The White Diamond (2004)

Even if you've no immediate or direct interest in the topic of a documentary that's helmed by Werner Herzog, it's worth investing the time to watch it because he can make even the oddest subject wholly captivating.
After a brief recap of the history of aviation he delves into the journey of one man, Dr. Graham Dorrington, as he attempts to fly his small and fragile balloon craft over the forest canopies of Guyana, South America.
When judged as a traditional documentary it appears to go off-topic often, but when Herzog's lens drifts elsewhere it's to capture an equally engaging subject, one that is connected to the whole by way of location and time - it can be assessed individually or understood as an integral but often ignored part of the experience. In short, everything is relevant through the lens.

5 stepping stones to levity out of 5

The Wild Geese (1978)

When it comes to movies about war/soldiers/mercenaries, etc, I prefer the traditional British model more than the typically boisterous American one. TWG is the former. In it Richard Burton is hired to perform an under the radar deed for a sizeable wage. He can't do it alone, however, so he enlists the help of his pals, Roger Moore and Richard Harris, thereby increasing the old-guy charisma level threefold. (Kudos also to the great supporting cast.)
The standard recruit and training phases have a nice balance of serious and comical moments, reminding us that it's just a movie despite the sensitive political nature surrounding its production and release. The actual politics in the script aren't as well-integrated as they could've been, but they serve a purpose and have a powerful, lingering quality.

3½ persuaders out of 5

WILSON [2017]

Based on director Craig Johnson's previous cynically sweet films I think it's safe to say he's the perfect candidate to adapt Daniel Clowes' Wilson graphic novel to the screen.
Woody Harrelson is great as the overly-honest misanthropic title character who finds out he's the father to a teenage girl after he reunites with his troubled ex-wife, played with graceful skill by Laura Dern.
If not for the charms of it's leading actors it'd be a lot more difficult to enjoy spending time with unpleasant folks like these.  Unfortunately the film seems to wander around aimlessly and never makes the emotional impact it seems to strive for.  Some moments are drawn out for too long and some are far too rushed to allow it's sentiment to really sink in.

3 epiphanies at the urinal out of 5

A STREET CAT NAMED BOB [2016]

Director Roger Spottiswoode makes it no secret that he's set out to warm your hearts with his adaptation of James Bowen's biographical A Street Cat Named Bob.
A recovering drug addict and a stray cat find they've met to give each other another chance at a better life during a cold British winter.
I initially thought it'd be a sappy TV movie where the said cat runs around creating chaos and hilarity ensues until the friendly feline bites the dust in the end leaving one a blubbering mess.  Instead it's a precious little film that never gets too silly or dark for it's own good.  Neither lead characters beg for pity and instead earn a spot in your heart with their honesty, earnest strength and restrained performances.  It's a tough story that doesn't need to be told in such a manner and lets the actions speak for themselves leading you to the same lessons learned.

3½ high-fives out of 5

IDIOCRACY [2006]

Writer/director Mike Judge's satirical sci-fi/comedy Idiocracy is even more relevant today than it was over a decade ago.
Average Joe Bauers is put to sleep in a hibernation chamber only to wake up 500 years later, where human intelligence has taken such a nasty nosedive that it renders Joe the smartest man in existence.
This is a world where "professional" wrestler's are president, Costco offers law degrees and junk food companies rule the planet.  Sadly it isn't that far off from what the world is transforming into and Judge & co. bloody well take the piss out of it with grim silliness and vulgarities.  At a short 84 minutes long Idiocracy still drags out a bit longer than it should.  It makes it's point but doesn't have enough smarts to really make it the comedy classic it could have been.

3 electrolytes out of 5

THE LEGO BATMAN MOVIE [2017]

Robot Chicken director Chris McKay delivers the animated fun in spades with his LEGO Movie spin-off, The LEGO Batman Movie.
After accidentally adopting an overly eager orphan named Dick, Batsy must defeat The Joker and his usual band of lawless cronies from overthrowing Gotham City.
It's a very busy film that attacks the senses a bit but thankfully it's pretty damned funny with plenty of moments and gags that will please long-time fans of The Caped Crusader.  It references all sorts of cinematic forms of Batsy, including Adam West, Bruce Timm's animated series, Batfleck and yes, even the one with the nipples.   There's so much going on I'm willing to bet even a third or fourth viewing won't reveal all the jokes and sight gags to the exhausted viewer.  It's clearly the work of greedy Hollywood executives but it's enough batshit crazy fun to let it slide.

