Captain America: The Winter Soldier

Captain America (Chris Evans) returns in his second solo outing to sniff out the rotten core at the heart of S.H.I.E.L.D. When an attempt is made on the life of a senior S.H.I.E.L.D executive, Captain Steve Rodgers finds himself on the outside of a conspiracy and on the run. With the help of Black Widow (Scarlett Johansson) and newcomer to the series, Falcon (Anthony Mackie), Cap’ must hunt down those who have sworn to protect and comes across a figure from his past in the process.

When the first Captain America movie came out in 2011, I expected it to be the Marvel film that I’d enjoy most. I’m a lover of history and am fascinated by the 1940s, especially the Second World War. It was surprising then that I enjoyed it far less than any other of the Marvel films to that date. I’m glad to say that Winter Soldier is an improvement on the original but still lags some way behind the likes of Thor and Iron Man for me.

I’ll start with what I enjoyed about the movie as that will take less time. I think that the themes are strong and well realised. By turning S.H.I.E.L.D, or at least elements of it, into the bad guys, the film holds a mirror up to the intelligence community. After years of reports about NSA bugs, CIA phone tapping and MI5 interference, the writers pick up a strong idea and run with it. By putting those who are meant to protect us under the spotlight, we get a glimpse into a shady and easily corruptible world. The positioning of S.H.I.E.L.D’s headquarters, high above the Washington skyline, is also a strong visual metaphor. The movie asks us, who is really in charge? What are their powers and if they’re watching us, who’s watching them?

Double Indemnity

I had only been a few months since the last time I saw Double Indemnity but today’s watch of the noir inflected The Lost Weekend made me want to step back a year earlier to revisit Billy Wilder at the height of the genre. Double Indemnity could be described as the archetypical film noir. Although the genre stretches back further than the film’s 1944 release, it was Double Indemnity which provided the blue prints from which later titles took their queues. Famous today for its voice-over, use of venetian blind lighting and provocative femme fatale, at the 17^th Academy Awards the picture was nominated for seven Oscars. Although it ultimately left that ceremony empty handed, the movie’s reputation has gone from strength to strength and it currently sits inside the top thirty on the AFI’s poll of 20^th Century movies.

The film is told in flashback and voiceover by Walter Neff (Fred MacMurray). Neff is a talented insurance salesman who becomes an active participant in a murder plot following a chance meeting with the seductive Phyllis Dietrichson (Barbara Stanwyck). Neff is at the Dietrichson household with the hope of persuading Mr. Dietrichson to renew his motor insurance when he’s presented with the beguiling temptress that is the lady of the house. Blinded by love or at the very least passion, Neff agrees to help the lady to murder her husband and share in the insurance pay out. Having constructed an elaborate murder plot, Neff’s firm and in particular the capable Barton Keys (Edward G. Robinson) are charged with working out how the supposed accidental death of Mr. Dietrichson occurred.

The Lost Weekend

Billy Wilder’s multi award winning The Lost Weekend was one of the first movies to tackle the pull of alcohol head on. The fantastic script details four days in the life of long time alcoholic Don Birnam (Ray Milland) who despite his best intentions to stay sober, ends up down an ever spiralling path of addiction. The winner of four Oscars and nominated for three more on top, The Lost Weekend was one of Wilder’s most lauded films and has lost little of its potency in the near seventy years since its release. Opening in the apartment which Birnam shares with his long suffering and devoted bother, Wick Birnam (Phillip Terry) is attempting to get his brother out of the city and away from the temptation of liquor for a few days. He hopes that the cold turkey approach will aid in his brother’s recovery and allow him the time and clear head to write – a career which Don attributes to himself with little evidence of success.

This first scene displays Don’s dependency through the use of the first of several hidden bottles of rye. Whilst packing, Don tries to slip into his case a bottle which he has attached to a rope swinging outside his window. This, unlike many other bottles is soon discovered but Don still manages to wriggle out of the booze free break and instead settles in for a weekend of petty criminality and hard drinking. Don’s first act of cruelty in the pursuit of his fix is to steal the $10 which his brother has left for the housekeeper. He lies to her that the money (her wage) isn’t waiting for her and purchases two bottles before heading to the bar for a drink. The look on Don’s face when he is presented with the short glass of light brown liquid tells us all we need to know about his addition. He’s like a child of Christmas Day, eager, excited, unable to wait. The first drink is downed and swiftly followed by several more.

