The Missionary (1982)

I wish I could tell you that The Missionary was yet another film I regretted not seeing for years, but I can't. It's not a terrible film, and features a cast all being a lot of fun in their various roles, but it's not quite as good as I had hoped it would be.

Michael Palin plays Fortescue, a man of the cloth who returns to England and the love and kindness of his fiance, Deborah (Phoebe Nicholls). He still wants to do good work though, and soon ends up tasked by a Bishop (Denholm Elliott) to create a charitable home for the purpose of helping and rehabilitating prostitutes. Fortescue has to secure funding, which puts him in the sights of Lady Ames (Maggie Smith) and her husband (Trevor Howard), and he also ends up offering the women comfort in ways that would surely be frowned upon by the church.

Loosely based on the life of Reverend Harold Francis Davidson, aka the "prostitutes' padre", The Missionary has Palin also on board as a writer, and Richard Loncraine in the director's chair. Neither seem quite able to decide exactly the tone they want to go for, which leads to only a few scenes working as well as they should. This is a character piece, and Fortescue is fun to watch as he wrestles with his conscience, decides what ends up being the best way to help others, and gets himself further and further into a big mess that seems likely to prove his undoing at any minute. Loncraine doesn't make the best use of his talented cast, especially when there are people like Timothy Spall and Sophie Thompson in very small roles, but there is a lovely attention to period detail throughout that makes up for some of the less entertaining moments. 

Palin is very enjoyable in the lead role, all sweet innocence and good intentions. If he'd given himself a better script to work with then this could have easily been one of his best works. Smith is also very good, especially as she continues to create reasons for Fortescue to have to stay under her roof for a night she plans to make the most of. Howard and Elliott are as enjoyable as expected, Michael Hordern is a delightfully forgetful butler, and David Suchet does well in his feature debut, although his character only makes a few brief appearances in the back end of the film. Nicholls is sadly underused, as are those I mentioned earlier, and there's a disappointing lack of main characters from the selection of "fallen women" who end up around our lead.

There's certainly enough to appreciate here, especially if you're a fan of Palin and Smith. There's just not quite enough to make it fully work as either a drama or a gentle comedy, with the end result landing a bit awkwardly in between the two. It's also a shame that there doesn't seem to be any sharpness to what could have been a real exploration of morality, rehabilitation, and the role that the church tries to hold within many communities. There are a few points raised as things muddle along from the start to the finish, but nothing that really sticks with you once the end credits roll. In fact, I'd say that the best thing about the movie is how it can then lead you to read up on the extraordinary life, and strange end, of the "prostitute's padre".

Often as pleasant and harmless as the central character, The Missionary should prove slightly disappointing to those wanting something (anything) more than a nice-looking distraction to take up 90 minutes of their day.

5/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share 

Mubi Monday: Gosford Park (2001)

There are many things that could be compared to Gosford Park. It was basically responsible for the hugely successful TV show you may have heard of, Downton Abbey, it explores the class divide in a way that has been a staple of British entertainment for decades (I am sure many came beforehand, but I always view this kind of thing as a relative of the wonderful Upstairs Downstairs), and it shows people bickering and veering off into conversations as they figure out who they are obliged to be nice to and how they can maintain, or improve, their own social standing. I couldn't help thinking of another unlikely comparison point though, and that was Blow-Up. There's a murder at the heart of the plot here, but is it as important as the ongoing hustle and bustle of everyone trying to go on about their lives?

The plot here is quite simple, although things get a bit more complicated in the third act. It's the 1930s. A group of rich and famous (some famous in the arts, some just famous for being rich) gather at a large estate for a weekend of relaxation and shooting, two things that many other people wouldn't assume go hand in hand. Many of those in attendance have their own agendas, whether they are part of the posh crowd or part of the serving staff, and there are one or two people doing their best to portray themselves as something they're not.

