious anachronisms, the Camelot Song (Knights Of The Round Table), the Black Knight, the Knights Who Say 'Ni' and much, much more.

Okay, I caved in and listed a lot of my favourite scenes, but even that doesn't begin to cover it. The only way I could fully express my love for every moment of this movie would be to just copy and paste the entire script here. It's THAT good.

I have to go now. I've been ordered to cut down a tree . . . . . with a herring.

10/10

http://www.amazon.co.uk/Monty-Python-Grail-Blu-ray-Region/dp/B0015GQ3EA/ref=sr_1_2?ie=UTF8&qid=1373011211&sr=8-2&keywords=monty+python+and+the+holy+grail

Monty Python's Life Of Brian (1979)

An irreverent, clever look at religion from the Monty Python team, this comedy classic tells the story of Brian (Graham Chapman), a young man who spends his life, due to numerous coincidences, being mistaken at particularly inconvenient moments for the messiah when he was, in fact, born in the stable next door. He gets himself involved with the People's Front of Judea (not to be confused with the Judean People's Front . . . . . . . . . . splitters!) and is soon wanted by the Romans for a number of crimes. Considering the fact that just uttering the line "that piece of halibut was good enough for Jehovah" is enough to get a man stoned to death, things don't look too good for Brian.

Directed by Terry Jones, the script features the usual contributions from the whole team (Jones, Chapman, John Cleese, Terry Gilliam, Eric Idle and Michael Palin) and the gang also take their usual selection of multiple roles. Taking one example, Michael Palin plays an ex-leper cured by Jesus and still trying to make a living from begging, a spectator insulted for his big nose, Pontius Pilate, a member of the People's Front of Judea named Francis and quite a few more memorable characters.

While the comedy is still scattershot in places, this is a more cohesive and focused film than many others from the Python troupe. Fans of Terry Gilliam's artwork may wish there was a bit more of it here, but there's a glorious title sequence and at least one other enjoyable skit later in the film that features some of his art. Everyone involved seems to agree that they were at their peak here, with Chapman in especially fine form, and the tightrope being walked, as they tried to make the best film possible with such controversial central subject matter, may have helped.

Despite what the thin-skinned, quick-to-take-offence, complainers will say, Monty Python's Life Of Brian isn't actually an offensive movie, unless you're offended by being made to laugh so hard. Jesus is mentioned, parallels are made, but the gang never actually mock the life of Christ directly. What they do is much better than that. They make jokes about the time, about the attitudes and about blindly following people who may be equally desperate for signs to show them the way forward. It's about silly names, the importance of correct grammar and the futility of people fighting against each other, despite having the same aim.

And it poses that vital question: "What have the Romans ever done for us?"

9/10

http://www.amazon.co.uk/Monty-Pythons-Life-Brian-Immaculate/dp/B000X4ZGL6/ref=sr_1_2?ie=UTF8&qid=1372929082&sr=8-2&keywords=life+of+brian

The Adventures Of Baron Munchausen (1988)

I admit that I was hesitant when I slid the Blu-ray of The Adventures Of Baron Munchausen into my player. When it was (barely) released in 1988 I saw a few clips that just didn't sell it to me. In fact, it looked a right mess and the poor performance at the box office did nothing to make me doubt my first impression of the film. Fast forward to all these years later and I now know that boffo box office results aren't always a sign of a great movie, but I still thought I was about to watch a mess. An entertaining mess, perhaps, but a mess nonetheless.

Piffle! The Adventures Of Baron Munchausen is a fantastic film. Directed by Terry Gilliam, who co-wrote the screenplay with Charles McKeown (based on the character created by Rudolph Erich Raspe), it is his usual mix of wild imagination, wonderful visuals and warped humour. Apparently, it forms a thematic trilogy after the excellent Time Bandits and the masterpiece that is Brazil, something to do with the ages of man and the power of imagination, but the most important thing to know is that it's a rip-roaring adventure full of spectacle and larger than life figures.

It is a time of war, a time of misery for the occupants of a city being attacked by a large Turkish army. It is "The Age Of Reason". For the benefit of those seeking a distraction from the war, a play is being performed that's all about the life of the adventurer known as Baron Munchausen. Unfortunately, the play is interrupted by the Baron himself, who is unhappy at the way his adventures have been adapted and proceeds to tell the audience the truth, including how he was responsible for starting the war on the city. Mind you, it's not surprising that few people believe his words when he goes on about his sidekicks - the fastest runner in the world, an eagle-eyed sharpshooter, a man with excellent hearing and the ability to exhale gale force winds and the strongest man in the world. Reality then reasserts itself as the war interrupts the Baron and he wanders off to die. Thankfully, that plan doesn't work (or it would be a very short film indeed) and so the Baron decides to save the city, meaning that more adventures are about to unfold.

This wasn't an easy movie to get made, but from what I've seen and heard over the years, few Terry Gilliam movies are. Having seen his work method, I think it's all down to the fact that he yearns to find the fastest way possible to put his constantly inventive imaginings on to film and that makes for very hard work indeed. He has it all there in his mind and you can see how fast it all wants to come out whenever he quickly sketches a new idea or a revision of the scene before him (check out both Lost In La Mancha and The Hamster Factor And Other Tales Of Twelve Monkeys to see what I'm on about). The difficulties behind the camera just don't show themselves, however, and viewers are simply left to enjoy a great final product.

The cast is wonderful, full of so many familiar faces as well as those who just fit their characters perfectly. John Neville is the Baron, the very heart of the film, and he makes for a wonderful companion and narrator throughout. Sarah Polley is only a teeny tiny girl here and she's very good in her teeny tiny girl role. Eric Idle, Winston Dennis, Jack Purvis and Charles McKeown have a lot of fun playing some rather unique characters while Uma Thurman, Jonathan Pryce, Robin Williams, Alison Steadman, Oliver Reed, Bill Paterson, Valentina Cortese, Peter Jeffrey and many others populate the screen in a variety of weird and wonderful roles.

Fans of Gilliam's films should love this one, fans of films such as Big Fish (which has quite a similiar structure) should love this one and fans of fine cinema, in general, should find plenty to enjoy. I didn't expect to say this before putting in that Blu-ray, but I highly recommend this film.

8/10

http://www.amazon.co.uk/Adventures-Munchausen-Anniversary-Edition-Blu-ray/dp/B0012OTRYI/ref=sr_1_2?ie=UTF8&qid=1357696323&sr=8-2