Inferno (2016)

Despite knowing how they are generally viewed by many other people, I am a BIG fan of the previous movies featuring the character of Robert Langdon. Having read most of the books written by Dan Brown, I knew the way he created the contrivances and characters, and the movies managed to move along at a brisk enough pace to make me forget the increasing incredulity of the set-pieces (almost). I was looking forward to Inferno, remembering the high stakes and the tense final act.

Sadly, this is the weakest of the cinematic trilogy, and it's easy to see why. The source material just isn't as easy to translate into cinematic entertainment, and there's also the small problem of each subsequent film highlighting just how many times Brown reaches for the same bag of tricks. Director Ron Howard cannot do much while tied to the novel, and writer David Koepp doesn't want to take any risks in his adaptation of the work.

Hanks returns once again to play the hero, who this time starts things by waking up in an Italian hospital with what seems to be a very bad case of amnesia. He barely has time to try and remember who he is before Dr. Sienna Brooks (Felicity Jones) is helping him to evade a deadly assassin. The two of them then race against the clock to hopefully stop a madman from releasing a virus that will cut the population of the entire planet in half.

It's hard to work up any enthusiasm for Inferno, it's such a mediocre and disappointing movie, especially coming after two much better films. Things start promisingly enough (there's the suicide of the madman who has already put his plan in motion, there's Langdon having a nightmarish vision of people burning to death around him), but that is all soon forgotten as the plot starts to trudge along from one weak set-piece to the next. Even the travelogue aspect isn't all that enjoyable, with the camerawork and visuals surprisingly dull throughout. How the hell do you make Venice look anything less than eye-poppingly gorgeous??

Hanks is yet again a comfortable fit in the role, and Felicity Jones is an enjoyable co-star for him, hampered by the material, but buoyed by the fact that she's Felicity Jones. Omar Sy is okay, but equally hampered by the material, and there are unmemorable supporting turns from Irrfan Khan, Sidse Babett Knudsen, and Ana Ularu. Ben Foster stands out, despite his limited screentime, thanks to his role in one or two of the most intriguing scenes.

Others might end up enjoying this more than I did. If you haven't read the books, or seen the other movies, then you may have a better viewing experience. I found it a big disappointment, especially following on from the two movies that preceded it.

4/10

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In Fabric (2018)

Having been a fan of Peter Strickland since I discovered his talent in Berberian Sound Studio, I was excited when I first heard about In Fabric. Well, okay, I was partly excited and partly ready to poke fun at a plot that sounded superficially similar to I'm Dangerous Tonight (a movie directed by Tobe Hopper, and starring Mädchen Amick, that concerns a cursed red dress). Having now watched the film, I am not sure how best to describe it to others, which is going to make this review pretty bloody hard, but I know that I loved it.

There IS a cursed red dress. That is the best place to start. It is purchased by a woman named Sheila (Marianne Jean-Baptiste). Things soon start to go awry. The dress eventually ends up in the possession of a washing machine repairman named Reg (Leo Bill), spreading the curse to him before moving immediately on to his wife, Babs (Hayley Squires). There are also a couple of bank management staff members (played by Julian Barratt and Steve Oram), the mysterious shop clerk (played by Fatma Mohamed), and a number of other characters who all act at least slightly odd in this surreal nightmare.

There's too much to unpack here, and I am not sure if it is all intentional or not (although I suspect it is, considering who made it). The first half lays all of the groundwork. As soon as Sheila first became interested in the dress, with viewers knowing it holds some power, I began to think of the irony of a woman being literally destroyed by her choice of clothing. It's a statement used far too often by the ignorant neanderthals who still think that women being dressed a certain way play at least some small part in causing any sexual assaults committed against them. "Look at what she was wearing", "she was asking for it", and "well, she was leading him on" are all statements that need consigned to the dustbin of history, and yet we still have quite a way to go, sadly. So it feels as if Strickland is highlighting the ridiculousness of those sentiments by turning them all into something literal. You also get a lot of sharp commentary on the general competitiveness that affects women every day, either in the workplace (where some people will "inform" on others for brownie points, while the whole workforce probably deserves to be rewarded more for their good work) or just in general contact with other women (there's no denying the double meaning when one character vacates the bathroom for Sheila, telling her "as I know you're desperate").

Things seem to get murkier in the second half, but a lot of the main targets are still exactly the same. It's just that Strickland tries to distract viewers by making the main character male for one portion of the runtime. He's quite atypical though, certainly compared to the kind of men we would usually see in genre movies. Reg is a decent enough guy, even if we first see him drinking too much on a big night out, he's fairly dull, and seems to be completely devoted to his new wife, in a way that makes him absolutely oblivious to the slight teasing from another woman.

I've not even mentioned the wilder moments here, and I won't. Things get pretty crazy early on. Be prepared for a number of moments that don't necessarily make sense, but do add to the atmosphere and collage of impressive imagery. That includes the ending, although there's an obvious interpretation there that allows the whole thing to end on an obvious comment on the fashion industry and consumerism.

Everyone involved does great work, all in line with the atmosphere that Strickland is creating. Highlights include the turns from Gwendoline Christie, who gets some great dialogue, any moments involving Barratt and Oram, the constant spookiness of Mohamed, and the weary turn from Jean-Baptiste as she navigates her work life, a home occupied by her son (Jaygann Ayeh) and his lover (Christie), and the dating world.

The visuals are lush, there's a wonderful selection of music by Cavern Of Anti-Matter (yeah, I've never heard of them either, but they work perfectly here), and everything is just spot on. There are no negatives I can think of, aside from a few moments that don't really nail down the tone, but that doesn't mean everyone will love it. If you DO love it then you will LOVE it. Many others could end up hating it though. I can't see there being much middle ground.

9/10

Buy the movie here.