Kill Bill Volume 1

Kill Bill Volume 1 will always have a special place in my heart for two reasons. Firstly it was the first 18 Certificate film I ever saw at the cinema and as a result it was the first Tarantino film I saw at the cinema too. Thinking back, it might have been the first Tarantino film I saw at all although I can’t quite remember if I bought my VHS copy of Pulp Fiction a little earlier. As a seventeen year old who at the time had little interest in movies beyond the latest American Pie I was awe struck by Kill Bill and I’ve seen it several times since. The movie, as it makes clear during the opening credits was the forth film from Quentin Tarantino and followed a six year break since Directing his third film, Jackie Brown. Although originally intended as one feature the movie was split into two separate films due to a four hour run time and Kill Bill Volume 2 followed six months after Volume 1 in 2004.

This is perhaps Tarantino’s most highly stylised film to date and takes in an assortment of styles, genres and techniques. The Director and story weave from genre to genre, picking up pieces of revenge, Hong Kong martial arts, exploitation and Japanese samurai movies as it progresses in a non linear manner through its plot. The film is separated into chapters which themselves often feel like short films. Each chapter takes from a different style, genre or era and occasionally the style will change mid chapter. The plot focuses on the character of The Bride (Uma Thurman), a former member of the Deadly Viper Assassination Squad who is beaten and shot in the head by her former colleagues. She wakes up four years later to discover her fiancé and unborn daughter are dead and sets about reaping her revenge on those who attacked her and killed her family. Each chapter tells a portion of her revenge tale.

All Quiet on the Western Front

All Quiet on the Western Front is over eighty years old now but remains one of the greatest anti-war war movies ever made. The film won both a Best Picture and Best Director Oscar in 1930 at the 3^rd Academy Awards and its reputation has grown steadily ever since. The film has found a place in the AFI’s Top 100 Movies list and on IMDb’s Top 250 and probably deserves those honours as well as the many other plaudits which are thrown its way. For me the film has aged extremely well in general and apart from some sound problems and the occasional bad acting it is amongst the best films I’ve seen from the period and one of the best war movies ever.

At the outbreak of the First World War a German professor is delivering an impassioned speech to his students about the honour of serving ones country in battle. As his students listen on in awe they enthusiastically enlist en masse as many schools, universities and factories did. After a brief training camp where they soon discover that army life isn’t all fun and games the men head into battle on the Western Front. Over the four years of the war their number dwindles until the film begins to focus on the story of just a couple as well as the veterans they join. It becomes apparent to those who last long enough that they are fighting for nothing and all who survive become disheartened by the war as well as the attitude from home.

Beasts of the Southern Wild

Beasts of the Southern Wild is a fantasy drama set in the Louisiana bayou. Five year old Hushpuppy (Quvenzhane Wallis) is a young resident of The Bathtub, a small community cut off from the rest of the world by a levee. She lives there with her father Wink (Dwight Henry) a man who is desperately trying to teach his daughter self sufficiency due to the difficult nature of their home and a hidden illness. With a storm approaching The Bathtub many of the residents decide to leave but Hushpuppy and Wink stay to ride it out.

Beasts is a film that I’d heard a lot about and it has garnered several high profile awards and nominations including Best Picture, Best Actress and Best Director at the Oscars. I personally think that only the Best Actress nominee is justified but think that Beasts of the Southern Wild is a compelling and interesting film that takes poetic licence with a realistic setting.

Oldboy

Oldboy is one of those films which I’d heard was excellent but luckily knew nothing more. About three years ago I finally sat down and watched it. I then had to watch it the next day as well. Since those first two watches and subsequent two or three, Oldboy has become one of my favourite films of all time and opened up a now longstanding love affair with Korean cinema. Beginning with Director Park Chan-wook’s other films I began to discover incredible actors such as Song Kang-ho (The Host, Thirst, J.S.A.) which in turn lead me to discover more fantastic Director’s like Lee Jeong-beom (TheMan from Nowhere), Chul-soo Jang (Bedevilled) and Kim Ji-woon (I Saw the Devil, The Good, the Bad, The Weird). In essence, Oldboy for me was a small crack of light which opened the door to a bright world of film discovery and in the four years since I first saw it, it remains not only one of the best Korean movies I’ve seen but one of the best full stop.

A drunken man called Oh Dae-su (Choi Min-sik) is awaiting collection from a Police Station. His friend arrives to take him home to his young daughter whose birthday it is. While the friend makes a quick call from a payphone, Dae-su disappears and isn’t heard of again for nearly fifteen years. During those fifteen years he is locked up in a small room without an explanation or any idea of when or if he will get out. While locked up he is framed for his wife’s murder and his daughter is adopted in Sweden. A decade and a half later Dae-su is released, again without explanation but is told he has until July 5^th to work out why he was locked up or his new friend Mi-do (Kang Hye-jung) will be killed.

Dial M for Murder

A classic Hitchcock mystery thriller, Dial M for Murder was released in the same year as Rear Window but isn’t as well known and didn’t make as much money as the latter film. The movie threads themes of mystery, betrayal and most notably the search for the perfect murder, a theme which permeates much of Hitchcock’s work but most notably Rope, Strangers on a Train and Shadow of a Doubt. The plot centres around a London flat where a husband, Tony Wendice (Ray Milland) blackmails a former college acquaintance (Anthony Dawson) into murdering his Wife (Grace Kelly) who he believes is having an affair with an American crime novelist (Robert Cummings). Wendice plans the perfect murder but when things go wrong he is quick to think and finds another way of dispatching of his wife.

