Netflix And Chill: Beowulf (2007)

While long the film has languished on my shelf,
I now picked it on Netflix to watch for myself.
Leaving the bluray inside its case,
A sign of my movie collecting addiction disgrace.

Ere I was soon feeling slightly remiss,
Being presented the vision of Robert Zemeckis.
An epic poem is translated for the layman,
By writers Roger Avary and that Neil Gaiman.

Things start with Anthony Hopkins and Robin Wright,
Crispin Glover plays Grendel, who gives them a fright,
There's also John Malkovich, and plenty of mead,
Then Ray Winstone comes along to portray our lead.

The epic tale is told with motion-capture animation,
Allowing Zemeckis to show us his grand imagination,
But the end result is a massive misfire,
Despite showing our heroes fighting monsters with ire. 

Brendan Gleeson is here, and Angelina Jolie too,
Alison Lohman plays Beowulf's secret boo,
But none of them work as well as they could,
The technical gimmickry not doing them good.

There's a decent score here from Alan Silvestri,
I'm not sure how to judge the cinematography from Robert Presley,
Darkness and light are used to impress,
But the technique's not perfected, it's a bit of a mess.

There's no real sense of grandiose scale,
Most viewers will mark this as one giant fail.
Zemeckis is now much more devoted to tech,
His film-making style now a glossy pile of dreck.

Here there be dragons, and golden men born of flame,
But it's lacking in thrills and the director's to blame.
I knew when I bought this years ago it was a bit of a risk,
But now I know it won't be long until I resell my disc.

3/10

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In The Line Of Fire (1993)

There was a lot of love given to The Fugitive last year, tied to the fact that it was 30 years since it was released and it received the 4K disc treatment, and I am one of many people happy to see it. I have always loved that film, but seeing all the praise it was receiving last year kept making me wonder why In The Line Of Fire wasn’t getting the same treatment. Although a very different movie in many ways, it also feels like the other great all-star thriller from 1993.

John Malkovich plays a man who intends to assassinate the President Of The United States. He is smart, he has a background that helped him form a particular set of skills, and he is very determined to see his plan through to the very end. Things get more interesting for him when he realises that he can engage in a battle of wits with a Secret Service agent named Frank Horrigan (Clint Eastwood). Frank has spent his time in the service of numerous Presidents, and he was there on the day that JFK was assassinated. Did he hesitate at the moment he was supposed to act selflessly? He may just get a chance to live through that moment again, a chance to figure out if he can take a bullet for someone under his protection.

Written by Jeff Maguire (that’s it, just Jeff, no need for a team of writers interfering with the work), In The Line Of Fire is just top-tier entertainment from start to finish, plotted well enough to keep viewers from overthinking the implausibilities, making use of a great cast of characters, and maintaining a brilliant game of cat and mouse that has you wondering if you will get a happy or downbeat ending.

Director Wolfgang Petersen proves to be a great choice to steer the ship. In fact, you could easily argue that Petersen had an amazing little run between the early 1980s right up to the year 2000 where he basically did no wrong, although I say this without having rewatched Outbreak since I owned it on VHS. He mixes the old-fashioned star casting and interplay with set-pieces that benefit from his ability to step up the tension, and there are one or two scenes that wander very close to outright horror territory.

Eastwood is frankly superb in a lead role that allows him to both be the tough guy and remember that he is no longer a spring chicken. It’s a performance full of wry humour, worldly wisdom, and inherent courage. Malkovich, always an intense screen presence, gives us one of the villains for the ages, someone who is smart and determined and also not entirely in the wrong to have such a major axe to grind. Every scene that has Malkovich talking on the phone with Eastwood is much more electrifying than any moment simply depicting people on the phone should be. Rene Russo is a welcome addition, playing another agent who catches the eye of Oor Clint, and Dylan McDermott is the typical trope of the younger partner who ends up in a lot more danger than he can handle. Others who get some screentime include John Mahoney, Gary Cole, Fred Thompson, John Heard, and both Tobin Bell and Steve Railsback appear for a few minutes.

