The Devils (1971)

If you've seen The Devils a long time ago and wondered why I would include it alongside the many other horror movies I have chosen to watch at this time of year then I would suggest to you that it's time you revisited The Devils. This is a horror film, and it's as powerful and wild to watch today as I'm sure it was when first released in 1971. In fact, having heard all about it for many years, both the content and the power of it, I was worried about it feeling a bit dated and diluted nowadays. Trust me, this is one that remains a test for hardy viewers.

What you need to know is that Oliver Reed portrays Urbain Grandier, a holy man who has his own particular way of living a holy life. He doesn't deny himself some pleasures of the flesh, but he does try to ensure that those around him are safe and spiritually-nourished. Vanessa Redgrave is Sister Jeanne, a woman who becomes obsessed with Grandier, believing that he can be her saviour. It's not long until frustration and resentment lead to some accusations that allow some powerful figures to cut Grandier down to size.

While Ken Russell isn't a director I will always respond positively to, it's undeniable that he has directed a number of features throughout his career that different people could refer to as masterpieces. This one would be my choice, and I know I am far from alone with that opinion. Based on a play by John Whiting, itself based on a novel, "The Devils Of Loudun", by Aldous Huxley, Russell fearlessly looks at religious hypocrisy and the kind of ridiculous show trials that could be used to get rid of anyone deemed to be a threat. It could all be laughable, and there are some fleeting moments of amusement here, if it wasn't all so cold-hearted and deadly.

Reed is as brilliant as he needs to be in his role, embodying his character with the gravitas and brooding presence of, well, peak Oliver Reed. Redgrave also does very good work, as do Gemma Jones, Georgina Hale, and the many others portraying women who feel themselves getting a bit flustered and faint in Reed's presence. Dudley Sutton and Brian Murphy are familiar faces in supporting roles, but the other key player to mention is Michael Gothard, playing one of the most cretinous and punchable villains I have seen in any film of any genre.

It's a shame that we STILL cannot see the full and uncut version of this (the controversial content has ensured that Warner Bros. keep doing their best to control what version is available), but it's a testament to the film, and to Russell, that what we have is already such an incredibly powerful work, full of astonishing imagery and moments that convey absolutely horrendous pain and trauma. Part of me never wants to watch this again, but another part of me thinks that I could watch it every day for the rest of my life and never get sick of appreciating the blend of the beautiful and the grotesque.

I implore others to avoid making the same mistake that I did. Watch this as soon as you possibly can, and see it in the best possible quality. It's a masterpiece. And to the devil with those who say otherwise. 

10/10

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Prime Time: Gladiator (2000)

It all seems so obviously destined for success now. An action epic directed by Ridley Scott. A lead role for Russell Crowe. Joaquin Phoenix as the second main character. Support from the likes of Connie Nielsen, Djimon Hounsou, Oliver Reed, Richard Harris, and Derek Jacobi, as well as numerous other familiar faces. Fantastic practical effects enhanced by some top-notch CGI. Gladiator was a huge success when it was released, but it's worth remembering that it was actually considered quite a gamble, especially because the "sword and sandals" movie seemed to be a thing of the past (or, more accurately, a thing now just used to fill up the schedule on the SyFy Channel).

But it's hard to find people who hate it, and, while it may not be a film that many have rushed to revisit in recent years, it's been able to retain a place in our collective consciousness thanks to some memorable lines of dialogue and a rich and full-bodied Hans Zimmer score.

Crowe is Maximus, a successful military man who does his best in the service of the Emperor Marcus Aurelius (Richard Harris), but his situation changes drastically when the Emperor dies, to be succeeded by his son, Commodus (Joaquin Phoenix). His life ruined, although somehow not ended, Maximus ends up enslaved, which leads him to be pitted against others in fighting competitions. Showing a knack for combat tactics, as well as self-preservation, Maximus is soon on his way to becoming a bit of a celebrity on the gladiator world, a violent system that could lead to his freedom. Maybe he doesn't need his freedom though. Maybe he just wants another chance to be within sword-slashing distance of Commodus.

Starting with a grand battle scene before moving into a series of more personal fights, Gladiator is a genuine crowd-pleaser that works all the better for having no trace of concern about the whole thing being a mish-mash of familiar elements and top-quality ham. The fact is that everyone commits to their roles, as well as to the tone of the material, and they enjoy the ham with such lip-smacking relish that it becomes absolutely glorious. The script, written by David Franzoni, John Logan, and William Nicholson, helps with a good selection of great lines of dialogue, and Scott does all he can to ensure that the 155-minute runtime practically passes by like a light breeze through the fields of Elysium.