Like the majority of the dozen or so Hitchcock films I’ve seen so far, Dial M for Murder is very good. Although it is no Psycho or Rope it is a well above average mystery film which features a terrific plot and some decent performances.

Despicable Me

This will be just a very quick review and I’ll be honest from the start, I didn’t give the movie my full attention. After no interest or excitement from the first half an hour I did something I never do and let the film continue in the background while I caught up on reading some of my favourite blogs. As a result there is a good chance that I missed things in Despicable Me. The film centres on an evil super villain called Gru (Steve Carell) who adopts three young girls in order to help him steal the Moon and win the approval of his mother.

I found there was little to laugh at during the film and I wasn’t able to engage with the story. I’d heard that the little minions were good fun and have since been given their own spin off but they did nothing for me. There was little inventiveness in the story despite the inventions of the various villains. The voice acting was fine and the animation was good although I didn’t like its style. Overall Despicable Me wasn’t a film I enjoyed but don’t feel qualified to give it a rating out of 10 as I didn’t pay enough attention to it. I wish I hadn’t started watching it because it was a waste of 90 minutes. 

Knocked Up

After young up and coming TV reporter Allison Scott (Katherine Heigl) gets promoted she heads out to celebrate with her sister Debbie (Leslie Mann). She ends up having a drunken one night stand with an unemployed, pot smoking; man child called Ben (Seth Rogan) and a few weeks later discovers that she is pregnant. Knocked Up follows the nine months of pregnancy and the difficulties faced by unprepared soon to be parents Ben and Allison and married couple Debbie and Pete (Paul Rudd).

I saw Knocked Up on a transatlantic flight a few years ago and remembered enjoying it but remembered little of it. With a sort of sequel This is 40 released this month I thought I’d go back and give the film a second watch. For me it is average in terms of laughs for a Judd Apatow produced film but considering his films can be very hit and miss this is one of the most entertaining and also sweetest.

Warm Bodies

Warm Bodies is a loose retelling of Shakespeare’s Romeo & Juliet but with a twist. Romeo or R (Nicholas Hoult) is a zombie, living in a post apocalyptic world. He spends his days shuffling around a long abandoned airport, looking for food and grunting. One day while out searching for brains he comes across a group of young survivors and despite his condition, falls in love with one of them, a girl called Julie (Teresa Palmer). Going against his nature R saves Julie and takes her to a safe place. Something about his love for Julie triggers a reaction inside R’s heart and he slowly becomes more human but with armed militia out to kill zombies, will anyone believe him?

Warm Bodies begins with a fantastic idea. The film is mostly told from a zombie’s perspective which I found really interesting. He has an internal monologue which is deep, thoughtful and funny but outwardly is only able to produce a few groans. Unfortunately the interest soon wears off in favour of the romantic elements. While this is fine the film plays fast and loose with the zombie concept and purists will struggle to engage with a fast moving, talking, sentient zombie.

Hitchcock

Hitchcock is a behind the scenes telling of the making of Psycho (1960) and the relationship between its Director Alfred Hitchcock (Anthony Hopkins) and his wife and long time collaborator Alma Reville (Helen Mirren). The plot encompasses Hitchcock’s search for a follow up to the hugely successful North by Northwest and then the difficult production of Psycho, ending at its Premier. Although Psycho and its production provide the backdrop, the plot is really about love, jealousy and aging. Hitch and Alma had been married for almost thirty-five years by 1960 and one of the avenues the film explores is the fractious relationship which they share. Hitch’s obsessions with his leading ladies, here Janet Leigh (Scarlett Johansson) is something which Alma has put up with for decades but when the writer Whitfield Cook (Danny Huston) takes an interest in Alma, Hitch’s jealousy effects their relationship and his work.

Hitchcock isn’t a bad film and it’s always nice to see behind the scenes of a Hollywood production but even if it had been great there would still be one problem and that is that it isn’t Psycho. All the way through I thought to myself that I wish I was watching Psycho and the underwhelming central performance and flabby plot just made me think back to what is in my opinion one of the greatest films in history.

The Black Dahlia

The Black Dahlia is a neo-Noir film Directed by Brian De Palma and based on the book of the same name by James Ellroy (L.A. Confidential). The film was a critical and commercial failure on its release in 2005 and I first saw it on DVD in about 2007 but on a really small TV in my girlfriend’s university flat. We both fell asleep so didn’t remember much about it. There were two reasons why I wanted to see the movie again. The first was that it was featured in a fantastic Sight & Sound article about post 2000 Noir and the second was Scarlett Johansson. Any excuse to watch one of her films. Having seen it properly now I’ve come to the conclusion that I probably didn’t need to see it again and there’s a reason I didn’t remember much of it. The Black Dahlia is overly confusing and the time I spent trying to piece things together took me away from the plot and the excellent period world that the film created.

Placed shortly after the Second World War in Los Angeles the movie is set around a real life murder case but everything else is fictional. Former boxers turned cops Dwight 'Bucky' Bleichert (Josh Hartnett) and Lee Blanchard (Aaron Eckhart) take part in a fixed fight which earns everyone in the Department an 8% pay rise. They soon end up as partners and following the grizzly murder of a young wannabe starlet (Mia Kershner) Blanchard begins to obsess about catching the killer, leaving the rest of their work and his girl (Scarlett Johansson) on the outside looking in.