After my latest rewatch of this, I facetiously stated that In The Line Of Fire jogged alongside a Presidential motorcade so that Se7en could run. I still think there’s a grain of truth in that, considering how Clint’s character becomes such an important part of Malkovich’s endgame, but the best thing about this film is that it makes use of so many familiar elements while very much being its own thing. When it comes to smart and entertaining mainstream thrillers, this one really hits the mark.

9/10

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Netflix And Chill: Ava (2020)

It feels as if everyone lately has been wanting a shot at portraying a highly-skilled assassin, very possibly due to the great success of a certain Keanu-led franchise, but not all of them manage to do enough to stand out from what has fast become a very crowded field. Ava is a film that not only doesn't stand out, it becomes so well-camouflaged by the cliches and tired tropes it is wearing that it's pretty much the John Cena of the skilled assassin movie sub-genre.

Jessica Chastain is the titular Ava. She is very good at her job, killing people, but has started to wonder what people have done to prompt her being hired to put an end to them. This makes Ava a potential liability, despite the fact that she still (literally) executes her orders. Her "handler" (Duke, played by John Malkovich) still has faith in her though, but others want her retired. And retired means dead.

Writer Matthew Newton seems to think that anyone watching Ava will not have seen any other movie like this, which is the only explanation for a script that is so consistently lazy from start to finish. Ava is given three defining characteristics - her questioning nature, her history of addiction, and her deadly skillset - and some messy family tension (with a mother in hospital and a sister now dating her ex-boyfriend), but she never feels like a fully-realised lead character. It isn’t as if we cannot accept assassins who are defined just by how good they kill people, but there isn’t enough information given to us to explain why Ava has started to ask more questions, or why she has kept such strong connection to her family while still in a job that would seem to make that a very risky proposition.

Director Tate Taylor manages to get everything onscreen competently enough, helped by the fact that Chastain is as committed to the physicality of the role as you would expect, but he doesn’t ever do enough to elevate the script. Some fight scenes are decent, some have to be over-edited. Sadly, none of the moments of straightforward drama work, with characters chopping and changing their moods, depending on what exposition is required or how any scene is leading everyone towards the inevitable climax.

Chastain is good in the central role, even if she isn’t quite good enough to make the film worth watching, and Malkovich excels in a supporting cast that also includes Colin Farrell (good value), Geena Davis (always welcome in any movie), Jess Weixler, Common, Diana Silvers, and a badass Joan Chen. Nobody does a bad job. They’re just stuck dealing with that lame script that leaves them hung out to dry.

On the plus side, the pacing isn’t bad, the runtime clocks in at just over 90 minutes (from opening scene to the start of the closing credits), and you can, with some hard work blocking out the worst elements of the script, accept it as a mildly diverting action thriller. I would always be ready to recommend 100 other movies ahead of this though, easily.

4/10

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Rounders (1998)

Not actually a film about the British game that resembles a kindergarten version of baseball, Rounders is actually another fun film basing most of the action around card tables. It's all about poker, and the people who make their living from it. It's also helmed by John Dahl, a director who very rarely put a foot wrong for his first full decade or so of moviemaking, before he then started picking up much more work int he world of TV (helming episodes of shows as varied as Fear Itself, Breaking Bad, True Blood, Justified, Ray Donovan, House Of Cards, and Yellowstone).

Matt Damon plays Mike McDermott, a promising young law student who has a pretty good life. He has a lovely partner, Jo (Gretchen Mol), and has decided to try and leave his days of poker behind him, after losing a BIG chunk of money in a foolish move to earn himself a route to the World Poker Championship. Abstaining from the lure of poker proves to be almost impossible, sadly, when Mike welcomes his old friend, Worm (Edward Norton), back into his life. Worm has just finished a prison sentence, and he immediately wants to make up lost time and earnings. Not trusting the playing method of Mike, Worm is happy to win via some underhanded methods. He's also happy to borrow a lot of money with Mike as his guarantor. 

