Sunday, 2 July 2017

Top 5: Library Scenes in Cinema

Today I start a new job as Event & Programming Officer at the City Libraries and to celebrate, here are my Top 5 scenes set in a library.
1. Ghostbusters
The opening scene in the New York Public Library perfectly sets up the movie but it is the subsequent scene in the library as the Ghostbusters encounter their first paranormal apparition that allows the audience to see the dynamics within the team of Peter, Ray and Egon.

2. The Breakfast Club
90% of this John Hughes Eighties classic is set in a library as it is where the group spend their Saturday afternoon in detention. Difficult to pick one scene out of so many but got to go with the moment they cut loose and dance around the library.

3. All The President's Men
,
An iconic shot in cinema history as the camera pulls back to reveal the enormity of the task ahead of Woodward and Bernstein as they look through the records of every book checked out by the Nixon administration.

4. Indiana Jones And The Last Crusade

Indiana Jones searches a Venetian library for a clue in the hunt for the Holy Grail where X marks the spot.


5. Stephen King's IT (1990)



When the adult Richie returns to town, he encounters Tim Curry's Pennywise within the local library. Laughs and scares come in equal measures.

Friday, 30 June 2017

Top Ten Films of 2017... So Far!


1. Baby Driver


2. Get Out


3. La La Land


4. John Wick Chapter 2


5. T2 Trainspotting


6. Jackie


7. Logan


8. Guardians Of The Galaxy Vol. 2


9. Ghost In The Shell


10. Miss Sloane


Wednesday, 21 June 2017

Baby Driver - "Wheelie F*cking Good"


The first words in my head to describe Baby Driver after emerging from last night's Cineworld Unlimited Preview were "Wheelie F*cking Good" and not my words Carol but the words of Top Gear Magazine!

Edgar Wright's long term passion project (that wasn't Ant Man) has been parked in neutral for several years but now he has ditched the Cornettos in favour of a Zoom as Baby Driver is the most exhausting thrill ride since Mad Max: Fury Road because one it puts the pedal to the metal, it doesn't take its foot off the gas.

Born out of a music video he directed for Mint Royale and the idea of setting a car chase to the tune of Jon Spencer Blues Explosion's song Bellbottoms, this is Wright's love letter to the classic car chase movies. Now we're talking about The Driver, Bullitt, French Connection, etc. NOT The Fast & The Furious franchise.

Wright's first film as sole writer/director is a "World's End" away from Spaced and the Three Colours Cornetto Trilogy. This is a much more American Hollywood style of filmmaking, albeit with some traditional Wright-esque flair when it comes to editing and use of music, with virtually every action sequence meticulously timed to the beat of the song. Think of Michael Mann directing Drive choreographed by Bob Fosse.

Following Scott Pilgrim where Wright worked with Captain America, Captain Marvel, Superman and a Punisher, here he continues to expand his superhero collection with Lex Luthor (Spacey), Electro (Jamie Foxx) and another Punisher (Jon Berthnal). I wonder if Dolph Lundgren will appear in his next film?

Performances are strong across the board with extra praise going to Ansel Elgort (NOT Angel Elsort as I am prone to typing) delivering a breakout, star making role as the getaway driver who just wants to get away, and Jon Hamm having a lot of fun getting to switch gears throughout the three acts.

A breath of fresh air in a multiplex full of sequels and remakes, fantastic reviews and strong word of mouth should drive audiences to the box office ensuring that nobody puts Baby Driver in the corner this summer.

5 stars

Wednesday, 11 January 2017

La La Land - Review


"City of Stars, are you shining just for me? City of Stars, you never shined so brightly"

The bright lights of Hollywood draw in and seduce many a dreamer, like moths to a flame, but do their dreams come true and end up with their name in lights or do they go down in flames?

Films set in the City of Stars can go either way. The Neon Demon and Mulholland Drive show the dark side of what can happen to innocent souls in pursuit of fame and fortune but La La Land, from the outset anyway with a glorious opening number Another Day Of Sun set in a traffic jam, certainly feels like it is full of rays of sunshine, hope and optimism.

This is the L.A. from the movies where anything is possible if you believe you can make it.

Of course, we've all know that isn't strictly true and our main characters Mia, a barista and aspiring actress, and Seb, a jazz pianist who wants to open his own club, both have their own dreams and the film follows them as they face obstacles to their goals and the prospect that what they have been seeking all this time might not be success but actually each other.


If Hollywood still operates under the Studio System, Ryan Gosling and Emma Stone would be permanently paired together for the rest of time. The chemistry that was first showcased in Crazy, Stupid Love is off the charts here and is one of the major reasons that the film works so well.

Another reason it works is that it is not beholden to the pitfalls of a stage-to-screen adaptation. Sometimes musicals when they transfer from stage to screen (Chicago, The Producers) struggle to escape the feeling that you are just watching a show. La La Land follows in the footsteps of modern musicals such as Moulin Rouge, South Park: Bigger, Longer Uncut (yes, it is a musical and a damn good one at that!) and has a natural ebb and flow as it follows the central relationship through the seasons.

There were sequences in the film that caused a smile to break out across my face from ear to ear and fill me with a joy I haven't felt in a cinema screen since the final tap dance number in The Artist. And like that film, expect to hear "And the Oscar goes to... for La La Land" quite a lot as Hollywood loves nothing more than a film that celebrates the industry.