3½ family portraits out of 5

El Cid (1961)

España in the year 1080 is split between Christian and Moor control. Life for the (English-speaking) citizens means choosing one side or the other. Don Rodrigo Díaz de Vivar (Chuck Heston) is one such man, but his actions are guided more by his own sense of right and wrong. As either God's chosen one or just a guy with the best and worst timing in all of Spain he rises above the rabble to become a symbol of strength, tolerance and unity.
The screenplay is excellent. Like in the slightly similar Ben-Hur (1959) passions run high in many forms, state and heart being the most memorable, with the dialogue in support of each being occasionally superb. Sophia's overacting early on is pretty terrible, but it's exaggerated for a reason.
When all is said and done, when El Cid resides in the hearts of the people he inspires, inside his own lives Spain and it's for love of it that he fights.

5 right arms out of 5

Streets of Fire (1984)

Walter Hill's self-proclaimed 'Rock and Roll Fable' is like a pulp novel brought to life. It kicks off with a music performance that encapsulates the 1980s perfectly, but outside of the live venue it's like the 1950s never ended and somehow the two things don't ever seem to be at loggerheads.
The antihero is Tom Cody (Michael Paré), a guy who responds to his feelings but refuses to be ruled completely by them. When it comes to conflict, even if he loses he'll win because of his uncompromisingly independent spirit. When his old flame is kidnapped by a gang led by Willem Dafoe in fetish dungarees, Cody and a couple of hangers-on cross town to take her back.
It's a charming flick with a devoted fan base. I enjoy it, but personally feel that Hill's other famous work, The Warriors (1979), is a lot better.

3 screen wipes out of 5

The Tower (1993)

Before Tony (Paul Reiser) has even reached the Intercorp building for his first day of work he's screwed up his microchipped I.D. card. I'm not clear on what his job actually was, because he didn't seem to do anything except be a prick most of the day, but whatever it was he probably cocked it up, too.
It's sci-fi on a TV movie budget. The building is fully automated, overseen by a talking computer, which is movie-speak for 'humans must die' when the temperamental security protocols go into overdrive. If you're a sci-fi regular there's a very good chance you'll have seen it all before, done better.

2 deletions out of 5

GUARDIANS OF THE GALAXY VOL. 2 [2017]

Director James Gunn returns to the MCU for more immensely entertaining nuttiness in Guardians of the Galaxy Vol. 2.
Continuing their galactic misadventures, the Guardians are on the run from a race of powerful aliens  of whom they stole from when they run into Peter Quill's long-lost father with a tempting proposition.
After the surprise of how good the first film actually was, this installment has a lot to live up to and it almost hits the mark.  Gunn has a lot to juggle and it's almost always successful with a few minor quibbles here and there.  It's jam-packed with plenty of humor, extravagant set-pieces, memorable characters you learn to love even more and plenty of emotion to form some serious lumps in your throat.  If you're a fan of the first then this one will deliver the goods with oddball personality and genuine heart.

3½ trash pandas out of 5

NOCTURNAL ANIMALS [2016]

If one had to come with one word to describe Tom Ford's noir-ish psychological thriller Nocturnal Animals it'd be 'devastating'.
It tells a story within a story, firstly being that of a wealthy but disheartened women receives a copy of a novel from her ex-husband, whom she hadn't talked to in nearly 20 years, which he wrote and dedicated to her.  The other half of the film tells the story within the novel, about a husband who is the only surviving member of his family after a violent attack.
With strong performances all around, particularly Michael Shannon & Aaron-Taylor Johnson, stunningly beautiful Herrmann-esque music from Abel Korzeniowski and gorgeous intoxicating photography it's hard not to become entranced with this cold-hearted, cunningly crafted tale of broken souls, revenge and violent desperation.

4 shocking pieces of art out of 5

COLOSSAL [2017]

Director Nacho Vigalondo comes up with one of the more unique films of the year so far with the hilariously strange sci-fi/drama Colossal.
Anne Hathaway does a fantastic job as an alcoholic who moves back to her home town, where she discovers she somehow controls the actions of a kaiju that simultaneously appeared in South Korea.
The carnage the monster causes takes a subtle back seat to the emotional wreckage caused by the leading character's alcohol addictions and social interactions.  If you're at all familiar with the disease then there's plenty to be found in it's far-fetched yet small-scope intimacy.  Unfortunately some of the plotting is sloppily aimless and that's where it loses the impact of what should have been an instant cult-classic.