Crowe has rarely been better, giving a performance that puts his character in strong contention for a place in the cinematic heroes hall of fame, and I would say something similar about Phoenix, especially when we all know that a good hero needs a good villain to make the whole thing worthwhile. Harris is effective in his brief supporting turn, Oliver Reed livens up a character, a trader/gladiator trainer named Proximo, that could easily have been left to fade into the background, and Djimon Hounsou is one of two other main gladiators onscreen that we get to stay invested in throughout. Connie Nielsen has to repeat lines about living in fear a bit too often, but she also does well enough to be memorable in her role (Lucilla, sister of Commodus), and Derek Jacobi, David Schofield, John Shrapnel, Tomas Arana, David Hemmings, and Tommy Flanagan are all uniformly excellent in their respective roles.

Brilliantly bombastic, full of spectacle without feeling overstuffed or overdone, and reworking the essence of classic epics into something that somehow feels both comfortingly old-fashioned and enjoyably updated, Gladiator is superior blockbuster fare. And if you are watching it with anyone who hasn't seen it before then you get the added pleasure of jumping up while the end credits roll and shouting "are you not entertained?"

9/10

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Captain Clegg AKA Night Creatures (1962)

Captain Clegg was a notorious pirate, hunted down by the King's men (led by Patrick Allen) and killed by hanging. His body was then buried in the grounds of a church in a small coastal town. But his spirit lives on. When the King's men visit the town, looking for alcohol that has been smuggled in from France, the locals are seen to be a cunning group that Clegg would be proud of. Even the local reverend (Peter Cushing) is in on the act. In fact, he's pretty much leading the sneaky revolt. With rumours of creatures in the surrounding marshlands scaring people to death, the town soon becomes quite a claustrophobic hotbed of paranoia, fear and anger.

Written by Anthony Hinds, with some help from a tale by Russell Thorndike (and extra dialogue by Barbara S. Harper), Captain Clegg is up there with the very best Hammer movies. Mixing in some wonderful, atmospheric moments with many scenes that feature some of the best Hammer actors doing some of their best work, this may not be an outright horror movie, but it retains that quintessential Hammer feel.

Director Peter Graham Scott handles everything well, helped by the great design work, the cinematography by Arthur Grant, and that glorious cast.

Cushing is always worth watching, of course, but this role is such a delight that it's one of my new favourites from his filmography. Allen isn't a match for the master, but he holds himself with dignity as he and his men are constantly given the runaround by the locals. A handsome Oliver Reed does well, and is matched nicely to a gorgeous Yvonne Romain for one story strand. Martin Benson and Derek Francis both do fine in their smaller roles, but the undeniable highlight for fans is seeing Michael Ripper having so much fun in what may be his best role.

If, like me, you have made the mistake of not seeing this movie yet then rectify the situation immediately. You won't regret it.

9/10

http://www.amazon.com/Werewolf-Paranoiac-Nightmare-Creatures-Frankenstein/dp/B0009X770O/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1392407449&sr=1-1&keywords=captain+clegg

Paranoiac (1963)

Many of the psychological thrillers released by Hammer in the '60s and '70s very much riffed on the same, or VERY similiar, material, and Paranoiac is no exception. However, most of these movies were also pretty damn good, and Paranoiac is also no exception in this regard.

The plot revolves around a family unit that has experienced great tragedy. Oliver Reed plays Simon Ashby, a young man happy to spend his days getting far too drunk and frittering away the family wealth, Janette Scott is Eleanor, his sensitive, and perhaps mentally unstable, sister, and there's an elderly aunt (played by Sheila Burrell) trying to provide what little guidance she can. You see, Simon and Eleanor both lost their parents some years ago. Even worse, they then lost their brother, Tony (Alexander Davion), when he committed suicide, unable to deal with his grief. Well, that's what they thought. The rug is pulled from under their feet when Tony reappears one day, leading to suspicion, tension and the potential to murder.

Director Freddie Francis and screenwriter Jimmy Sangster, who would work together on a few other Hammer movies after this one, do a fine job of setting up the characters as people already struggling to deal with some frayed nerves before then adding more and more reasons for everyone to get more agitated. The plot is, apparently, loosely based on the novel "Brat Farrar" by Josephine Tey, but the basic elements have all been done numerous times before, and the main difference comes from the presentation.

The proceedings are livened up by a decent cast, with Oliver Reed being the shining star. Oh, he may not always provide subtlety and nuance, but Reed has charm and charisma in abundance. He dominates any scene that he's in, and the film is all the better for it (as it's in line with his character anyway). Scott is just fine in a more restrained role, and Burrell is quite good at trying to care for the main characters while also being exasperated by them. Davion is charming, and does a convincing job as his character develops from the second to the third act.