The Double

Richard Ayoade’s second film and follow up to 2010’s critically acclaimed Submarine is The Double, a dark comedy based on Fyodor Dostoyevsky’s satirical novella of the same name. Set in a subterranean hinterland of unknowable time and location, the film follows the life of lonely, ignored and unseen data imputer Simon James (Jesse Eisenberg). Simon floats through life unnoticed by those around him, stating that he feels as though people could almost reach through him as though he wasn’t there. When a new co-worker is introduced, Simon is shocked to discover that he looks and sounds exactly like himself. His doppelgänger though is everything he is not; cocky, outgoing and highly visible.

The Double could easily have been a film that was known for its story. Based on the work of one of the literary greats of the nineteenth century, the film has the narrative already safely mapped out and it indeed delivers an interesting and complex story. In the hands of Ayoade though, this film will be remembered for more; chiefly its design and sound. Richard Ayoade has constructed a magnificent film that evokes so much but remains unique. It’s beautiful and funny, grim and depressing all in equal measure.

Pain & Gain

I watched Pain & Gain. I don’t know why I watched Pain & Gain but I did. I watched Pain & Gain. My favourite critic, Mark Kermode, ranked it as his least favourite film of 2013 and I dislike the entire back catalogue of director Michael Bay. But still I watched Pain & Gain. And do you know what? It isn’t the worst film ever made. I don’t even think it’s the worst film of 2013. It isn’t however a very good film. It’s Pain & Gain. Michael Bay’s Pain & Gain.

Based on true events, something which the film ‘amusingly’ reminds the audience of after a particularly unbelievable scene, Pain & Gain is the story of body building jackass personal trainer Daniel Lugo (Mark Wahlberg) who in 1994-5 along with two accomplices, successfully kidnapped and extorted a Miami based businessman, taking all his money and possessions. After months of living the high life, the trio decided to try their hand at a second kidnapping but by this time the police were on their trail.

Escape Plan

It was only natural that I became curious when I heard of a forthcoming film featuring the two super-heavyweights of 80s action. As any man who grew up in the 90s can attest to, Arnold Schwarzenegger and Sylvester Stallone are part of my childhood. VHS copies of Commando or Cliffhanger might have been some of the first we owned and while most of their output has aged even worse than the actors themselves, I still get a little tingle at the thought of seeing them on screen. Escape Plan marks the pair’s first appearance as co-stars although they were seen on screen together in Stallone’s The Expendables. The pairing might have come twenty years later than most fans would have liked but it certainly draws more attention to this movie than it would have if only one man had featured. Joining Arnie and Sly are the likes of Vinnie Jones and 50 Cent so Citizen Kane, watch out!

Stallone plays Ray Breslin, a man who is paid by the US Government to break out of maximum security prisons; a job he excels at. The movie opens with a long, dull sequence in which the audience discovers just how good he is. He’s very good. He gets out. Although he barely has time to change out of his prison jumpsuit, he’s offered double his normal fee to break out of an undercover, off the grid, top, neigh, super-duper top secret facility. He literally grunts at the chance and is soon back inside. Immediately Breslin discovers that this is unlike any other jail he’s seen before and when his emergency escape code is laughed off, he realises he’s going to need all his skills (as well as fellow convict Emil Rottmayer – Schwarzenegger) if he’s going to escape. Breslin develops a plan – an Escape Plan.

Under the Skin

It’s been ten years since Jonathan Glazer’s last film and nearly a decade and a half since his wonderful screen début Sexy Beast. His third film, Under the Skin, is a dark and chilling science fiction horror, loosely based on Michael Faber’s 2000 novel of the same name. It stars Scarlett Johansson as an alien who preys on men, using her siren like looks and charm to pull them towards the rocks and to their demise. The movie is incredible, at times getting close to the best I’ve seen in cinema. It veers wildly though towards the opposite extreme with passages of nothingness which reminded me of the torrid time I had while watching Terrence Malick’s The Tree of Life. Extremes exist elsewhere too with sequences which wouldn’t look out of place in an art gallery side by side with almost documentary style shooting, filmed with hidden cameras.