If there is anyone in the cast list that you dislike, don't worry about that. Like an anthology movie, this is so stuffed with variety that you just need to wait a moment or two until you get to something more suited to your personal preference. I won't summarise every character, and will undoubtedly forget to mention a couple of notable names, but this cast includes the excellence of luminaries such as Maggie Smith, Helen Mirren, Richard E. Grant, Michael Gambon, Kristin Scott Thomas, Kelly Macdonald, Stephen Fry, Jeremy Northam, Bob Balaban, Tom Hollander, Clive Owen, and Ryan Phillippe (don't be too put off by his accent, it's a deliberate choice). Everyone is doing absolutely stellar work, possibly boosted by their chance to work with the celebrated Robert Altman.

As well as directing, Altman gets himself a writing credit alongside Balaban and Julian Fellowes, although it certainly feels as if the majority of the groundwork was put in place by Fellowes. There's the usual busy dialogue, with many conversations continuing as the camera moves to and from wherever it seemingly decides to wander in each scene, and everything is pieced together incrementally to eventually give viewers more information about each of the most central characters and the deadly development that causes the weekend plans to be derailed.

Please don't come to this if you are looking for an intricate and well-plotted murder mystery. Although it has that element at the heart of it, and that was at the heart of the marketing (from what I recall), Altman and co. are much more interested in the relationships between all of the characters, the fragile spiderwebs that wrap around a huge room, sticking together in some places and easily snapping apart in others. 

Much like a wedding at some large country venue, this is a gorgeous affair that gives you time and space to wander around and admire your surroundings, eavesdrop on numerous conversation and make snap judgements about people, and then be stuck there while arguments start to develop and you become increasingly anxious and uncomfortable as nerves fray and composures crack. Not literally, but it does a great job of bringing those feelings to the surface as you watch things unfold from the comfort of your safe viewing environment.

8/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share

A Boy Called Christmas (2021)

Here we are, with the last Christmas movie of 2021, but is it a good one to end on?

The latest attempt to deliver a nice bit of Christmas cheer to families is this tale of a boy seeking magic in a faraway land, and the cast and special effects work together to tell a familiar tale with a twist. 

Maggie Smith is the relative visiting children who she then decides to entertain with a story. That story is all about Nikolas (Henry Lawfull), a boy who lives alone with his father (Joel, played by Michiel Huisman) in a kingdom that seems to have lost all sense of hope and joy. The King (Jim Broadbent) asks people to travel far and wide in an attempt to bring something that will lift the spirits of his citizens, and that is when Joel heads off on a long journey. He wants to keep his dad safe, but also wants to find the secret magical location where elves live, as described to him by his deceased mother. 

Director Gil Kenan has mostly worked with material that has a healthy portion of the fantastical in it. Arguably best known for Monster House (an animated film loved by many, although I just found it decidedly okay), Kenan is a dependable pair of hands and he has certainly been given a cast capable of helping to lift the material. 

Aside from Lawfull, who is perfectly fine as the wide-eyed boy with good intentions, and Broadbent, a lot of fun, you have a wide variety of roles for people like Kristen Wiig (gleefully playing an evil relative), Sally Hawkins (a powerful elf who resents the presence of any humans in the elf village), Toby Jones (a kind elf), Stephen Merchant (voicing a mouse named Miika), and Zoe Margaret Colletti (a pixie who cannot lie). Everyone is wonderfully earnest and happy to deliver a message all about Christmas spirit, and that is before I even mention the lovely, mischievous, turn from Maggie Smith, who gets to appear intermittently as her young audience question her about the tale they are being told.

Based on a book by Matt Haig, the script co-written by Kenan and Ol Parker plays out exactly as you expect it to, which is no bad thing when you are being comforted by archetypes and beautifully landscapes covered in snow, and this is a safe choice for those seeking some wholesome entertainment for all during the holiday season. It doesn't do enough to become an instant new favourite, mainly because the lead character is just a bit too bland, but it should be a welcome viewing option for the next year or two.

