Moonwalker (1988)

Cast your mind back, if you can, to the late 1980s. Michael Jackson, as yet untainted by any serious allegations, was massive. I really don't think there was anyone more famous at that time. He was certainly the biggest pop star on the planet, and arguably the most famous person in the world. His appearance had changed considerably, he had a pet chimp named Bubbles, there were rumours of him sleeping in an oxygen tank, and his eccentricity peaked, without any dark clouds gathered overhead (to our knowledge). I was allowed to pick my two main presents when I turned thirteen. I was becoming a teenager, almost an adult by then (to my mind). I picked up the Star Wars RPG manual (a superb tome that I absolutely loved reading through, even if I never did play the thing). And I HAD to get "Bad", on cassette, with a notebook and pencil packaged alongside it. That birthday is one of the clearest memories I have from my childhood years, and was one of my best birthdays ever.

Then came Moonwalker, the movie that Michael Jackson made, based on a story by Michael Jackson, and starring Michael Jackson. Jerry Kramer and Colin Chilvers may be the directors, but this is a Michael Jackson movie. David Newman may be the writer, but this is a Michael Jackson movie. In fact, in 1988 it was THE Michael Jackson movie that any Michael Jackson fan could have wanted. Looking at it nowadays . . . it's a very different experience.

There's an extended opening montage sequence, mashing up a number of Jackson hits (both with the Jackson Five and on his own), and then you get a slim plot. Michael has to spend some time avoiding some very excited fans, and he then becomes the guardian figure to three children (played by Sean Lennon, Kelley Parker, and Brandon Adams), allowing them to see some of his major dance sequences, a la "Smooth Criminal", and protecting them from the evils of drug-dealing Mr. Big (Joe Pesci), who wants to get every kid in the world hooked on his product.

Fascinating for a number of reasons, Moonwalker may be one of the most interesting vanity projects of all time, not only because of the music and visuals, but also because of the way it shows Jackson and his worldview. He wants to be cute and innocent one minute, he wants to be raunchy and sexy the next. He can make anything possible through the power of his dance moves. He likes to transform into different forms. And, most interesting of all, he views a large section of his fanbase as voracious animals who want to tear various strips off him, feeding their hunger while Jackson gives and gives all he can.

Is this a great movie when compared to other proper movies? No. Is it a fascinating and entertaining movie that celebrates someone at the peak of their powers? Yes. Unfortunately, it has an earnestness and lack of self-awareness that helps other star vehicles to be more enjoyable (yes, I'm going to mention Spice World again). Whether or not you can watch it now without considering the accusations made against its star, to simply view it as the time capsule it is and to enjoy the soundtrack, that's up to you. I can. But I also have the strength of that thirteenth birthday memory to boost my opinion of the whole thing.

6/10

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The Irishman (2019)

It's the film that everyone was desperate to see, and just as many were as keen to dismiss as yet another example of Martin Scorsese doing yet another gangster film. If you think that then a) you're unfamiliar with Scorcese's eclectic filmography, and b) you are dismissing the fact that every Scorsese gangster movie tends to say something very different. Goodfellas was about how the mob made a man into a monster, Casino was about how the mob built Las Vegas, Gangs Of New York tells of the growing pains there, of course, and now The Irishman comes along, a tale looking back at people who did things they thought needed done, putting themselves into a lifestyle not exactly known for the lengthy lifespan.

Robert De Niro is Frank Sheeran, the alleged Irishman of the title. He becomes a dependable guy who can do jobs for Russell Bufalino (Joe Pesci), and everything gets more complicated with the forceful personality of Jimmy Hoffa (Al Pacino) in the mix. Some houses are going to need painted ("I Heard You Paint Houses" is the original title, from the book by Charles Brandt - the phrase is a euphemism for the work done by mafia hitmen), but who's going to be helping to decorate the walls?

Making use of some imperfect de-aging technology, The Irishman feels every bit like what it most probably is, a drawing of the curtain on the lives that Scorsese has taken interest in over the years. Almost every supporting character is given a quick subtitle that details the age and cause of death. There's a clear statement here. Although the main character is elderly, perhaps living with some regrets, he's in a much more privileged position than many who went into the same line of work.

Clocking in with a hefty runtime of three and a half hours, this is fertile ground for Scorsese to explore, helped along by Steven Zaillian's screenplay. Unfortunately, neither party feels quite at ease with this middle ground. It feels very much like this should have either been pared down by an hour or expanded to create a major TV limited series. You get the usual style and energy from Scorsese, including a nicely varied soundtrack, but he doesn't seem as focused as usual.

While their bodies cannot match the smoothing CGI making them appear younger in certain scenes, De Niro, Pacino, and Pesci all do their usual sterling work, with Pesci a particular highlight. There are also good roles for Ray Romano, Bobby Cannavale, and a super (as usual) Stephen Graham. Much has been made of the fact that there are no main female roles, and Anna Paquin has been singled out for her lack of dialogue, but don't let that take away from the fact that Paquin says a hell of a lot more with some of her expressions than some of the male characters say in their ongoing attempts to keep looking tough and stay on the trigger end of the guns.

If you're a fan of everyone involved then it's hard to see you hating this, even if there are a number of moments that can't help but feel similar, and maybe less impactful, when compared to other classic Scorsese moments. If you assume it's going to be a greatest hits selection of everything that they've done before, and you roll your eyes at the thought of that, then this probably isn't going to change your mind, despite the different heartbeat working throughout every scene.

8/10