Netflix And Chill: Rebel Ridge (2024)

It's a familiar tale, especially when it feels as if it's paying homage to First Blood throughout, but Rebel Ridge is a solid and tense action thriller that deftly mixes some thought-provoking commentary with a full-blooded star-making turn from Aaron Pierre.

Written and directed by Jeremy Saulnier, things start off with Terry Richmond (Pierre) being harassed by a couple of small-town cops. He was on his way with bail money to keep a relative out of jail, but that money is seized by the cops. They are apparently allowed to do that, it's called civil forfeiture, but there's something fishy about the entire process, as becomes even more obvious when Terry tries to reason with the local Sheriff (Chief Sandy Burnne, played by Don Johnson). Terry doesn't have anyone around to lend him support, aside from a courthouse employee named Summer (AnnaSophia Robb), but the local police soon come to understand that Terry doesn't really need anyone to help him. He can handle himself, and he can handle the local police as they slowly figure out that they're in big trouble.

I can see some people being disappointed by Rebel Ridge because of what it doesn't do, but I hope more people really appreciate it for what it does. Saulnier maintains a great balancing act of keeping things tense and entertaining without ever resorting to the standard gunfights and combat that we've seen before. The hero here isn't just a man pushed to the edge and fighting back. He's someone who also has to think about the consequences of every word and move, well aware of how easy it could be for law enforcement to find an excuse to shoot a black man without anyone asking too many questions. The police, on the other hand, act in the knowledge that they can make a mess and figure out a way to clean it all up later. They are the only ones constantly using lethal force, and that's an important part of the message of the movie.

With no disrespect intended, I am glad that John Boyega ended up not being able to play the lead in this, paving the way for Pierre to come along and stamp his authority all over it. Pierre is cool, calm, and collected, but also looks as if he could find a dozen different ways to kill you while smiling and nodding politely as you get ready to shake hands. That's the essence of the character, and Pierre excels in a performance that allows him to be impressively physical, but also charming and able to handle an American accent disguising his native British tongue (which I only mention here due to my surprise when hearing him speak in some press interviews about the movie). Johnson is just as well-cast in the main antagonist role, his easygoing manner and charm covering an air of menace and growing discomfort. Robb gets a slightly trickier role, but the screenplay does well to make her a friend to our hero without forcing them into a full-blooded and passionate relationship. Various officers are played by David Denman, Emory Cohen, and Zsané Jhé, and all three enjoy roles that allow them to often be in the thick of any action, and James Cromwell plays a judge in a couple of scenes in which he delivers some exposition and mourns for the state of his town in that calm and measured Cromwell way he can do so well.

This isn't a throwback to the muscle-bound action films of yesteryear, which I think some may hope for when they hear First Blood mentioned as a main reference point, but it's all the better for it. Saulnier has honed his craft over the years, I have yet to see something from him that I didn't thoroughly enjoy, and I hope he keeps getting opportunities to tell the stories that he wants to tell. Few people do tension as well as he does (the sequence here with police waiting on an internet router being rebooted as they try to find out more about our hero is one of the most satisfying bits of setup and immediate payoff that I have seen in years). Every thing that he gets right here helps to overlook the slight mis-steps, such as the runtime and a slight problem with the tonal shift as things get darker and more dangerous.

8/10

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Prime Time: Spirit: Stallion Of The Cimarron (2002)

It’s easy to forget now, but there was a time when Dreamworks didn’t really have any main identity at the heart of their animation department. They have now, and they have had great success, but there were a few years when they tried, and I would say failed, to impress audiences with classic adventures, biblical epics, and this . . . a tale of the old West as shown through the eyes of a strong stallion. And it should be said that I class these films as failures because of how they can be perceived in relation to other films from Dreamworks, not in relation to how I myself view them.

Spirit: Stallion Of The Cimarron isn’t great though. I have no idea how it was turned into a videogame and a number of small-screen spin-offs, considering how surprisingly dull it is, but those wanting more family viewing options featuring this character . . . knock yourselves out.

Matt Damon voices the titular character, a brave and noble stallion who enjoys the US countryside and looking after his friends and family. That is all out at risk when man barges through though, looking to train and tame horses, and looking to put railway tracks down throughout the fields and forests. Headed up by a stubborn and mean Colonel (James Cromwell), the men may spell the end of the blissful life for Spirit and co. 

