I have literally hundreds of them left languishing on my old blog still (having been moved to the new one for several years now), and I only repost them now and again when they're on TV or a sequel comes out or something. There are dozens -- hundreds, probably -- of more obscure films that would never get brought over if I stuck to that, so I'm making a concerted effort to change it. Nonetheless, there are so many posts left that I think it will take me a full year or more to finish this -- and that's if I keep it up non-stop.
Anyway, we'll come to what was posted in a minute. First, there were two brand-new reviews published this week. They were:
Journey into Fear (1943)
Remembered largely thanks to the involvement of Orson Welles (he has a supporting role, produced it, co-wrote it, and reportedly directed a fair bit too, though he denied that), Journey into Fear is an adequate if unsuspenseful World War 2 espionage thriller, redeemed by a strikingly-shot climax.Read more here.
The Raid (2011)
perhaps the other film that The Raid is most like is Mamma Mia: a perfunctory plot that exists purely to link together the bits we’re really here for — Abba songs. Or “fights”, in The Raid’s case… though, let’s be honest, how much more original and interesting would it be if they were fighting to Abba songs?Read more here.
And as promised, the bumper crop new to the new blog were...
Calendar Girls (2003)
The film could so easily have been quite a lowly, cheap TV movie effort, what with its apparently farcical premise, worthy cause and older characters. But instead the filmmakers have crafted a movie that is both utterly hilarious and deeply moving — even for this younger male viewer.Read more here.
Doom (2005)
When it does kick off it’s brief and only vaguely entertaining. And the much-discussed first-person sequence is far too much like watching someone play a video game.Read more here.
Mystic River (2003)
The acting is the main draw of this Oscar-winning murder drama, in which three childhood friends who grew apart are brought back together when one of their daughters is murdered. Tim Robbins is particularly excellent, easily earning his Best Supporting Actor Oscar.Read more here.
The Reckless Moment (1949)
probably only the second or third film noir I’d ever seen, and I don’t think I properly appreciated what I was watching. It doesn’t really come across in this ‘review’, but I’ve felt for several years now that the sense of apathy I felt then (which I think is implied) no longer reflects my memory of the film.Read more here.
Troy: Director's Cut (2004/2007)
This director’s cut adds almost half an hour of new material, which is about a 15% increase in length. That said, I can’t spot most of what’s new. If you know it well enough to spot the differences then you surely already like it, in which case I expect you’ll like this cut too. If you didn’t like Troy first time round, I doubt you’ll be swayed now.Read more here.
Tu£sday (2008)
The high-profile cast frequently belie what you’re watching. Most of the production has an amateurish feel. It’s hard to pinpoint, but it seems to be a combination of photography and editing: the look is like plain digital video, the choice of shots often obvious and lacking variety, the editing not as tight as it should be.Read more here.
More next Sunday.
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