Considering what it is, poker makes for a fair amount of fun and tension, cinematically. Part of that is because movie poker often has people sitting around a table with hands that are often astronomically near-impossible to have dealt from the deck in the same game session, let along the same tense head to head, and part of that is to do with the interesting ways in which great poker players can be shown to be able to read their opponents and quickly calculate odds. Writers David Levien and Brian Koppelman make the most of this latter aspect, having Damon's character be quite the card savant. This is best illustrated by a superb scene in which he helps a judge (Martin Landau) bet high against his colleagues, explaining who is holding what cards in their hands. The use of Worm is another way to make things more exciting though, ensuring that the card games have real stakes. More than just chips and pride, a loss could lead to a lot of pain. And Worm's approach to the game, trying every grift possible to ensure a win, helps to make the lead character seem more like a true sportsman, an expert looking to relearn some lessons after being humbled by a major loss.

Dahl knows what he's doing here, easily keeping things lively and fun for viewers. You get to see cards, you get a peek at the mechanics of some of the trickery, and voiceover narration from Damon keeps everyone informed about the rules, the odds, and the methodology. The film maintains an energy and level of cinematic cool for almost the entire runtime.

While the lead role isn’t really a stretch for Damon, he does well playing another brand of genius without the social lubrication to keep a position in an upper-class world. Norton is very easy to dislike, also doing well as the kind of character destined to forever try too hard for success in a way that guarantees failure after failure. Mol is as underserved here as she has been so often, but she gives a performance so good that it makes you wonder why she never seemed to get a bigger break that others got, although she has built up a great body of work over the years. Landau steals the few scenes he has, John Turturro gets to play a fairly nice guy, for once, and John Malkovich is fun, with an added accent, as Teddy KGB, the big poker player who needs beaten on the way to a complete turnaround of fortune. There is also a small role for Famke Janssen, who is always welcome, and a cameo from poker superstar Johnny Chan.

It’s quite easy to see where this is going, and the lack of any major surprises in the third act is a bit of a shame, but Rounders doesn’t want to be a gritty and bleak film. It is a by-the-numbers sports movie, a tale of someone having faith in himself as others fall by the wayside. That sport may be poker, as opposed to any number of more energetic pursuits, but every other trope and story beat you expect is right here. Which ends up being a good thing, because this is one of the better sports movies I have watched in a while, but that may be to do with my love of poker.

8/10

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Netflix And Chill: Mile 22 (2018)

The opening of Mile 22 is a pretty good one. A black ops team (I guess that is the best term to use) bust their way into a house full of potential terrorists, take control of the situation, and then lose control when an extra baddie starts shooting from his hiding place. That means every terrorist needs to be shot, just before the house explodes. The ending is also pretty good. Not completely unexpected, but it's nice to see just how far they take things. I won't detail it here because I try to avoid spoilers. Suffice to say, it wasn't as simplistic and jingoistic as I expected. Unfortunately, the many scenes in between the beginning and the end aren't as good.

Mark Wahlberg plays James Silva, the leader of the team (because of course he is). Their latest mission is to get some dangerous explosive powder off the streets. It's so powerful that Wahlberg compares it to Hiroshima and Nagasaki combined. They end up striking a deal with one person who can help them, a police officer named Li Noor (Iko Uwais). Li just wants his transportation out of the country guaranteed. A lot of people want to stop that from happening, turning an urban area into a small war zone in the process.

Director Peter Berg seems to have found his comfort zone in the last five years or so, helming action thrillers that allow Wahlberg to continue his run of tough guy hero roles. It seems to be working for him, for both of them, and people who have enjoyed any of their films together will continue to enjoy their work. It's just a shame that Berg cannot work as well with all of his cast members, but I'll get back to that shortly.

The script, by Lea Carpenter, does enough to keep the information flowing without interrupting the flow of action sequences. At a near-perfect runtime of about 94 minutes, the pacing is excellent, and I can't imagine anyone after a fix of gunfights, martial arts, and military hardware, being too disappointed by this.

