Mary Shelley's Frankenstein (1994)

A tale of an intelligent and powerful man unable to heed the warnings of people who want him to reconsider just how far he wants to push things in the pursuit of his main obsession, Mary Shelley's Frankenstein is an interesting and entertaining movie, not least because of how the main storyline seems to run so nicely illustrate the unchecked ego (at that time) of director-star Kenneth Branagh. In fact, considering the lessons he may have learned along the way, I'd love to see what Branagh would do with this material today. Would he keep it much the same, albeit elevated with some superb CGI, or would we end up with a very different beast? I suspect the latter, but I'm not displeased to realise that Branagh could easily make all the same mistakes. Or even some all new ones.

I don't even need to summarise the story here, do I? No. Branagh plays Victor Frankenstein. Helena Bonham Carter is his beloved, Elizabeth. Robert De Niro is the Creature. And you have supporting turns from Tom Hulce, Aidan Quinn, Ian Holm, Richard Briers, John Cleese, Robert Hardy, and many others. Victor Frankenstein wants to conquer death, he wants to create new life, and the end result of his experimentation leads to a great deal of unpleasantness. That's all you need to be reminded of.

With Branagh having made such a big deal at the time of telling everyone that this was going to be a more faithful telling of the Frankenstein story, a film that would get closer to the source than any others that had come before it, it's easy to forget that the script is by Steph Lady (his first and only one, to date) and Frank Darabont. Structuring the whole thing to frame the main, more familiar tale, with bookends that have Victor Frankenstein explaining his woes to an Arctic explorer (Walton, played by Quinn), Lady and Darabont try their best to freshen up the well-worn formula. They're sadly fighting an uphill battle. Having the Creature be intelligent and able to speak, for example, may show us something closer to how things were in Shelley's novel, but it doesn't feel right here. There are over eighty years of Frankenstein on film to be pushing back on, and that's a hell of a lot of cinematic weight. Fortunately, Branagh is ready to take his shirt off and flex some muscles as he attempts to hold his movie as high as he can.

Jokes about his willingness to get shirtless as often as Matthew McConaughey aside, Branagh simply never feels as suited to the lead role as he should be. He's too interested in showing off the production design and making some nice speeches whenever possible, making it harder for viewers to see the gleam in his eyes and the overwhelming obsession that pushes every sane thought out of his mind. It would be silly to call Branagh a bad actor, in my opinion, but he should have, as director, given the lead role to someone else. There's a similar sense while watching De Niro, although he's hampered by the fact that he's depicting the Creature in a way so alien to film viewers. De Niro does quite well in the role, but it doesn't help that he always feels like what he IS - a version of Robert De Niro overlaid with a variety of prosthetic make up. Carter does well enough, and really sells her final moments in the film brilliantly, and Hulce is an enjoyable presence as a friend, ally, and someone hoping to save Frankenstein from himself once the full madness and terror is revealed. Quinn certainly has presence in his relatively minor role, Briers is sweet and likeable as a blind man, and everyone else does well with what they're given, including Celia Imrie, Trevyn McDowell, and a disappointingly underused Cherie Lunghi (as well as those already named above).

Quality emanates from every frame, from the practical production design to the CGI work, from the wonderful matte paintings to the sharp and impressive music from Patrick Doyle. It is, for the time, a remarkable achievement, in film-making terms. Where it falls down, sadly, is in the casting of the most important roles. Perhaps Frankenstein and his Creature need to be played by people who can fully immerse themselves in the roles. This is a very handsome adaptation of a classic tale, but it's not one that really shows Frankenstein and his Creature. It shows Branagh and De Niro in the middle of a wonderful playground. Which is all well and good . . . as long as you like Branagh and De Niro. And I do.

6/10

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Mubi Monday: Howard's End (1992)

Although it is easy to roll your eyes at the lifestyles of the rich and super-repressed depicted in Merchant/Ivory movies, especially while now removed so far from their original warm receptions, it is also easy to sit back and let them work your magic on you. You have a story told well with a cast of British stalwarts helping things along by basically being very British, and stalwarts.

Emma Thompson plays Margaret Schlegel, a woman going through life with less propensity for dramatic declarations than her sister, Helen (Helena Bonham Carter). But it is thanks to Helen that the Schlegel family become associated with the residents of Howard’s End, a lovely country house. Margaret becomes close friends with the ailing Ruth Wilcox (Vanessa Redgrave). After the passing of Mrs Wilcox, Margaret then, very unexpectedly, grows increasingly close to Mr Wilcox (Anthony Hopkins). Meanwhile, Helen becomes obsessed with helping a Mr Leonard Bast (Samuel West) and his wife, a couple places in dire financial circumstances from incorrect advice offered to them, via the Schlegel sisters, by Mr Wilcox.

