RoboCop 3 (1993)

After my surprisingly positive reaction to RoboCop 2 when I (re?)watched it a few weeks ago, I decided to make a rewatch of RoboCop 3 a top priority. I have definitely seen this before, and I definitely didn't like it. But I went into it with an open mind and a good helping of optimism.

It's Robert John Burke in the main role this time around, and things are still not great in Detroit, which has now been acquired by OCP. OCP isn't the same old OCP any more though, having itself been taken over by a Japanese corporation now holding a controlling share of the stock. As Detroit residents are mistreated and turned out of homes that can then be demolished and turned into more profitable enterprises, growing unrest from civilians becomes such a strong force that it eventually affects the police. But will they continue to work as the strong arm for capitalist bullies, or will they follow RoboCop's lead and develop a moral conscience?

While he cannot match Weller's performance, Burke is very good in the lead role, and he does well with the physicality of the role. Nancy Allen reprises her role for a while, Remy Ryan is good as a talented kid, Nikko, who can also use technology to help those around her fight back against the authorities, Jill Hennessy is the aptly-named Dr. Lazarus, and it's fun to spot familiar faces like CCH Pounder, Bradley Whitford, Stephen Root, and Daniel von Bargen in the supporting cast. Bruce Locke has some very memorable moments as Otomo, most easily described as a kind of robo-ninja, and Rip Torn gets to join in with the fun for a few amusing scenes.

Directed by Fred Dekker, who also co-wrote the screenplay with Frank Miller, RoboCop 3 is a decent, but flawed, bit of sci-fi action fun with the kind of satire and social commentary that fans of the first two movies should expect. Like many perfectly fine sequels, the biggest problem it has is not being up to the high standard of the first film. That is all, although it was received so poorly when first released that it pretty much killed Dekker’s directorial career stone dead. 

There's nothing here to shout about when it comes to the technical side of things. The visuals lack some flair, but aren't awful, and the few moments that feel like highlights still pale in comparison to the highlights from both of the previous movies. It's obvious that the budget wasn't there for an epic vision, but it's hard to be sure that Dekker and Miller had any epic vision in mind, as the story we get is much more interested in re-establishing a connection between RoboCop and some real humanity than providing more glimpses of the dystopian future setting.

Yes, a few  moments feel unintentionally silly, either due to the plotting or the wonky special effects, but I ended up enjoying the messy mix of capitalist brutality fighting against community warmth. There’s no prime directive to say that you should watch this, but I don’t think that it’s anywhere near as bad as its reputation would suggest.

6/10

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: The Unbelievable Truth (1989)

The second film I have seen from writer-director Hal Hartley (with the first being Amateur), I am starting to think that his work may not be for me. I will keep giving him a chance, and two movies from an entire filmography isn’t exactly a massive sample size, but he has a style that never seems to sit comfortably within the boundaries of cinema. Perhaps he’s more of a playwright, which is a great thing to be, but sometimes I watch films that should be plays and resent people involved for trying to force the material to be a film.

Let me clear something up before I go any further though. I did like The Unbelievable Truth. There were some great performances, a brilliant idea at the heart of it (a man returning home after spending time in prison for homicide, being judged by people who don’t actually know what happened), and some individual scenes that are strange, and sometimes fun. It’s just a shame that the more serious moments remain too quirky and almost confrontationally detached from any real emotion. This is the debut from Hartley, and maybe he just wanted to indulge himself, in case it was his only movie. Or maybe, as I suspect could be the case, it is just his style.

Young Audry may want to head off and do well in studies, which will cost her dad plenty, but also has her head turned by the idea of becoming a model. She also has her head turned by a stranger who has come back into town, one with a dark and macabre past. Characters wrestle with their feelings, be they for love or social standing, or both, and viewers are guided along a winding path towards a hopefully satisfying ending.

Robert John Burke is Josh, the man who comes back into town, and he is very good in that role, somehow emanating a sense of both calm and danger at the same time. His character isn’t necessarily a bad person, viewers can only go by what others think, but he is often treated like one. The star, however, is Adrienne Shelly, who plays Audry, a young woman in love with literature and the idea of getting away from home. She also finds herself drawn to Josh. Julia McNeal is Pearl, a young woman who plays an integral role in the perceived guilt or innocence of Josh, Chris Cooke is Audry’s father, Vic, a man very happy to get to a stage where he can make some money from his daughter after spending so much on her for years. There’s also a very fun turn from Gary Sauer as Emmet, a young man who just wants to start a fight with everyone around him.

Hartley writes well, certainly when it comes to depicting young adults navigating their way into the next stages of their life, dangerous terrain that could lead them to promised lands or energy-draining bogs, but he doesn’t write well for movies. Things here feel as if they are taking place in a vacuum, with the world outwith the main characters simply feeling like it’s “offstage”. And every technical aspect of this film, from the camerawork to shot framing, from the music to the editing, feels the same way. It is all beholden to the writing of Hartley, as I am sure he feels it should be. But perhaps he would do better to hand his words over to someone who might not treat them in such a precious way.