Fans of Uwais might be disappointed though, especially when they realise that Berg directs hand to hand combat sequences as if he'd been given advice from Paul W. S. Anderson. Uwais does well in his role, and he gets to show off his fighting prowess in one or two main set-pieces. It's just very unfortunate that his physical work is undermined by the horrible camerawork and editing. Although not perfect, the gunfights are filmed better, which helps the performances from Wahlberg, Lauren Cohan, Ronda Rousey, and Sam Medina, and the other supporting players. Cohan fares particularly well, convincing as a tough team member who can hold her own alongside Wahlberg. You also get a supporting role for John Malkovich. He's almost completely wasted, but I always like seeing Malkovich in a movie.

Mile 22 may be a bit of a mess, but at least it's an entertaining one. It would have been much better with someone other than Wahlberg in the lead role, which is something I can say about many of his movies, but all of the other people involved help to make up for that. As do those scenes that bookend the bulk of the main plot.

6/10

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Netflix And Chill: Johnny English (2003)

Movies come from many places. Original ideas (don't laugh, this does still happen occasionally, it's just not the source for 95% of the big names you'll see advertised at your local multiplex), TV spin-offs, tales springboarding from real events, and reworked board games. But very few other movies, if any, have been developed after a successful series of adverts. Beginning his life in a series of Barclaycard adverts, Johnny English (Rowan Atkinson) was a comedic riff on the James Bond character. Never that savvy, pretty hopeless with the gadgets, and yet still trying to give off that image of unflappable cool, he was the kind of character that it would make sense to create a movie around.

The plot sees every other MI7 agent in the land killed during the funeral of one top agent (who died because of misinformation given to him by English). With nobody else available, English is tasked with keeping an event secure that will focus on a display of the Crown Jewels in the Tower Of London. Those jewels are stolen, which takes English on a journey that will lead him and his partner (Angus Bough, played by Ben Miller) on a collision course with Pascal Edward Sauvage (John Malkovich), a Frenchman who has been celebrated for a series of "superprisons".

Since making his feature debut with Sliding Doors, director Peter Howitt was, for the first few movies that had him in the big chair, a fairly safe pair of hands. None of his films were particularly memorable, but most of them did exactly what they were supposed to do. Johnny English sits perfectly among those titles.

What you have is a script by Neal Purvis, Robert Wade, and William Davies that feels incredibly light, focusing on a number of plot points while leaving a few spaces here and there in which Atkinson can do the kind of physical comedy that he does so well. It hits all of the required Bond-isms, not surprising as Purvis and Wade have been working on that franchise for the past twenty years, but doesn't do quite enough to make the comedic set-pieces as funny as they could be.

That's all pretty much left to Atkinson, who is good, but never great. Constrained by the suit he has to wear, Atkinson is left to bumble around like an inferior Inspector Clouseau, with too many of the jokes either obvious or just falling flat. There are minor chuckles throughout most scenes, but very few big belly laughs. Miller is excellent in the role of suffering assistant, however, and Malkovich clearly has a lot of fun with his role. You also get Natalie Imbruglia doing a decent job as the beautiful woman mixed up in everything somehow.

There's something to be said, of course, for entertainment of this nature. Genuinely fun for all, fairly inoffensive, and paced and timed almost to perfection. In that way, and with the 007-like music cues running through it, this works well. It just didn't make me laugh as much as expected, considering how much I often enjoy Atkinson's style of comedy.

6/10

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Americans can buy the same set here.

Netflix And Chill: Velvet Buzzsaw (2019)

If there is anyone coming to this film expecting something akin to the magnificent Nightcrawler then they're in for quite the surprise. Although there's darkness here, Velvet Buzzsaw is much more of a comedy. Yes, there are horror movie moments, good ones too, but it's the wonderful over the top nature of the thing, and some hilarious lines of dialogue, that ensure you will be smiling throughout.