There are moments of magic, there are thrills, there's a helpful reindeer, you have children helping to fix a mess made by adults, and a talking mouse. What more do you need?

7/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share 

Sister Act (1992)

The reason high-concept films are releases is because they're an easy sell. Take Sister Act, for example. It's a fun comedy, a lot of fun, but you can sell it with the simple line "Whoopi Goldberg has to act like a nun." There you have it. Do you like that idea? Does it amuse you? If so, you're bound to get some enjoyment from this movie.

Goldberg plays a singer named Deloris who walks in on her married gangster boyfriend (Harvey Keitel) having someone shot. Running away, she eventually goes to the cops and is asked to testify. That could take a couple of months though, which is why she has to be hidden away in the meantime, hidden where nobody would ever think of looking for her. A convent. Maggie Smith is the Mother Superior who doesn't think this is a good idea, Kathy Najimy is a very cheery and friendly nun, and Wendy Makkena is a bit shy. After some difficulty adjusting, Deloris manages to convince the Mother Superior to let her work with the choir, and that's when she starts realising the good she can do, arranging some non-traditional hymns and helping everyone to do better.

Director Emile Ardilino had a good run of hits from the late '80s to early '90s (starting with Dirty Dancing and ending with this one) and he knows how to put everything together for a perfectly satisfying feature that should please a large demographic. Although this is a star vehicle for Goldberg, the talented supporting cast members all get chances to shine and the major set-pieces are surrounded by lots of great touches and exchanges of dialogue.

Paul Rudnick wrote the script (billed as Joseph Howard) and it's very impressive for a feature debut. Rudnick paces things perfectly, and he seems to know that viewers will forgive the by-the-numbers nature of the thing as long as it keeps entertaining them from start to finish (which it does). You know how it's all going to end, but that doesn't make the journey any less enjoyable.

Goldberg is very funny in the lead role, although slightly toned down compared to her more amusing earlier career turns (the films may not have been as good, or slick, as this one but her ability to be more free and easy with her language and material worked a bit better), and the hilarity steps up a level as soon as she is forced into wearing a habit. Maggie Smith does thin-lipped disapproval better than anyone else I can think of, Najimy is amusing throughout with her wide-eyed view of the outside world, and Makkena does well as the shrinking violet who responds well once given a bit more confidence. Keitel is perfect for his role, trying to be charming one minute and then just ruthless the next, Bill Nunn is good as the cop trying to keep Deloris alive, and Robert Miranda and Richard Portnow are both a lot of fun as the guys who do most of Keitel's dirty work.

The soundtrack helps a lot too, with Deloris adapting a number of the tunes we hear her singing at the start of the movie into various hymns. It will have you tapping your feet and singing along.

Some will rate this even higher, of course, but it just suffers from the air of predictability, especially during the grand finale. The humour is still there, but there isn't the feeling that anything is really at stake. That's not terrible, it's a comforting and safe bit of work, but it does stop it from being a true great. Of course, on any other day I may have just overlooked that and added another point.

7/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews

The First Wives Club (1996)

Diane Keaton, Goldie Hawn, and Bette Midler star in this very enjoyable comedy about three women who decide to exact revenge upon their greedy, selfish husbands by hitting them where it hurts - right in the wallet.

After the suicide of their old schoolfriend (Stockard Channing), three women reunite after too many years of no contact. Annie (Keaton) is in denial while her husband works through commitment issues, Elise (Hawn) is about to see half of her stuff handed over to her husband in an unfair divorce settlement, and Brenda (Midler) is trying to keep a brave face on things as she watches her husband (Dan Hedaya) spoiling his new, younger, girlfriend (Sarah Jessica Parker). While considering how much they have given up for their men, and how badly they have been treated, they decide to work together to create a satisfying plan to help them feel better, and also help all women who have been put in similar situations.