Co-directed by Kelly Asbury and Lorna Cook, this is a film that had me wary from the very opening scenes. Viewers follow an eagle as it flies over some picturesque scenery, in a scene that feels very much like people showing off how nice they can make their animation. It isn’t the only moment like that, although some other sequences marry the visuals to some enjoyable action and drama, and it ultimately highlights the weakness of the film. This is much prettier than it is interesting.

The script from John Fusco doesn’t help. He has written some fun stuff in the past (a certain Brat Pack Western being one of his best), but he focuses here on a central character, and central message, that ensures the focus remains on the serious messaging of the piece. From the very first lines of dialogue, which are awful, you just know that you are stuck with something that is weighed down by an overload of earnestness.

Damon is fine as the lead character, Cromwell is a good villain, and the other main cast member is Daniel Studi, who does well, but they also have to share some time with songs delivered by Bryan Adams, who seems to have watched the film and then handed over tunes that literally describe what is happening onscreen. Nobody is at their worst, I guess, but they are certainly not at their best either.

It generally stays pleasant to look at, there’s an exciting sequence in the third act with a large steam train, and it certainly didn’t pain me to watch it. I will probably forget it within a few weeks though, and I know I will never deliberately pick it for a repeat viewing. There’s not enough to appreciate or dig into beyond a one-time visit.

5/10

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Prime Time: Merry Little Batman (2023)

Take the usual enjoyment of almost any animated Batman adventures (they are available in a variety of styles, and varying levels of reverence, all are great though), add a dash of Home Alone, and sprinkle liberally with a surprising amount of nods to Batman & Robin, and the end result is Merry Little Batman, an amusing Bat-bauble to enjoy at this time of year.

To summarize the plot in the most basic way, Batman (Luke Wilson) is called away to a false emergency, leaving young Damian Wayne (Yonas Kibreab) home alone at Christmas. Well, Alfred (James Cromwell) is around, but he’s not the best company. And he isn’t quite up to the challenge when the Joker (David Hornsby) aims to get himself a little Bat-trophy for the holiday season.

With the main screenplay credit going to Morgan Evans and Jase Ricci, although it takes a whole messy history to make every main incarnation of Batman, Merry Little Batman has your usual superhero movie lessons about responsibility and readiness mixed in with a healthy sprinkling of Christmas cheer. Director Mike Roth already has experience with anarchic animated adventures, making him a good choice to helm this, and he helps this maintain a unique identity throughout. It comes close to the Teen Titans Go! style, but manages to reference plenty of Bat-history without feeling too meta or iconoclastic.

As surprising as it may seem, Wilson is a good vocal choice for Batman here, presenting a different side of the character compared to many others we have seen. This is him in kindly father mode, and Wilson works well with the material, and switches it up slightly when ready for a fight. Kibreab is enjoyably full of energy and optimism, a child with a skillset that makes him both a boon and a danger when enemies are in the vicinity. Cromwell makes an excellent Alfred, and Hornsby is a brilliant fit for the Joker (although I have seen/heard others who disapprove), and the rest of the cast all fit their roles nicely (whether it’s Mr. Freeze, Poison Ivy, The Penguin, Bane, or anyone else along for this Gotham City sleigh ride).

I can see this not going down well with some viewers, especially if you prefer the more traditional style of animation used in most of the WB Batman features,  but I had a blast with it, and I know many other people felt the same way. It feels put together with real care and affection, and it’s a reminder that DC have been doing consistently better in the field of animation than they have with their live-action outings. If you didn’t realise that by now, have fun exploring their huge back catalogue.

7/10

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Babe (1995)

Amazingly, as I rewatched it recently, I realised that I hadn't seen Babe in about twenty five years. I'd rented it when it was a major home release, and remember it being an enjoyable, if very cutesy, time. Based on a novel (The Sheep-Pig) by Dick King-Smith, it actually holds up as one of the best live-action family movies of the past few decades.