Jake Gyllenhaal plays Morf Vandewalt, a successful and influential art critic. His opinions can make or break artists, something that he sometimes relishes and sometimes feels pained by. Rene Russo is a gallery owner named Rhodoro Haze, a successful woman who perhaps owes some of that success to her friendship with Morf. When an agent named Josephina (Zawe Ashton), who is a friend of Morf and employed by Rhodoro, finds a collection of paintings in the apartment of her dead neighbour everyone views it as an exciting discovery that could help them all. Unfortunately, the artist had expressly stated that he wanted his art destroyed, and with good reason.

Although never as sharp or biting as it could be, this is a fun commentary on the clash between art and commerce. It shows a market driven by one or two opinions, prices created by deceptions and hype, and the fluid relationships that ebb and flow between people who can help one another up a ladder with no final rung.

Dan Gilroy does another solid job with the writing and direction, despite the fact that he's gone for a tone that may leave some unsatisfied, and even bemused. Gyllenhaal blurting out the line "the admiration I had for your work has completely evaporated" made me laugh hard, and it's when the film is most comfortable with that level of ridiculousness that it's most fun. Thankfully, it is often comfortable with that level of ridiculousness, although the more obvious laughs are couched in between moments that focus on the greed and selfishness of the main characters.

Gyllenhaal has a lot of fun in his role, a rare turn that doesn't need him to be constantly worried or angry or looking as if he might harm himself, and Russo is fantastic in her role. The fact that she seems to only get given good parts to play from her husband is pretty damning when she shows every time that she's still got a lot more to give audiences than just "cameo as Thor's mum". You also get typically wonderful performances from Toni Collette and John Malkovich, and solid little turns from Daveed Diggs, Billy Magnussen, and Natalia Dyer. Ashton, sadly, is a weak link, but that ends up being compensated for in the third act, with the final scenes for her character created to be impressively memorable.

Don't go into this expecting another Nightcrawler. Don't go into it expecting a horror movie, or even a thriller. This is a dark comedy, and if you know that going in then you can appreciate the end result much more. Say what you like about all three films so far directed by Gilroy, they're at least all interesting and thought-provoking, whether they end up working for you or not.

8/10

Netflix And Chill: Bird Box (2018)

It's fitting that those with the ability to see the world around them would have to have been blindfolded for the past few weeks to have somehow missed the promotion and memes that have been doing the rounds since Bird Box was released on Netflix. It all helped to turn the film into another big hit for the company (although exact numbers are always hard to come by when figuring out how good or bad things do on the platform).

Sandra Bullock is Malorie, a woman who was extremely happy at one point, just before the whole world went to hell. Malorie had been attending a standard check up on the health of her baby, accompanied by her sister (Jessica, played by Sarah Paulson), and then people started to act funny as they headed home. It's a strange force, something that people see that drives them to commit suicide. Malorie ends up in a house with some others (including Tom, played by Trevante Rhodes, and Douglas, played by John Malkovich) who have quickly surmised that the key to staying alive is to stop yourself from being able to see the outside world. But that makes things difficult when provisions need collected, and when there are some other people who are insane enough to want to help others look at what they somehow view as something glorious.

I approached Bird Box with no small amount of trepidation. Let's face it, I was already a week or two behind everyone else, a lot of people seemed to be having more fun with the memes than the actual movie itself, and I assumed that it was another case of Netflix doing a better job of creating viral content than a film that would actually impress me. I'm pleased to say that I was wrong.

This is a fantastic film. Not just a fantastic film to land on a home platform, although that undoubtedly helped it to snowball and find the kind of audience figures it may well have struggled to reel into cinemas, but a fantastic film for genre fans. Many have already labelled it as a cross between The Happening and A Quiet Place. While that comparison isn't entirely unwarranted, it's not exactly fare. Bird Box ends up being better than both of those films (which I know is an opinion that will leave me pretty lonely, in the case of the latter movie anyway, but I'm standing by it).