Based on a novel by Olivia Goldsmith, the male screenwriter (Robert Harling) and male director (Hugh Wilson) don't ever work against the material as it best complements the female leads. It may be men behind the camera but in front of the camera this is, as you'd expect, all for the women. And they're all great in their roles. Keaton does her strait-laced, uptight thing, Hawn has almost as much fun playing on the vanity of her character as she did in Death Becomes Her, and Midler just reminds everyone of how brilliant and hilarious she can be. Parker is a lot of fun playing young and shallow, Elizabeth Berkley and Marcia Gay Harden both have fun in small rolers, and Maggie Smith is on top side-eye form. A few of the main male characters are quite immediately forgettable, which is fine, but there are a number of good scenes involving Dan Hedaya, and the talented Bronson Pinchot gets to have a lot of fun as an interior designer helping the women to execute their plan.

There's nothing unpredictable here, considering the title of the film and the target audience demographic. You have one or two montage moments, you have friends singing one of their favourite songs, you have a mix of determined scheming and wistful recollections of dissipated romance. The leads lift each other up, they have insults ready to put down their enemies, and you get a typically lively, and often harmlessly bland, soundtrack.

I'm not sure how the majority of female viewers find this (judging by the reaction of my wife, I have to assume that most enjoy it) but it's hard to see how this would upset anyone too much. It's a one-two punch, basing everything on lead characters who are both female and a bit beyond their mid-20s, and that adds an interesting, positive, aspect to material that could have easily been a lot lazier, or twisted into something much more bitter.

7/10

You can buy the film here.
Americans can buy it here.

Clash Of The Titans (1981)

The final feature film to showcase the stop-motion creations of the great Ray Harryhausen, Clash Of The Titans may not be the very best film that he would be a part of, but there's no denying that it's a fantastic swansong full of magic and wonder.

It turns out that in olden times Zeus (Laurence Olivier), as well as being the big cheese among the gods, was a bit of a horndog. He was a bit of a player. When a woman that he seduced is cast out to sea with her (and his) son, he takes revenge by unleashing the kraken and ensuring that the woman and child wash up safely on another shore. The boy grows up to be Perseus (Harry Hamlin) and he finds himself in the middle of some trouble as some gods - mainly Thetis (Maggie Smith), looking for revenge after Zeus showed no mercy in the punishment of her own son, Calibos (Neil McCarthy) - decide to stir things up a bit for both himself and Zeus. Zeus, seeing the path that Perseus is being led down, at least ensures that his son has a fine shield, a helmet that can make the wearer invisible and a magic sword. Before you can say "clockwork owl" things get out of hand and Perseus ends up having to race against time to find a way to stop the kraken appearing once again, this time to snatch up his love, Andromeda (Judi Bowker).

Directed by Desmond David and written by Beverley Cross, Clash Of The Titans is a spectacular film that might run for almost two hours in length, but packs plenty into every sequence. The fact that there are a number of creations here - Pegasus, Calibos, the kraken, Medusa - that are amongst the best that Harryhausen ever made adds immeasurably to the proceedings.

Harry Hamlin is fine in the role of Perseus, and the supporting cast is full of those already listed plus the likes of Ursula Andress (don't blink or you may miss her fleeting appearance), Pat Roach, the ever-wonderful Burgess Meredith, Sian Phillips and Tim Piggott-Smith, but none of those names are important. Even the mighty Laurence Olivier is forgotten when the action set-pieces take place and our hero looks to be in a tight spot.

The pacing isn't perfect, the script walks a fine line between the intentionally mythical and the unintentionally mirthful, and it suffers in comparison to what else was being done by the start of the 1980s, but it's a fantastic and fitting end to the visual effects career (though not his movie career) of a man who pioneered so many tricks and inspired the imaginations of so many in the film business today.

8/10

http://www.amazon.co.uk/Clash-Titans-DVD-Laurence-Olivier/dp/B000B7KXNG/ref=sr_1_2?ie=UTF8&qid=1369151356&sr=8-2&keywords=clash+of+the+titans