With some nice design work, and some lovely cinematography by Arthur Grant, this is a solid little thriller that I recommend to any cinephiles who have somehow missed seeing it so far.

7/10

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The Adventures Of Baron Munchausen (1988)

I admit that I was hesitant when I slid the Blu-ray of The Adventures Of Baron Munchausen into my player. When it was (barely) released in 1988 I saw a few clips that just didn't sell it to me. In fact, it looked a right mess and the poor performance at the box office did nothing to make me doubt my first impression of the film. Fast forward to all these years later and I now know that boffo box office results aren't always a sign of a great movie, but I still thought I was about to watch a mess. An entertaining mess, perhaps, but a mess nonetheless.

Piffle! The Adventures Of Baron Munchausen is a fantastic film. Directed by Terry Gilliam, who co-wrote the screenplay with Charles McKeown (based on the character created by Rudolph Erich Raspe), it is his usual mix of wild imagination, wonderful visuals and warped humour. Apparently, it forms a thematic trilogy after the excellent Time Bandits and the masterpiece that is Brazil, something to do with the ages of man and the power of imagination, but the most important thing to know is that it's a rip-roaring adventure full of spectacle and larger than life figures.

It is a time of war, a time of misery for the occupants of a city being attacked by a large Turkish army. It is "The Age Of Reason". For the benefit of those seeking a distraction from the war, a play is being performed that's all about the life of the adventurer known as Baron Munchausen. Unfortunately, the play is interrupted by the Baron himself, who is unhappy at the way his adventures have been adapted and proceeds to tell the audience the truth, including how he was responsible for starting the war on the city. Mind you, it's not surprising that few people believe his words when he goes on about his sidekicks - the fastest runner in the world, an eagle-eyed sharpshooter, a man with excellent hearing and the ability to exhale gale force winds and the strongest man in the world. Reality then reasserts itself as the war interrupts the Baron and he wanders off to die. Thankfully, that plan doesn't work (or it would be a very short film indeed) and so the Baron decides to save the city, meaning that more adventures are about to unfold.

This wasn't an easy movie to get made, but from what I've seen and heard over the years, few Terry Gilliam movies are. Having seen his work method, I think it's all down to the fact that he yearns to find the fastest way possible to put his constantly inventive imaginings on to film and that makes for very hard work indeed. He has it all there in his mind and you can see how fast it all wants to come out whenever he quickly sketches a new idea or a revision of the scene before him (check out both Lost In La Mancha and The Hamster Factor And Other Tales Of Twelve Monkeys to see what I'm on about). The difficulties behind the camera just don't show themselves, however, and viewers are simply left to enjoy a great final product.

The cast is wonderful, full of so many familiar faces as well as those who just fit their characters perfectly. John Neville is the Baron, the very heart of the film, and he makes for a wonderful companion and narrator throughout. Sarah Polley is only a teeny tiny girl here and she's very good in her teeny tiny girl role. Eric Idle, Winston Dennis, Jack Purvis and Charles McKeown have a lot of fun playing some rather unique characters while Uma Thurman, Jonathan Pryce, Robin Williams, Alison Steadman, Oliver Reed, Bill Paterson, Valentina Cortese, Peter Jeffrey and many others populate the screen in a variety of weird and wonderful roles.

Fans of Gilliam's films should love this one, fans of films such as Big Fish (which has quite a similiar structure) should love this one and fans of fine cinema, in general, should find plenty to enjoy. I didn't expect to say this before putting in that Blu-ray, but I highly recommend this film.

8/10

http://www.amazon.co.uk/Adventures-Munchausen-Anniversary-Edition-Blu-ray/dp/B0012OTRYI/ref=sr_1_2?ie=UTF8&qid=1357696323&sr=8-2

The Curse Of The Werewolf (1961)

The Curse Of The Werewolf is, surprisingly, the only werewolf movie that Hammer ever made. You might be about to argue with me on that point, but I assure you it is so. The Beast Must Die was an Amicus release and Legend Of The Werewolf was from Tyburn Film Productions Limited. Nope, I can't remember hearing of them either, but they existed long enough to release a few movies in the 1970s (and some TV stuff in the 1980s). Now that I have digressed, let's get back to discussing the only werewolf movie that Hammer ever made.