Directed with the usual elegance and patience by James Ivory, this is a familiar clash of principles and viewpoints, drama made all the more important for the impact it could have on someone’s standing in society. The script, by Ruth Prawer Jhabvala, adapts the E. M. Forster source material in a way that preserves everything precious, from the characters to the time period and setting, without forgetting that it should entertain and mesmerise viewers. Of course, this kind of fare isn’t for everyone, but those who love such costume dramas should find a lot to appreciate and enjoy here (although it should be noted that this feels a notch or two below the excellent The Remains Of The Day).

Thompson is as wonderful as ever, giving yet another one of her high-spirited turns that allow her to navigate the nuances of differing social strata without completely erasing her own personality and opinions. Hopkins also does something he does so well, the flawed man who knows little more than how best to maintain his social standing, and his reserved manner is interspersed with moments of brutal honesty, conflict, and an openness that is hard to recognise until it is underlined by his response to certain major events. Carter has to play the more annoying character, which she does well, a woman who wants to right some wrongs in the world without considering some of the better ways to get results (or maybe her direct approach is best, it’s complicated by a further revelation that changes the film once again). Everyone else does their best, all very polite, and often entitled, but the others worth noting are West and Nicola Duffett (playing his wife). Both are victims of of circumstance, with one trying to stubbornly refuse more help while they believe they can improve things on their own.

This is, in many ways, cosy fare. Things look bleak, there are highs and lows, but the story always seems poised to lead towards a better destination for the main characters. The technical side of things may be spot on throughout, but it is the casting that makes this as good as it is, particularly Hopkins and Thompson, two greats who seem to bring out the best in one another.

Recommended, but only after you have treated yourself to The Remains Of The Day first.

8/10

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The Lone Ranger (2013)

Here's an anecdote that will make sense to nobody outwith Scotland. When I was quite young I wrote in to the letters/joke page of the Oor Wullie section of The Sunday Post. I sent in a joke and received, if I remember correctly, a £5 gift token, and my name in print. The joke wasn't great, but I still kinda like it. See what you think.

Tonto is riding through the countryside one day and sees The Lone Ranger coming towards him, with a bin bag over his shoulder.
"Where are you going?" asks Tonto.
"To the dump, to the dump, to the dump, dump, dump. To the dump, to the dump, to the dump, dump, dump."

I admit, it may not work quite as well when written down. Anyway, let's move on.

There are some movies that just don't stand much chance with the critics. That can happen for a variety of reasons. The subject matter. The budget. Bad casting choices. And much more besides. The Lone Ranger was one of those movies. And I can think of two main reasons for the knives being drawn. One, the budget, which apparently went just over $200M. Two, the casting of Johnny Depp in the role of Tonto, the Native American sidekick to the main character. I don't care about the budget for blockbuster movies, personally. Once you're over $100M then everything tends to blur into one big, fat wad of cash anyway. I do agree with everyone who thought that casting Johnny Depp as Tonto was ridiculous, however, but realise that he's the only BIG name in the cast. That means that the decision is still dubious, but a bit more understandable. Yet it's still not a good enough reason to completely drub a film that actually has some moments of rollicking entertainment.

The story is, as if you couldn't guess, all about how a man (Armie Hammer) assumed the role of The Lone Ranger. With Tonto by his side, for better or worse, he eventually comes to realise that his idealistic approach to the law may not be beneficial to his health, especially if the criminals that he wants to capture are just working for more powerful, but hidden, villains.

Directed by Gore Verbinski, there's no denying that the film has a certain Pirates Of The Caribbean vibe to it. There are issues with the pacing, there are some big, entertainingly complicated, action sequences, and there's Johnny Depp being a bit kooky. The script, by Justin Haythe, Ted Elliott and Terry Rossio, packs in much more than it needs to. The Lone Ranger doesn't have to be a complex character. He's a good guy, plain and simple. Yet the writers here decide to focus on his steep learning curve, as he grows into the mask, and then amuse themselves with a framing device that allows them more room to play around with the narrative. It does make for a few good moments, admittedly, but could easily have been trimmed to save the movie a good 10-15 minutes, in my estimation.

Hammer is good as the hero. I like him a lot, thanks to his ability to temper the stoic heroic qualities required with some solid comedic talent. Depp - well, we've already covered his performance. He's not terrible, although many will disagree. Ruth Wilson is a tough woman who finds herself in danger, and she's okay, but given short shrift by the script. William Fichtner fares much better, playing the dangerous criminal known as Butch Cavendish, and Tom Wilkinson repeats the kind of decent performance that is often required of British actors in American blockbusters. Barry Pepper proves to be a highlight, once again. As he does in almost every movie that he appears in. And there are also small roles for James Badge Dale, Helena Bonham Carter, Harry Treadaway and Stephen Root, among others.

There are a number of scenes that feel a bit dull and lifeless, yet the movie really shows how great it could have been in a few extended set-pieces that raise up the energy levels and mix CGI, fantastic stunt work, and a healthy dollop of humour to provide the kind of exuberant fun that I wish more blockbusters would strive for. And the finale, accompanied by that rousing theme music (well, it's the final section of the "William Tell Overture" but many grew up with it as "the theme tune from The Lone Ranger"), is a surprisingly great piece of cinema, marred by some excessive FX work and both helped and hindered by a sense of ridiculousness.