There are references to an entire library of cinematic classics; including Singin' In The Rain, Vertigo, Rebel Without A Cause and Casablanca. Like these films, La La Land remembers that the purpose of cinema is to provide an escape from everyday life, to transport you to another place and time and it certainly does that.

City Of Stars might be gaining all the attention but it was the song Audition (The Fools Who Dream), which reminds me of The Rainbow Connection, I was transported back to Studio 54 watching Emma Stone perform in Cabaret, where she first proved that she could hold a tune. Gosling equips himself well too and while not quite Fred and Ginger, they are the modern day Fred and a Ginger.

To quote an internet meme, find someone who looks at you the way critics look at Ryan Gosling and Emma Stone look at each other on screen.

5 stars

Saturday, 31 December 2016

My Top 16 Films of 2016

With 2016 coming to a close, time to look back over the year's cinematic releases (UK release date only) and select my favourite films.


1.  Arrival

2.  Nocturnal Animals

3.  Train To Busan

4.  Your Name

5.  Rogue One: A Star Wars Story

6.  Paterson

7.  The Neon Demon

8.  The Nice Guys

9.  The Revenant

10.  High-Rise

11.  Son Of Saul

12.  Captain America: Civil War

13.  Hell Or High Water

14.  The Jungle Book

15.  10 Cloverfield Lane


16=  Kubo And The Two Strings
16=  The Conjuring 2

Best Film Not To Receive Full Theatrical Release - James White

Friday, 5 August 2016

Suicide Squad - review

Ever since Christopher Nolan and Christian Bale hung up the cowl in The Dark Knight Rises in 2012, the DCEU (DC Extended Universe) has been playing catch up with the Marvel Cinematic Universe, which itself only started back in 2008 with the risky (at the time) Iron Man.

At that point, besides Spider-Man 2 and X2, the DC movies were considered the better films.

But Marvel found their groove and after a string of successful solo movies, they unleashed The Avengers and have never looked back.

Following the lukewarm reception to Man Of Steel, they were desperate for a hit with Batman VS Superman but the critics once again were not impressed.

Suddenly there was a LOT riding on the success of Suicide Squad and unfortunately they are left with another mess on their hands.

It is difficult to tell how much the finished product has been influenced by the fallout from the BvS backlash but the film feels tonally all over the shop.

We are introduced to Deadshot and Harley Quinn at the very start, only to then be reintroduced to them again as Amanda Waller outlines her Task Force X project along with some other bad guys.

Characters drift in and out of the movie, some only there for exposition (or is that explosition?), randomly inserted cameos that serve no purpose except "Justice League is coming!" and scenes seem to be disjointed, like something has been left on the editing room floor. Plus the action scenes are dull and often confusing (particularly the climatic showdown).

The first half features a director plugging rolls of quarters into a jukebox and putting the random selections on top of scenes only to run out of cash halfway through and replace them with a generic score.

Character-wise, Will Smith's Deadshot gets an actual backstory and has the most charasmatic turn in the film. Margot Robbie's performance as Harley Quinn bigger than her hot pants (which isn't saying much) and Jay Hernandez's Diablo does get an arc to his story.

Beyond that, everyone else is completely forgettable but the two worst performances are from Cara Delevingne and Jared Leto's Joker.

Delevingne's Enchantress spends most of her time awkwardly gyrating round the room like she is trying to remove a wedgie whilst doing an impersonation of Cate Blanchett in Lord Of The Rings when Galadriel goes all demonic!

The fact that Leto spent all that time and effort tormenting the cast and crew with his antics is the biggest joke because his Joker pales in comparison to the other iconic screen interpretations.

The biggest condemnation of the film is actually in a post credits scene where two characters discuss how the Suicide Squad mission was a failure and they should have left it to the Justice League. Take out the DC characters and put in two WB executives and you have an accurate description of conversations that will be had in the office on Monday morning.

The Manic Street Preachers sang that "Suicide Is Painless". Sadly watching Suicide Squad is anything but.

2 stars

Tuesday, 10 May 2016

Green Room - Review


The date Friday the 13th is synonymous with misfortune, horror and a guy with a hockey mask. Replace the guy with the hockey mask with an evil Patrick Stewart and you have this week’s new release Green Room.
Following a gig in a Neo-Nazi bar, punk band The Ain't Rights find themselves in a Green Room that is witness to more horror and carnage than the aftermath of an Ozzy Osbourne or Justin Bieber gig.
Forget a bottle of Jack Daniels or 1000 brown M&M's in a brandy glass, the only thing on their rider is staying alive… and that is not a copy of the Bee Gees song either.
The band must survive the night and fight their way out in the hope that they might play one final encore. Patrick Stewart however, in a role that is more American History X than Professor X, is determined to stop them. In fact you could say he will “make it so” that they are a one hit wonder.
With all great horror films, writer/director Jeremy Saulnier wastes no time in effectively setting up the band dynamics before it all goes south and he ramps up the tension and violence all the way to 11 whilst shredding more nerves than guitar solos along the way to a bloody crescendo.
Having filmed Blue Ruin and Green Room, one wonders if Jeremy Saulnier will complete his own Three Colours trilogy with a red-based film. Perhaps Red Rum? A sequel to The Shining or a biopic of the Grand National-winning horse maybe?

4 stars