Directed by Terence Fisher, and written by Anthony Hinds (based on a novel by Guy Endor), this is a tale that begins with the mistreatment of a beggar (Richard Wordsworth). The mistreatment of the beggar leads to the mistreatment of a young woman (Yvonne Romain) and the mistreatment of the young woman leads to the birth of a child, Leon (played by Justin Walters). Leon is looked after by kindly guardians (Clifford Evans and Hira Talfrey), even when it becomes apparent that he has some dangerous nocturnal habits.
Fast forward a decade or so and Leon (now played by Oliver Reed) is setting out to make his way in the world. His inner beast seems to be soothed and all is well. Sadly, it may not be a permanent respite for the young man, especially with new experiences to try that will appeal to his baser urges.

Set in some Hammer universe idea of Spain, this isn't up there with the best examples of cinematic lycanthropy, but it's a decent, handsomely assembled piece of work. The opening section is a lot of fun in the typical Hammer mold - the inn full of unhappy locals, the nasty marques (Anthony Dawson), the lust and bloodshed - but then the movie dips slightly while showing moments in the life of young Leon. Thankfully, the appearance of Oliver Reed signals a return to better form as his charm and brooding good looks are put to great use. Reed is joined onscreen by a cast that includes Warren Mitchell as a watchman who once, unwittingly, shot Leon, Michael Ripper as a drunkard, Ewen Solon as Leon's employer, Martin Matthews as a buddy and Catherine Feller as a woman that Leon falls for. Mitchell and Ripper are both great, the rest do what's asked of them, but not much more.

The script by Hinds is a bit flat, as is the direction from Fisher, but all is saved by the wonderful third act, featuring a number of scenes allowing Reed to really gain sympathy even after viewers have seen the hairy incarnation of him covered in make up based on the classic look created for The Wolf Man by Jack P. Pierce.

It's certainly worth seeing if you're a fan of werewolf movies and, of course, if you're a fan of Hammer horrors, but it's more interesting than actually impressive. I have a soft spot for it (I saw it on TV when I was very young thanks to a babysitter who let me stay up late), and I'm sure that many others feel the same way, but I don't know how anyone would react if coming to view it for the first time in adulthood. Give it a watch sometime and find out. Then you can let me know.

7/10

http://www.amazon.co.uk/Curse-Werewolf---DVD--Exclusive-Limited-Steelbook/dp/B0067LXQA2/ref=sr_1_2?s=dvd&ie=UTF8&qid=1365138134&sr=1-2&keywords=the+curse+of+the+werewolf

The Three Musketeers (1973)

The first of the swashbuckling collaborations between director Richard Lester and writer George Macdonald Fraser (and, of course, Alexandre Dumas), The Three Musketeers is an enjoyable romp that takes a cast of great stars and puts them into something that never quite hits the heights that it should.

Michael York is the young D'Artagnan, a swordsman who heads to Paris to fulfill his potential and make a good name for himself. Unfortunately, upon his arrival he seems to upset everyone he meets. He unwittingly ends up arranging to duel with Athos (Oliver Reed), Aramis (Richard Chamberlain) and Porthos (Frank Finlay) but then becomes friends with them when they all have to defend themselves against a bunch of Cardinal Richelieu's guards. And so begins the advenutres of D'Artagnan and The Three Musketeers, adventures that will involve a beautiful woman named Constance (Raquel Welch), the ruthless Rochefort (Christopher Lee), the Cardinal (Charlton Heston) and the beautiful and scheming Milady (Faye Dunaway).

Made at the same time as the direct sequel, The Four Musketeers (much to the chagrin of the actors involved, who sued for money owed to them as they thought they'd just worked to make the one movie . . . . . . . though there seems to have been no bad blood as they would also get together again for The Return Of The Musketeers), this is the slightly better film but there's not that much in it. As I mentioned in my review of the sequel they all blend into one big, mildly amusing, swashbuckler.

The leads all have their obvious charms but the real pleasure here comes from a supporting cast that includes the likes of Roy Kinnear, Spike Milligan and Rodney Bewes mixing with Simon Ward, Joss Ackland and Sybil Danning. Talk about an eclectic mix.

While it's hard to get too excited about, there's still certainly some easy pleasure in watching, for example, Oliver Reed have a bit of a drink and still swagger around, ready to lunge at anyone who engages him in swordplay. The film, and the sequels too, allows viewers to look at stars through rose-tinted glasses and to see them in roles that really play to their strengths. Michael York was always the handsome up and coming star, Richard Chamberlain was always relaxed and assured and Frank Finlay was always very entertaining. At least, that's how they have remained in my mind and that is how they are made to appear in this adventure.

Richard Lester may not have been the best director of this kind of material but he sure knew how to throw some big names together and let them have some fun. That fun is infectious, even if the actual movie never moves into top gear.

