Sunday, 26 April 2015


1x11 The Path of the Righteous
Great final scene, even if I'm gutted to have that character leave the show.

5x03 Muddy Waters
[Watch it (again) on ITV Player.]

this week on 100 Films

Four brand-new reviews were published to 100 Films in a Year this week, and they were...

Bernie (2011)
Richard Linklater tells this story in a docu-drama style, mixing talking head interviews with dramatic recreations. Many (most) of the interviewees are real-life Carthage residents, presumably giving their real recollections and opinions. It fits this narrative to a T, lending veracity to the unbelievable-if-it-weren’t-true story.
Read more here.

Midnight in the Garden of Good and Evil (1997)
the sense that enough of the truth remains keeps the film inherently captivating. That’s handy for the film, which almost leans on the “it’s all true!” angle as a crutch to help the viewer through its own production. Eastwood’s direction might kindly be described as “workmanlike” — it’s strikingly unremarkable. Cusack is as blank as he ever seems to be
Read more here.

Next Avengers: Heroes of Tomorrow (2008)
there’s the son of Captain America and Black Widow; the daughter of Thor and Sif; the son of Hank Pym and Wasp; the son of Hawkeye and Mockingbird; and the son of Black Panther. These kids must work with the still-living members of the original Avengers to fight… Ultron, the villain of this summer’s Live-Action Avengers 2! (Do you ever feel like the Marvel universe goes round in circles?)
Read more here.

Pain & Gain (2013)
For his first non-sci-fi movie in a decade, divisive action director Michael Bay channels Tarantino (kinda) for this based-on-a-true-story crime comedy. Dwayne “The Rock” Johnson, Mark “Marky Mark” Wahlberg and Anthony “The Falcon” Mackie star as a gang of dimwitted Florida bodybuilders who come up with a ‘foolproof’ plan to rob a rich gym client.
Read more here.

Plus five archive reviews were reposted on the new blog...

The Big Heat (1953)
It’s rather grim and very violent, to be blunt. Even if most of the violence is off screen, it’s still described in fair detail — and most of it’s against women too. Lang adds intensity to this mix, a quiet sort of tension. It becomes clear that this is a tale where anything could — and does — happen; where it is, for once, genuinely true that no one is safe.
Read more here.

Roman Holiday (1953)
the cast work well together. The film is often painted as a Peck/Hepburn two-hander — easier to sell the romance angle that way — and I’m sure it would work as that, but Albert’s in it enough to qualify for attention, and is fairly essential to what makes it quite so likeable in my opinion. He and Peck carry much of the humour while Hepburn charms as a sweet girl finally allowed to be herself.
Read more here.

Snake Eyes (1998)
Let's start with the opening take. It's a fake (there are eight cuts), which is pretty obvious, but it's still a nifty way of starting the film... it sets up nearly everything we need to know for the rest of the film. Almost every element of the conspiracy is tucked away in there somewhere, from the blatantly obvious to the tiniest detail we won't even notice.
Read more here.

Ultimate Avengers (2006)
The primary problem is balance. [It] spends the entire first half assembling the team, the story crawling along at a snail’s pace; consequently, there’s nothing like enough time to do the remaining plot justice, leaving much of it to feel rushed. However, the tale itself retains an appropriately comic-book feel
Read more here.

Ultimate Avengers II (2006)
yes, it’s a modern genre sequel, so yes, it’s ‘darker’. In this case that means “more adult”, touching on issues you might not expect in superhero animation with such a low certificate — marital problems, survivor’s guilt, political isolationism, even vague allusions to alcoholism. None are dealt with in any great depth I should add, but it will likely please adult fans wishing for something more “grown-up”.
Read more here.

More next Sunday.