3 black-outs out of 5

MA VIE DE COURGETTE [2016]

aka My Life as a Zucchini

Claude Barras' stop-motion animated film Ma vie de Courgette should definitely win the award for most colorful depressing film of the year.

After a young boy accidentally kills his alcoholic mother he's sent to a foster home where he meets all sorts of troubled children who share similar stories.
With many of the children characters sporting stitches and bruises, clearly from domestic violence, it's not your usual cheery animated fare.  It explores some emotional depth and mature themes that tales these vibrant looking don't normally dare to.  It's not often kid-centric films like these are so honest, like you just know some of these kids are never going to fine, but it's essential to tell an authentic story that leaves a lasting impression.  

4 beer cans out of 5

The PTU Collection

The real PTU (Police Tactical Unit) are a special unit within the Hong Kong Police Force that perform a number of roles, such as patrolling streets, providing backup to other divisions when needed, aiding disaster response teams, and participating in riot control, among other things. This PTU do all of that, too, but they're fictionalised. Their methods aren't always legal, but they cover their asses well, looking out for each other by stalling for time and hiding truths, except when there's a personal rivalry taking precedence.
The original film was by Hong Kong filmmaker Johnnie To (aka To Kei-Fung) in 2003 and remains to this day one of his best works. The five subsequent TV Movies used some of the same actors but as different characters.

The Original Film:
01. PTU: Police Tactical Unit (2003) Dir. Johnnie To

The Tactical Unit TV Movies:
01. Tactical Unit: The Code (2008) Dir. Wing-cheong Law
02. Tactical Unit: No Way Out (2009) Dir. Lawrence Ah Mon
03. Tactical Unit: Human Nature (2009) Dir. Andy Ng
04. Tactical Unit: Comrades in Arms (2009) Dir. Wing-cheong Law
05. Tactical Unit: Partners (2009) Dir. Lawrence Ah Mon

Virus (1980)

aka Day of Resurrection

In 1982 a deadly virus wiped out most of humanity, leaving less than 1000 people alive. The search for a cure by the survivors has no single protagonist to lead it, and therefore no principal actor or actress for us to journey with, but the film still manages to ensure we keep what's important fixedly in mind.
The White House scenes aren't anything special. By contrast many of the street scenes manage to be more realistically horrifying than even horror movies get. It's a bleak, powerful drama with some shocking scenes.
Part Japanese and part English language, the 156 minute version (with subs) is the film as it should be seen. The shorter 108 minute version that's more easily found in western territories reportedly cuts out most of the best Japanese actor's scenes, and through truncation drastically changes the ending.

4 flightless birds out of 5

I DON'T FEEL AT HOME IN THIS WORLD ANYMORE [2017]

Indie-actor Macon Blair makes his directorial debut with the neo-noir comedy I Don't Feel at Home in this World Anymore.
Frustrated and depressed by the useless apathetic world around her, a young woman is robbed and finds the only way to make things right is to take matters into her own hands.  AKA Falling Down for the Trump era.
With it's bursts of uber-violence, twisted humor and a cast of low-life criminals, it's obvious Blair is heavily influenced by the directorial/screenwriting works of his regular collaborator Jeremy Saulnier.  Things tend to get pretty outrageous and unbelievable but it's Melanie Lynskey's nuanced performance that manages to keep everything grounded in a warped sense of reality.  The script could have used a bit more tightening up but thankfully it never ceases to shock and amuse.

3 fucking spoilers out of 5

FENCES [2016]

Actor/director Denzel Washington adapts Fences, the 6th part of August Wilson's Pittsburgh Cycle plays, for the cinema.
Washington plays a deeply flawed working class black man in the 60's who, with the help of his wife (Viola Davis), raises a family who all face the consequences of his own frustrations.
There's no razzle dazzle here nor is there any attempt to break any new grounds in storytelling or film-making.  However the film stays grounded with solid scriptwriting and strong performances, with Davis stealing the show as she holds the entire film on her shoulders.  I'd go so far as to say Washington and Davis probably hold the honor of having the best onscreen performances of 2016.  Which makes it enough to forgive it's minor weaknesses.