6/10

http://www.amazon.co.uk/Three-Musketeers-Four-Double-Blu-ray/dp/B005GJTLCS/ref=sr_1_3?ie=UTF8&qid=1352912351&sr=8-3

The Four Musketeers (1974)

A star-studded cast, many of them returning to reprise their roles from The Three Musketeers, have a lot of fun in this swashbuckling romp that still provides decent entertainment today even if it has lost some of its magic. I remember liking this a lot more when I saw it some years ago but I can't guarantee that I have not confused it with the other films or just blended all of the movies (the two mentioned and also The Return Of The Musketeers) in to one big Musketeering party.

The plot is all about the musketeers, the scheming Milady, other schemers scheming and nations teetering on the brink of war. The details are unimportant, really, as this is more about a bunch of talented people having fun onscreen.

Director Richard  Lester once again works with a script by the talented George Macdonald Fraser (who has fun with the characters from the original Alexandre Dumas novel) and the emphasis is once again on big laughs, high drama and great stunts as opposed to historical accuracy and genuine tension.

And what of that all-star cast? The musketeers themselves are played by Oliver Reed, Richard Chamberlain, Frank Finlay and Michael York. Raquel Welch is the lovely Constance while Faye Dunaway is the beautiful and dangerous Milady. Christopher Lee is Rochefort and Charlton Heston has fun in the role of Cardinal Richelieu. There are also small roles for Simon Ward, Roy Kinnear, Geraldine Chaplin and Sybil Danning.

It's never dull but all involved have something better tucked away in their filmography, even if it's just one of the other Musketeer movies. Mind you, this is still a solid choice to brighten up your day when you're stuck indoors and the weather outside is miserable. It's almost like being reminded of how you could be as a child - boisterous, apparently indestructible and always ready to cut down enemies with rapier wit and an actual . . . . . . . . rapier (albeit a plastic one from the toyshop). I don't consider that a terrible thing.

6/10

http://www.amazon.co.uk/Three-Musketeers-Four-Double-Blu-ray/dp/B005GJTLCS/ref=sr_1_15?ie=UTF8&qid=1346922433&sr=8-15

The Jokers (1967)

Before he settled into a disheartening routine of recycling his own material, playing around with celebrity chums and judging various meals, Michael Winner was a director with no small amount of wit and talent. Yes, I said it. It's largely forgotten nowadays but look back through his filmography and there are still a number of his movies that are worth seeking out. The Jokers is one of them.

The relatively slim plot sees Michael Crawford and Oliver Reed playing two brothers who enjoy nothing more than a good prank or two, the more audacious the better. Between them, they hatch the ultimate caper: they're going to steal the Crown Jewels. As long as they make it clear that they never intended to keep them for personal gain then they should be able to get away with the whole thing. Well, that's the plan.

It's a movie from the late 60s set in London so you shouldn't be surprised to find more than one or two scenes that focus on the groovy side of life and just how cool everyone is, whether they're dancing in a disinterested fashion or watching a piece of performance art (performed and viewed, it has to be said, in a slightly disinterested fashion). Because being disinterested = being cool. You dig? The characters played by Crawford and Reed are the coolest of the cool because they aren't actually interested in anything around them that doesn't serve to amuse them or be manipulated in their numerous schemes. And while I may seem to be sarcastic here, I assure you that it's only slight sarcasm. Swinging 60s London is a scene that can provide a lot of unintentional giggles but, dammit, it does still seem very cool. And Crawford and Reed ARE cool in this film, the former really embodying the kind of laid-back, carefree cad audiences should actually hate (but don't) and the latter being simply Oliver bloody Reed in, arguably, the prime of his life.

A great supporting cast features a number of faces familiar to classic movie fans and/or UK TV viewers: Harry Andrews, James Donald, Daniel Massey, Brian Wilde, Edward Fox, Michael Hordern, Peter Graves, Warren Mitchell, Frank Finlay and many more.

The script is written by two other names familiar to fans of UK TV - Dick Clement and Ian La Frenais, a writing team responsible for classic shows such as "The Likely Lads" and the absolutely superb "Porridge". The story idea may have been hatched by director Winner but the two men make sure that things zip along nicely in between the key moments and that every line is in character, and usually pretty funny when juxtaposed alongside the attitudes of the characters onscreen.

Michael Winner deserves some praise. Sometimes. The Jokers may not be an absolutely unmissable classic but it holds up well. Much like The Thomas Crown Affair, it's a heist movie that takes more delight in enjoying the boredom of the bourgeoisie and how those afflicted may try to cure themselves. A fun film worth checking out.

7/10

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