6/10

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

BlacKkKlansman (2018)

Based on an incredible true story, one of those truth is stranger than fiction deals, BlackKklansman tells the story of an officer named Ron Stallworth (John David Washington) who managed to become a well-regarded and respected member of the Ku Klux Klan, as part of a major undercover operation. That's not so strange in itself. The strange part is, as the title suggests, Stallworth being an African American. Having won people over with his telephone manner, Stallworth gets permission to work with his colleague, Flip Zimmerman (Adam Driver), to create a composite Ron Stallworth. The man himself will continue to have the phone conversations, Zimmerman will act the part of Stallworth in person, at great personal risk. As things start to gather momentum, Stallworth finds out about a major plot being brewed up that might be even more dangerous than the Klan meetings and cross-burnings.

Directed by Spike Lee, who also helped to co-write the script along with three other writers (from the book written by Stallworth - a book I need to buy soon), BlackKklansman is a sensational piece of work. It's both a testament to some incredible, and brave, police work and a damning critique of the state of the world around us today, a world that has not moved on as far as we'd like to think, despite the best efforts of people like Stallworth and Zimmerman. The script has some great lines in almost every scene, and there's a lightness of tone throughout making it easier to enjoy everything in a fairly straightforward manner (more on that later), but it's really that incredible central idea that makes this a riveting watch from start to finish, helped by lively direction from Lee that seems to convey how energised he was while bringing this tale to the cinema screen.

The acting from all involved is super. Washington plays a sharp young man who is confident in himself, no matter how others want to pigeonhole him (be they fellow officers, racist assholes - who are also sometimes fellow officers, or fellow African Americans who view him as an enemy because he's a police officer). He's a hugely charismatic lead, and his mannerisms and ability to move between personas helps to sell the core of the story. Driver, as the other half of his fictional Stallworth creation, is equally brilliant. And, although not relevant to any other part of the film whatsoever, he does one of my favourite evr "slow, surprised, turns" here. There are times when his character seems a bit too smart and confident for the Klan, but that's what makes him a more appealing new member. Laura Harrier is a socially-conscious young woman named Patrice, and she plays her character with passion and wit. It's easy to see why Washington's character is drawn to her, and also why things won't go smoothly as truths eventually have to come out. Topher Grace gives a wonderful turn as David Duke, the (now former) Grand Wizard of the KKK. He's perfectly pleasant and charming and easy to laugh at, and evil in a form that is acceptable to those around him. I've supported Grace for many years, always been a fan of his work, but know that it takes just the right roles to bring out the best in him. This is one of those roles. Elsewhere, Ryan Eggold, Jasper Pääkkönen, and Paul Walter Hauser play the main KKK members who welcome Stallworth into their fold, and Ashlie Atkinson is the wife of Pääkkönen's character, welcoming people into her home with snacks, beverages, and cosy soundbites about how to maintain whites as the superior race. Robert John Burke, Ken Garito, Frederick Weller, and Michael Joseph Buscemi also do great work, portraying a variety of law enforcement officials who either help or hinder the investigation at various times.

But let's get back to that light tone I mentioned earlier. I admit that I was slightly uncomfortable at times while watching BlackKklansman, worried that Lee was minimising the threat, downplaying tension in many scenes that could have really started to have people on the edge of their seat. It was easy to laugh at Klan members, easy to view them as fools that no reasonable people would want to be stuck alongside. And that's another main point that Lee is making, emphasised by everything that happens in the third act. It IS easy to laugh at these people, it IS easy to dismiss them as ignorant idiots looking to blame the wrong people for situations they don't understand, and it IS easy to be bemused by meetings of racist assholes being catered by caring loved ones, discussions of potential acts of racial hatred right beside a full plate of biscuits and a nice cup of tea. We laugh, we ignore, we don't think that anyone else takes notice, and then others DO take notice, some get swept up in the hyperbole and the vitriol, many start to feel that if nobody is taking them to task (because a lot of us are just ignoring them) then they can become more emboldened in their words and deeds, and it builds and builds, until we have "tiki torch" marches in present-day America, we have a media gullibly seduced into thinking that showing a lack of bias also means giving platforms to those who spew their vile hatred whenever they are given the opportunity, and we have peaceful protests marred by violence and death, a fatal backlash from that endangered section of society known as the, ummmm, white male (typically).

BlackKklansman doesn't address every wrong that has, is, and will be perpetuated on black people around the world. Today, off the top of my head, you could look at reports on racial profiling, you could look at the links between various crimes and jail sentences, you could start to count the number of police shootings of African Americans in the USA, and you could go on and on and on. BlackKklansman addresses the complacency that allows all of those wrongs to continue, largely unchecked, and serves as a stark warning that you ignore idiots at your peril. Because idiots can end up being more dangerous than the smarter men who try to stir them up. Why? Because they're idiots. You will rarely convince a smart man to sacrifice himself in an attempt to strike a blow for a cause that is built on nothing more than insecurity, cowardice, and absolute ignorance.

8/10

Here is a link to the main Black Lives Matter page.
Here is a link to the NAACP page.

The disc can be bought here.
Americans can get it here.