Babe (voiced by Christine Cavanaugh) is a pig won at a market fair by Farmer Hoggett (James Cromwell). Destined to be a centrepiece of the Christmas dinner table, Babe instead finds itself helping out around the farm, helping to look after the sheep alongside, and sometimes in place of, the sheepdogs. Developing quite the talent, thanks to some special knowledge delivered by a caring sheep, Babe is seen by Farmer Hoggett as a chance to excel at the upcoming Sheepdog Trials.

There's no place here for grouchy cynics, Babe is a film of absolute sweetness and joy throughout, and it feels all the more refreshing for it. We're more used to modern family movies having sly gags for adults, moments of darkness to make the lighter scenes shine brighter, and a scattering of little details that have become part of the fabric of modern cinema. Babe is very old-fashioned in many ways, absolutely earnest and optimistic throughout, and that heart complemented by the excellent film-making techniques on display (the animatronics, the trained animals, the voice cast) make it a rewarding viewing experience.

Cromwell is a kindly adult figure, almost the lone main character, despite others having some screentime with him, but he's secondary to the animal stars, all of them feeling like very real characters. Babe itself is a curious and polite child, even in the middle of some sequences that are set up to make the poor piglet look like a trouble-maker, and Cavanaugh has a great voice for the role (as does E. G. Daily, who voiced the character in the strange, darker, sequel). Hugo Weaving voices a god, Russi Taylor is a scheming cat, Danny Mann has fun as a mischievous duck named Ferdinand, and you have solid turns from Miriam Margolyes, Miriam Flynn, narration by Roscoe Lee Browne, and some people providing the voices of three little mice who pop up to introduce each main segment of the story.

Director Chris Noonan, who also co-wrote the script with George Miller, hasn't done many other movies that I have felt the urge to seek out, but he can happily hold on to this as the shining star in his filmography. It's hard to think of anyone really hating it, and I can only assume that it's the hardest and coldest hearts that stay that way by the time the end credits roll.

Truly delightful, and an easy one to stick on whenever you want to feel a bit better about the world, Babe is a film that deserves your time. Watch it with kids, watch it with elderly family members, watch it with anyone you can make sit down and watch it with you, watch it on your own. Just watch it, and let it put a big grin on your face.

9/10

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Big Hero 6 (2014)

A treat for both Marvel and Disney fans, Big Hero 6 is great family fun, full to the brim with humour, in-jokes/references and gorgeous animation. It's got a big heart, and features a central character, Baymax, that should easily win a place in the heart of any child.

Hiro is a young boy with a fantastic brain for science and robotics, but no self-motivation. If he applied himself then he could do something truly great, and his brother, Tadashi, knows this. Tadashi takes Hiro to his place of work, a surprise visit that opens Hiro's eyes to the cool possibilities available to someone of his intellect. He also gets to meet Baymax, a health care robot that resembles a humanoid made from marshmallow (yes, he's a BIT like Mr. Stay Puft). It's not long, however, until tragedy strikes. Struggling to cope with his grief, Hiro ends up growing closer to Baymax, and eventually retooling the robot into something quite far removed from his original incarnation. This might help them to bring down a strange supervillain who has appeared in town, one wearing a Kabuki mask. However, Baymax encourages Hiro to contact, and receive support from, a number of friends, which allows a small team of potential heroes to be formed.

Although it's a bit too sweet and cutesy at times, I can't recommend Big Hero 6 highly enough to those who want to watch a superior animated movie aimed at a younger audience. From the city environment - San Fansokyo (a lush amalgamation of San Francisco and Tokyo architectural styles) - to the character design, and the tech on display, this is one of those movies that serves up a veritable feast in every scene.

Directors Don Hall and Chris Williams oversee everything with keen eyes, keeping those gorgeous visuals attached to a script (written by Jordan Roberts, Daniel Gerson and Robert L. Baird) that never shifts the focus away from the main characters. The voice cast includes quite a few famous names (Alan Tudyk, James Cromwell, Damon Wayans Jr, Maya Rudolph, Jaime Chung, T. J. Miller, Genesis Rodriguez), and every single performer does a great job, with highlights being Wayans Jr, Miller, and Rudolph. The two leads may not have name recognition, Ryan Potter voices Hiro and Scott Adsit voices Baymax, but the most important thing here is that their voices work, and work brilliantly.