Based on a novel by Josh Malerman, the screenplay by Eric Heisserer is very good indeed, using jumps between the present and the past to help maintain tension and optimise the pacing. The fact that the central force is unseen (but physicality is certainly hinted at - people focus their sight somewhere, shadows are cast across windows, etc) helps to avoid any anticlimactic reveals, and there's also the variety added by the other survivors who become a problem, as happens in almost every "post-apocalyptic" movie, a subgenre that this film certainly has a foot in.

Director Susanne Bier has a solid enough filmography, although nothing that seems to be as horror-tinged as this is. But that may be another factor that really helps, Bier helps to keep everything consistent in tone by allowing the characters to lead the way, simply allowing the situation to allow them to show more of themselves as they have to act and react quickly, to preserve their own lives and anyone else they decide to try and protect.

Bullock is excellent in the lead role, but that's not much of a surprise to anyone who has been a fan of her work over the years (and I count myself among them), but I doubt the film would have worked as well if they'd placed it all on her shoulders, a la Gravity. No, this time around, a strong lead performance is boosted by strong supporting turns from a cast that includes Trevante Rhodes (who is very good), John Malkovich (as excellent as ever), Jacki Weaver (underused), Danielle Macdonald (saddled with being the character who makes the decisions that will make you roll your eyes), and Tom Hollander (very good in a role that is perhaps the weakest link in the whole film). There are also good performances from Paulson, B D Wong, Rosa Salazar, Lil Rel Howery, Pruitt Taylor Vince, Parminder Nagra, and young Vivien Lyra Blair and Julian Edwards as the young children accompanying Bullock for part of her journey.

Because of the sheer number of people who rushed to see this, Bird Box has very quickly proven to be a divisive film. And I already know a lot of people who don't want to watch it because they're already fed up of the gags that have gone viral. I would say, as with most movies, it's still well worth your time. See it and make up your own mind about the film itself. Not the marketing, not the reaction to it, just the film. And I hope you end up enjoying it almost as much as I did.

8/10

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Americans can get a Bullock fix here.

Mulholland Falls (1995)

A decent thriller written by Peter Dexter and directed by Lee Tamahori, Mulholland Falls is one of the best films I've seen recently without having heard any praise for it beforehand. It has some nice period detail, decent plotting and one or two good set-pieces, but the whole thing is made well above average by the superb ensemble cast.

Nick Nolte is the main character, a man investigating the death of a beautiful young woman (Jennifer Connelly). Unfortunately, that young woman was caught on film having sexual relations with one or two men, one of them being a very important General (John Malkovich). And the other being Nolte, which puts him in a bit of a compromised position, especially as he tries to keep his infidelity hidden from his wife (Melanie Griffith). As the investigation continues, moments of violence punctuate the proceedings while Nolte heads on a path that may not end well for him.

As I have done before, let me just sell this movie to people by reeling off the names from the cast list. Nolte, Connelly, Griffith, Malkovich, Michael Madsen, Chris Penn, Chazz Palminteri, Treat Williams, Bruce Dern, Daniel Baldwin, William Petersen, Rob Lowe, Louise Fletcher and Andrew McCarthy. A few of those people only appear for a moment or two, in an uncredited cameo role, but that's still a mighty fine selection of talent.

Everything is in place, with the look and feel of the movie perfectly capturing a bygone era, but it's also not spectacular in any way, with the exception of the cast. The script sadly leaves a couple of the main characters just lingering in the background of many scenes, while Tamahori deals with the material in a clean, unshowy manner, relying on the story and the characters to hold the interest of viewers. Well, although I know that many others will feel differently, that worked for me.

Not one to easily recommend to people, I will still take the plunge and . . . . . . . . . . recommend it to people. It oozes quality from start to finish, and I hope that more people like it as much as I do if/when they give it some time.

8/10

http://www.amazon.co.uk/Mulholland-Falls-DVD-Nick-Nolte/dp/B00004W4H6/ref=sr_1_1?ie=UTF8&qid=1385375171&sr=8-1&keywords=mulholland+falls