The film opens with an abstract scene, perhaps the formation of an eye or the creation of a being. It signals birth or re-birth and sets us up for what is to come. From the very first moments we know this is going to be unlike anything we’ve seen before and it doesn’t disappoint in that regard. The opening establishes the link between the known and unknown, creating tantalising glimpses into who or what we are about to be confronted with before concluding on the recognisable image of an eye, at first still, then moving, depicting consciousness. Although it – or she – may well be aware of her surroundings, the alien shows no emotion regarding what she sees. She’s a cold machine, showing not even contempt for her victims. She’s focussed and has a singular task. In one of the film’s most horrifying scenes, a baby is left stranded on a beach. Though screeching for help, she’s ignored by the strange visitor who acts coldly, even blindly to the presence of the child. As humans we want to protect and mother the infant but to the alien, its screams don’t even register. It’s a scene that sent chills down my spine.

The Cabinet of Dr. Caligari

Often sited as one of the greatest horror films of the silent era, The Cabinet of Dr. Caligari is a 1920 German movie and a prime example of German Expressionism. Written by first time screenwriters Hans Janowitz and Carl Mayer, the script is generally considered to feature the first twist ending in cinematic history. The main thrust of the story is presented in flashback in which a young man called Francis (Friedrich Fehér) recounts a series of terrible murders that took place in the small town of Holstenwall. His story speaks of a Dr. Caligari (Werner Krauss) who, at a local fair, unveils a fortune telling somnambulist (sleep-walker) whom he is able to control using hypnosis. When murder strikes the small town, the finger is pointed at Caligari and his attraction.

This movie is one which I’ve wanted to see for several years and heard nothing but good things about. It’s with regret then that I have to report that I was often bored by the story. Ending aside, I found it dull and was too often confused by developments. I’m certainly going to pin some of the blame on a poor quality DVD which I bought from the normally reputable Fopp but even seeing through this, I didn’t fall in love with the film. Despite my lack of enjoyment with regards to the plot, the film has much to offer even the most casual film buff.

The Grand Budapest Hotel

The latest picture from auteur director Wes Anderson is in my opinion, his finest to date. A typically lavish and exquisitely designed movie, it stars Ralph Fiennes as M. Gustav H, a respected concierge at The Grand Budapest Hotel. Pitched as a sort of cross between a Palatial residence and the hotel from The Shining, The Grand Budapest is seen in all its splendour during the majority of the film. The movie opens however around thirty years after the events to be depicted in, at a time during which the grand old hotel is but a shadow of its former self. The action is depicted in flashback, from the memories of Zero Moustafa (Tony Revolori), a once Lobby Boy and apprentice to the aforementioned Gustav H.

In 1932, Gustav H. is seeing off one of his many elder lady friends, a rich widow by the name of Madame D. (Tilda Swinton). Gustav’s charms have lead to an on off affair which has lasted for many years and she is upset to be leaving the hotel over which he holds sway. Days later the woman is dead. Gustav H. rushes to her Estate in the hope that his romantic efforts have written himself in the will and sure enough discovers that they have. The deceased’s son (Adrien Brody) is outraged at the reading of the will and accuses the concierge of murder. Gustav H. is soon on the run and ends up under lock and key inside an intimidating maximum security jail.

Gentlemen Prefer Blondes

Comedy musical, Gentlemen Prefer Blondes arrived in cinemas in the summer of 1953 on the back of a successful Broadway run. Set largely aboard an Ocean Liner and Paris, the movie follows the fortunes of two beautiful showgirls. Although the best of friends, the two women couldn’t be more different from one another. Blonde bombshell Lorelei Lee (Marilyn Monroe) is a childlike airhead, desperate to marry rich. Her friend Dorothy Shaw (Jane Russell) is much smarter and more down to earth, interested in love not money. The two head to Paris with Dorothy sent along as a chaperone by Lorelei’s rich and naïve fiancé (Tommy Noonan). Also aboard the ship is a handsome P.I (Elliot Reid), who’s there at the behest of Lorelei’s potential father-in-law.

The film is famous today for Monroe’s iconic and much copied rendition of Diamonds are a Girl’s Best Friend. Along with this song, there are several others in which the two stars sing seductively, strutting across the stage in glamorous and often revealing attire. Many of the songs weren’t to my liking but I had no complaints about the visuals. Around the pair is some excellent choreography. Russell’s rendition of Ain’t There Anyone Here for Love is set inside the ship’s gymnasium and she’s surrounded by the American Olympic Team of whom she makes interesting and amusing props. The actress looks to be in her element. The number also features a mistake in which the actress is knocked into a pool. Director Howard Hawks liked the take though and kept the accident in the finished film. The opening number I’m Just a Little Girl From Little Rock is well staged and sets the film off to a flying start.