3½ roses for Rose out of 5

RINGS [2017]

Although I wasn't as dismayed as I was with the second installment of the American Ring series director F. Javier Gutiérrez's duller than dishwater third film doesn't fare much better.
Scary videtape girl of death, Samara, has gone viral now and for some reason it doesn't create as much global mayhem as it really should.  In fact, in one of many missed potentials, it just focuses on a bunch of college kids and their teacher that get involved in this woefully unfocused plot.
The first film was filled with dreaded atmosphere, strong performances, beautiful photography & music and genuinely frightening scares but now it's just a bunch of cheap thrills, silly lines of dialogue ("I love your smell"? Feck) and boring characters that never adds up to much of anything.
Vincent D'Onofrio, sit in the corner and think about what you've done.

1½ flies in my weed out of 5

THE GREAT WALL [2016]

Director Zhang Yimou stinks up the screen with the Chinese fantasy war epic The Great Wall.
Placed around the 1000's AD in China, All-American good ol' boy Matt Damon saves The Great Wall from an army of vicious creatures, all while checking every box with the usual clichés familiar to this type of film.
There's plenty of gorgeous visuals and creative battle techniques but none of that matters when every single character are soulless dummies.  In the end, it really feels like a whole movie based around the Helm's Deep battle in The Lord of the Rings only without a single character to give a rat's ass about.  In the past 10 years or so, it seems Yimou has had more stinkers than winners, so perhaps he needs to rethink his approach to film-making or just call it a day.

1 meal on a bungee cord out of 5

T2 TRAINSPOTTING [2017]

20 years later, director Danny Boyle returns to the Trainspotting world, loosely based off of Irvine Welsh's novel, Porno.
T2 sees the boys crossing paths again as they discovers old wounds don't always heal and there's always a new get-rich scheme to hatch when hard drugs are involved.
Obviously it doesn't come with the same cultural impact as the original film but it's certainly armed with far more emotional weight for those still heavily invested in it's characters.  There's plenty of callbacks to the original (with good reason), a wicked soundtrack and good laughs that all come together to produce a pretty solid sequel proving itself worthy to it's predecessor.  As depressing as it might be with it's "what the fuck have you done with your life" it also manages to be just as uplifting as well.  Time is a real prick-arsed cunt.

4 bathroom stall reunions out of 5

CAPTAIN FANTASTIC [2016]

Silicon Valley's Matt Ross' second directorial feature-length Captain Fantastic proves if actor Viggo Mortensen wants Oscar recognition he needs to do full-frontal nudity.
Mortensen plays a recently widowed father, who believes his secluded family's lifestyle should go against the grain of the modern world and it's political, religious and decadent beliefs.  However all that is put to the test when they're forced to interact with the world, where they find sometimes the best lessons are learned with first-hand experience and not just books.
There's some interesting themes and plot-points thrown around but when it all comes down to it, it's really all about Mortensen's fantastic acting chops.  In fact the entire cast raises the film past it's so-so script and predictable quirkiness.

3 missions out of 5

THE FATE OF THE FURIOUS [2017]

Director F. Gary Gray's The Fate of the Furious, the eighth film in the F&F franchise, shows no sign of the series wrapping up.
This time around Diesel's Dom has turned to the dark side forcing The Rock & The Stath to put their differences aside and work together to bring him down, while evading the walls of a prison, an army of cars and a nuclear submarine.
The film doesn't resemble anything that original films set out to do but that's alright because it's so god-damned fun.  There's plenty of laughs, both intentional and unintentional, jammed in-between the carnage-fueled action sequences.  Surpassing Jurassic Park and even Star Wars at the box office means there's no end in sight for the series but that's all right because the film's stars still seem to be having just as much as it's long-time fans are.

3½ hakas out of 5

LIVE BY NIGHT [2016]

After three wonderful directorial efforts, Ben Affleck hits a bit of a misfire with his adaptation of Dennis Lehane's organized crime novel Live by Night.
Set in the roarin' 20's Prohibition era, a Boston-bred gangster is relocated to Tampa, Florida, where he sets up violent rivals with the local mob, law enforcement and Ku Klax Klan.
The studio had nearly an hour cut to make it seem more action-packed than it needed to be resulting in the film lacking an emotional core.  With so many thematic directions thrown on the table it's almost impossible to thoroughly explore in what seems to be a rushed shortcut to the finish line.  In the end this well-acted, beautifully shot period drama feels like the studio abandoned what Affleck set out to do and hurried it's way to awards season only to find it put on the wrong undies for such an occasion.