You're never more than a few moments away from a good laugh, the action scenes are exhilarating, and any one of the main characters could make a cool role model. But be warned, the film also manages to explore loss and grief without sugar-coating the heartache. There may be one or two conversations being had between parents and children as they leave the cinema, and it's something worth being prepared for. Is there anything here on a par with the potential trauma many of us experienced when we first saw Bambi? Maybe not. But it's almost too close to call.

Based upon some comic material that I was formerly unaware of, this proves once again that you don't necessarily need brand recognition or a built-in fanbase to deliver a near-perfect blockbuster movie. You just need some TLC.

8/10

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Noir November: L.A. Confidential (1997)

L.A. Confidential is, to me, a perfect film. Sometimes I just want to start off with a statement that clarifies all the nonsense I'll be about to write. In this case, I'd like to beg your forgiveness in advance for a shameless torrent of effusive praise. I really can't think of anything bad to say about this, a movie that I class as a modern classic and easily the best neo-noir of the past twenty years.

Dense and rich, this is a film that benefits from superior source material (by James Ellroy). It's adapted into gripping cinema by Brian Helgeland and Curtis Hanson, with the latter also taking on the directorial duties. It's not exactly hard to follow, as hard as that may be to believe, but it's a film that assumes that viewers will give it their full attention. It certainly deserves it.

Now, let me try to cover the plot and main characters without taking up too much space here. Guy Pearce plays Ed Exley, a young policeman who is ambitious, but also unwilling to use any eans necessary when it comes to catching the baddies. Russell Crowe is Bud White, a brutal policeman who doesn't mind bending/breaking the rules. The two men don't get along. When a local crime boss is jailed, Los Angeles suddenly looks like a very appealing pitch to a number of criminals who want to move in and set themselves up. This keeps the police department, led by Captain Dudley Smith (James Cromwell), very busy. But when a shooting occurs that results in the death of a fellow officer, and when the end result starts to throw up some minor details that hint at a much bigger problem, Exley and White realise that they may need to work together to get to the bottom of things.

There are other characters who play quite an important part in the proceedings described above, with the main ones worth mentioning being a newspaper reporter (Sid Hudgens, played by Danny DeVito), a beautiful woman named Lynn Bracken (Kim Basinger), a cop who advises on a top TV show and loves the celebrity life as much as his job (Jack Vincennes, played by Kevin Spacey), and a man who makes a living through not entirely legal means (Pierce Patchett, played by David Strathairn).

Okay, I probably took up too much space, but I'm still happy with that summary. L.A. Confidential is a film brimming over with detail and character nuance in every scene. Although it runs at just over two hours in length, there isn't a scene that feels superfluous to requirements. Some viewers may not appreciate everything on the first viewing, but return to it and you'll notice new touches of brilliance. Little touches that will ensure you return to it again and again.

The script is pretty perfect, as far as I'm concerned, with the use of narration by reporter Sid Hudgens a great way to both set up the context of events, and also skim through one or two montage moments. The direction is smooth and precise. There's a coolness in the setting and characters, but there's also a beating heart within every main character, something that becomes more apparent as the movie progresses and events allow them to show their true nature and intent.

Pearce and Crowe may have slight wobbles here and there when it comes to the accents, but they overcome that minor hiccup by delivering performances that I'd tentatively call star-making (despite both having already done some great work before this). Cromwell, Spacey,DeVito and Strathairn are also excellent, and Basinger gives one of her best performances (one that resulted in her winning an Academy Award). Ron Rifkin, Matt McCoy, Graham Beckel, Simon Baker, and everyone else onscreen for more than a few seconds, all do equally great work. In fact, even people onscreen for a few seconds seem fine. Admittedly, they don't have much time to screw things up, so that's probably just a given in most movie productions. My point is that everyone feels perfect in every role they're given.

The soundtrack from Jerry Goldsmith moves nicely in between some classic tracks from the era, the clothes and makeup are all as gorgeous as they should be, and there are plenty of enjoyable twists and turns that never feel forced while the whole tale unfolds.

Not just one to watch, this is one to own, cherish and rewatch on many occasions.

10/10

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