I wouldn't be brave enough to say that this is a movie that you may be pleasantly surprised by. Okay, what the hell, I will. Give The Lone Ranger a try some time, and you might be pleasantly surprised. I certainly was.

6/10

http://www.amazon.com/Lone-Ranger-Blu-ray-Digital-Copy/dp/B00DJYJWVW/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1409322376&sr=1-2&keywords=the+lone+ranger

Ani-MAY-tion Month: Wallace And Gromit In The Curse Of The Were-Rabbit (2005)

Wallace and Gromit are two British characters, the former a human and the latter his dog, with a great love of cheese, and the two have been entertaining us in numerous short films for years now. Created by Nick Park, the big boss at Aardman Animation, they are, arguably, the best double-act from the UK since The Two Ronnies. Oh yes, they're THAT good, even if they're made of plasticine/clay and only move thanks to stop-motion animation. But not every great duo can make the transition from the small screen to the big screen.

There is, however, nothing to complain about here. This feature movie is a joy from start to finish. The plot sees our two main characters finding themselves a bit perturbed when local villagers have their greenhouses and vegetable plots ransacked. Wallace and Gromit, having offered security with their Anti-Pesto humane pest control service, have a lot of fingers pointed at them for their inability to deal with the situation, but this is a situation that nobody could have envisioned. As the title suggests, this is one veg-munching pest unlike any they have dealt with before.
There's also a potential love interest, in the shape of Lady Tottington (Helena Bonham Carter), and some rivalry from Victor Quartermaine (Ralph Fiennes), a man who believes that the best way to deal with pesky rabbits is just to shoot them all.

Directed by Steve Box and Nick Park, who also co-wrote the screenplay with Mark Burton and Bob Baker, Wallace And Gromit In The Curse Of The Were-Rabbit is, for me, practically perfect in every way. Every scene is so jam-packed with jokes and references to other movies that repeat viewings are essential, but nothing ever detracts from the main events that are put front and centre.

Peter Sallis returns to voice Wallace, a wise decision as the character just wouldn't seem the same with anyone else voicing the part, and he simply IS Wallace. Carter and Fiennes are both a lot of fun in very different ways, and Peter Kay gets to raise a smile or two as PC Mackintosh.

I could praise every single member of the voice cast, and I could quote over a hundred great lines from the script, and I could wax lyrical about the detailing and look of each scene, but that still wouldn't necessarily convey just how much I love this film. Because, as immature as it may seem, even just seeing bunnies floating around while caught in a humane piece of kit that sucks them up into a containment unit is enough to put a huge grin on my face.

It might be slightly cheesy at times, but it's always delightfully crackers.

10/10

http://www.amazon.co.uk/Wallace-Gromit-Were-Rabbit-Special-Edition/dp/B000B83YWM/ref=sr_1_1?ie=UTF8&qid=1400087838&sr=8-1&keywords=wallace+and+gromit+curse+of+the+were+rabbit

Novocaine (2001)

A quirky comedy thriller that doesn't have quite enough laughs or thrills, Novocaine isn't a bad film, by any means, but it's far from a great one. The script isn't exactly sizzling, and the execution of the material lacks any style and flair, but everything is made better thanks to a great cast who look like they're having fun.

Steve Martin stars as Frank Sangster, an orderly and efficient dentist who runs his business with constant help from his loving partner, Jean Noble (Laura Dern). That ordered and efficient life is turned upside down by the arrival of Susan (Helena Bonham Carter), an attractive young woman who also has a bad habit of stealing drugs. Susan comes with some bad baggage, in the shape of her violent brother, Duane (Scott Caan). Frank also has a troublesome brother, Harlan (Elias Koteas), but he's not as troublesome as the corpse that turns up, looking very much like he has been put in that state by Frank.

Written and directed by David Atkins (with Paul Felopulos helping create the story), this is a quirky comedy-tinged thriller that just falls short of being really worth your time. The twists and turns aren't twisty and turny enough, the little laughs are just that - little - and the whole thing feels as if it is trying, and failing, to be cool.

The cast all do a great job, and that's what helps the film to stay just above average. Martin is solid in another non-comedic role, allowing most of the humour to come from the characters played by Dern, Caan and Koteas, who all have fun with their roles. Helena Bonham Carter is good, and Keith David and Kevin Bacon steal their limited onscreen time, playing a cop and actor researching an upcoming cop role, respectively.

Novocaine is enjoyable enough but, and here's something I thought I'd never say, there are a few much better dentist movies out there. The Dentist and The Dentist 2 are horror movies that make the best of our instinctive fears while The Whole Nine Yards takes a more similiar path to this one, with better comedic results.

This movie is worth a watch, but it's probably not one to revisit and grow overly fond of. It's more of a temporary filling.

6/10

http://www.amazon.co.uk/Novocaine-DVD-Steve-Martin/dp/B00009B0QH/ref=sr_1_1?ie=UTF8&qid=1377031436&sr=8-1&keywords=novocaine