2½ track marks out of 5

SPLIT [2017]

Director M. Night Shyamalan gives his long-time fans more than a few reasons to get giddy with his latest creepy suspense-thriller Split.
James McAvoy is an absolute joy to watch as a man with 23 different personalities that kidnaps a trio of teenage girls who all fear the threatening arrival of the 24th personality.
It's a joy to see Shyamalan finally return to making highly entertaining nail-biting b-movies filled with ominous dread and devilishly moody atmosphere.  The VVitch's Anya Taylor-Joy puts on a great performance opposite McAvoy's deliciously sadistic roles, all of which are just as strong as the last one.  Without it's two leads the absurdly campy script might not have held up as much as it does but if you're in it for the pure fun of it all then it does not disappoint.

3 frightening dance parties out of 5

UNDER SANDET [2015]

aka Land of Mine

Denmark's Martin Zandvliet, director of Applaus, tells a generally forgotten World War II story with the powerfully bleak Under sandet.
Set shortly after the end of the second world war, a Danish sergeant is ordered to force a group of adolescent German POWs to dangerously clear out a beach filled with live land mines.
Recreating a difficult time when enemies must regretfully work together and understand one another makes for truly heart-breaking moments and compelling character dynamics.  Great drama aside, the film also has some of the most nerve-wracking moments seen in a war film since The Hurt Locker that isn't necessarily exciting but more tragic.
Through all the darkness, violence and hatred portrayed on screen the film sends out a message of hope that yearns to be spread further than it is. 

4 unfortunate games of fetch out of 5

THE BFG [2016]

Director Steven Spielberg & Disney conjure up a bit of a rare miss for the duo with the big-screen adaptation of Roald Dahl's children's novel The BFG.
Here we follow a young orphaned girl who is whisked away into a world of giants, where all but one have a taste for human flesh, the Big Friendly Giant who vows to keep her safe from his man-eating peers.
Unlike most of Spielberg's works this one manages to lack the magical whimsy that other films of this style seem to excel in.  It's not that it doesn't have heart or imagination, it just doesn't seem to always have the wondrous enthusiasm one would expect from such a film.  There's plenty of scenes of inspired delight but there's also plenty that are quite the opposite.  The film's greatest strength is the chemistry between it's two leads where the storytelling finds it's most joy.  If not for it's insanely dull second act and whimpering climax I might have enjoyed it a lot more in the end.

2½ dream jars out of 5

LOGAN [2017]

Director James Mangold returns for a second helping of mutie goodness with the third and final solo Wolverine film, Logan.
Set 6 years after Days of Futures Past, while in hiding from a world that's wiped out most of the mutant population, Old Man Logan & an ailing Professor X's struggle to survive is tested when a young mutant enters their lives.
While previous cinematic Wolvie outings have been pretty tame, Mangold & co. finally go for the extreme bloody violence, which seems like it's the way it oughta be considering the guy has razor blades tearing out of his hands.  Through all the grit and grime, Logan is a thoughtfully subdued swan song for the popular X-men characters that sheds both blood and tears by the gallons.

3½ X-men comics for bed-wetters out of 5

Me and You and Everyone We Know (2005)

While there's more characters of note, for my purposes right now I'll mention the two kids, two teenagers, two adults, and two pensioners who are each attempting to make some kind of sense of the peculiar hand that life has dealt them. Their struggles strike a perfect blend of mundane but quirky, evident mostly when the stored hopes of each one spill out into the visible world for all to see... provided anyone is even looking in their direction.
The nuances will strike a chord with some, events will engage or alienate, but there's no doubt that Dir. Miranda July has an eye for details, and the acting from everyone is as good as it could be - even the kids are excellent.

3½ back and forth out of 5

GET OUT [2017]

Funnyman Jordan Peele makes his directorial debut with the surprisingly witty and disturbing satire Get Out.
This socially conscious horror film tells of a black man who visits his white girlfriend's family for the first time and things get really feckin' weird.
It's satirical critiques on racism and elitism are very apparent but never weigh down the entertaining thrill ride that this is.  As a matter of fact, it's often quite humorous whether it be laugh out loud funny or leaves one in nervous confused laughter.  Peele's directing and writing is allowed to naturally unfold allowing the tension to build with frightening precision.  His love for cinema was very apparent with his Key & Peele sketch comedy work.  So it comes as no surprise that the director is quite comfortable with the medium and seals the deal as promising new film-maker.

4 bizarre late night jogs out of 5

FORUSHANDE [2016]

aka The Salesman

Asghar Farhadi, acclaimed director of A Seperation, explores strained relationships in the low-key thriller The Salesman.
After being violently assaulted in her own new home, a stage actor's husband is more determined to find the assailant rather than deal with his traumatized partner's problems upfront.
Reflecting themes of Arthur Miller's Death of a Salesman, the film unravels it's mysteries in a simple but enticing pace that is complimented with the wonderful performances from Farhadi regular Shahab Hosseini & Taraneh Alidoosti.  It's an absolute wonder to watch the relationship slowly crumble before our eyes, occasionally more than we initially think it has.  It's not Farhadi's best work but it's certainly still a film well worth recommending for it's intellectual and emotional precise storytelling.  

4 cracks in the wall out of 5

JOHN WICK: CHAPTER 2 [2017]

After a lengthy string of box office bombs and critical failures actor Keanu Reeves finally reached back to the top with 2014's wildly entertaining hyper-violent revenge flick John Wick.  So naturally he and director Chad Stahelski would return for a second round of inexcusable violence.
Wick travels the world after a bounty is put on his head, where he finds himself wearing plenty of stylish clothes, indulges in extravagant fight sequences & slick music, reunites with Laurence Fishburne and finds guns.  Lots of guns.
This time around the film knows how ridiculous it is and adds in plenty of dark humor to lighten the mood a little more but it also manages to flesh out the alternate reality that it's set in, making for a very intriguing set-up for the inevitable concluding chapter.  The Wick films are some of the best pieces of cinematic pulp fiction audiences have seen in a long time and it seems everyone involved enthusiastically knows it.

3 awkward subway rides out of 5

20TH CENTURY WOMEN [2016]

Director Mike Mills' third feature length 20th Century Women continues his firm understanding of lost souls amongst the ones they love.
Set in 1979 Southern California, the film tells of a teenage boy, influenced mostly by his single mother and two other females as the world around them is rapidly going through some significant cultural and social changes.
This funny and moving bittersweet ode to Mills' mother is never too heavy-handed but carries enough weight to become heavily invested within the tale of time flashing before one's eyes.  Poignantly perceptive from the eyes of both sexes the film never chooses sides and rather helps us understand and respect both man and woman, young and old.  The casting is pitch-perfect as each actor works with one another with a special type of chemistry most films yearn for.  It's a simple story but it's told with such grace and intimacy you can't help but become enthralled with it.

4 fights about clitoral stimulation out of 5

One Chance (2013)

A biopic about a bullied choirboy from Wales (James Corden) who found fame singing opera on a stupid UK TV talent show sounds like the kind of thing best left collecting dust on a store's shelf, but when it has Colm Meaney and Julie Walters in the cast I'm going to watch it, regardless. So that's what I did.
It's surprisingly funny to begin with. The comedy never fully goes away, because as an underdog sometimes the best defence against the world is an ability to laugh at its hardships, but it does get swamped by sentimentality, overplaying how the protagonist effectively conquers his nerves and silences the taunts of naysayers with a big, stirring voice.
His supportive girlfriend, Julz (Alexandra Roach), was delightful.

2½ Flames of Arveron out of 5

Dementia 13 (1963)

D13 is an early film from Francis Ford Coppola with a story that's woven around a kind of Hitchcockian situation involving an overbearing mother-in-law (Eithne Dunne), her missing son (Peter Read), and his conniving wife (Luana Anders). The wife must convince the rest of the family that her husband is safe, or risk losing out on inheriting his share of the family fortune.
Set mostly inside and around an Irish castle, it's an amateur work on the surface —the boom mic or its shadow drops in often and the acting isn't exactly convincing — but the almost gothic atmosphere and the reason for the annually performed ceremony that features give it a peculiar edge, one that the black and white stock adds additional atmosphere to.

2½ pond problems out of 5

High Noon (1952)

Marshal Kane (Gary Cooper) is fixing to leave town, but when three gunmen ride in and quietly await the arrival of a fourth, a man that Kane sent to jail five years previously, things begin to get complicated for the lawman.
Shot in B+W but far from the same in character or tone, High Noon went hard against the grain, opting for a less romanticised setting than 1950s Westerns typically took. The nuts and bolts of its construction are plain to see in the early stages, but as the dreaded hour approaches the crisis of conscience that attacks the marshal takes on even more importance, achieving a perfect balance against a threat that makes its presence felt even when it isn't onscreen. Kane's ruminations and desperate actions, and the music that adds a dire urgency to both, become so utterly engaging that we feel every second ticking away the same as he does, in almost real time.

4 clock faces out of 5