Network (1976)

In pursuit of higher ratings an unscrupulous TV network mercilessly exploits the increasingly unstable mindset of ageing news anchor Howard Beale (Peter Finch), while his closest friend Max Schumacher (William Holden) can do little but watch, partly because Max has personal issues of his own to deal with.
The savagely satirical media-whoring parts of the film are well-scripted, but it's when it explores human relationships that it really hit the mark for me - the scene between Max and his wife is a perfect example of what I mean. In many ways, the politics of fragile people eclipses the politics of financial profits.

3½ corporate manoeuvres out of 5

The Child's Play / Chucky Collection

In the pantheon of killer dolls in horror movies one name arguably reigns supreme: Chucky. I'm not suggesting the series has delivered the most memorable film in the entire genre, but as characters go it's hard to argue with the notion that Chucky is as good as it gets. For me, that's in large part due to casting. Brad Dourif is amazing in the role; had it been anyone else I don't think the series would have been as successful as it is.
At time of writing, all of the Child's Play and Chucky films have been reviewed on the blog. Click the links below to be taken to each one's review:

01. Child's Play (1988)
02. Child's Play II (1990)
03. Child's Play III (1991)
04. The Bride of Chucky (1998)
05. Seed of Chucky (2004)
06. Curse of Chucky (2013)
07. Cult of Chucky (2017)

your name. (2016)

On a basic level, Makoto Shinkai's your name. is a body-swap story in which two Japanese high school students, Mitsuha (female) and Taki (male), swap identities from time to time. While there's still some mileage to be had in the concept, thankfully, the film attempts something more meaningful.
Filtered through the director's understanding of the shortcomings of human relationships the many contrasts adopt a kind of sensitivity that over time bond with a small number of recurring motifs. When coupled with musings on the machinations of fate's weave, the result is a tale of two souls searching for something yet unknown to them, but it's a thing that each one believes in their heart exists. While it didn't stir me as much as his earlier works, the animation and movement are beautiful, and the sentiment that's carefully stitched into each revelation is heartfelt, so respect is earned for that.

3½ thread voices out of 5

French Dressing (1964)

The 1960s British seaside comedy isn't a genre that I've any real interest in, but French Dressing is Ken Russell's début feature, so I gave it a chance. It's not as terrible as I feared, which is to say it does at least deserve to raise a blip on a Russell fan's radar. Why? Because its eventful plot deals with sex, cinema, and has a horde of leering men to poke fun at. The mix of Britishness and seediness is something that the director's playful side was likely sympathetic to, but, unfortunately, it all goes a bit Benny Hill at times.
Actress Alita Naughton (Judy) gives her scenes a definite sparkle; I was surprised to learn that she didn't keep acting for long afterwards.

2½ inflatable ladies out of 5

The Rock (1996)

With hand on heart and no trace of facetiousness, I don't understand why Michael Bay's ham-fisted, cookie-cutter brand of bullshit action movie is so popular with moviegoers. With regards The Rock, the most convincing thing in it is Sean Connery. Nic Cage, on the other hand, is unconvincing even when his character is called upon to be unconvincing, if you get what I mean. Ed Harris' character gets one scene where he's not a B+W angry bad guy - the film cuts back to him every now and again to remind us that he's an actual part of it. The plot, something about toxic green balls (I shit you not), is a blundering mess.
Why it's released on the Criterion label is yet another mystery.

2 green flares out of 5

Outrage Coda (2017)

Dictionary.com defines 'coda' as 'a concluding section or part [...] serving as a summation of preceding themes, motifs, etc.'. Outrage Coda fits that particular description, concluding the trilogy but telling its own story, too.
Otomo (Kitano) now conducts his business from a South Korean island, out of harm's way and under the protection of a powerful Korean organisation, while the old Hanabishi lieutenants back in Japan scheme and bicker over profits and status. When the two operations clash and war looms, Otomo's hand is forced.
As before there's many dialogue scenes, some with a pleasing dollop of Kitano's subtle comedy stylings, but, sadly, his character isn't involved in very many of them. But he's there for some of the violence, which is brutal.
Keiichi Suzuki's score is by turns daring, unusual, and effectively dramatic.

3 responses out of 5

Stigmata (1999)

Anyone can wear a white clerical collar and pretend to be a Catholic priest, but, strangely, when actor Gabriel Byrne wears one it seems authentic. His role in the film is also the best it has to offer. He's an investigator for the Vatican, finding — and, if need be, discrediting — alleged religious miracles. He's sent to investigate Frankie Paige (Patricia Arquette), a young party-going hairdresser who appears to be suffering the stigmata of the title.
There's about 10 minutes, in total, in which the film gets close to being a sophisticated drama with theological concerns firmly fixed but open to interpretation, but then it stumbles over its own telling and reverts to being just another horror with christian themes used for broad dramatic effect.

2 impressions of the truth out of 5

Cult of Chucky (2017)

To get the most from the seventh film you'll need to have seen the previous six. In lieu of a full explanation, it's self-referential and reliant on knowledge of past characters/events. (It also references other 'horror' films in fun ways.)
It takes place inside an asylum for the criminally insane, so the usual 'nut-house' stereotypes are there, but they're put to good use. There's an ominous build-up and a steady pace, with enough teasing to keep us anticipating the next Chucky scene, and a wicked symmetry adds weight. But in attempting to fit a lot of series history into the plot, it may feel too much like fan-service at times. The final twenty minutes aren't as good as what came before and do feel somewhat unfinished. Once again, look out for a post-credit scene.

3 doll parts out of 5

A Tale of Two Sisters (2003)

A creepy drama from Dir. Kim Jee-woon that has a few good scares but is mostly about atmosphere - Jee-woon savours the beauty of a scene, drawing out its potential in an unhurried and altogether deliberate manner. The story, inspired by a centuries-old folktale, about a family (two sisters, their father, and their troubled step-mother) can get a little confusing on first viewing, but things become clearer as it deepens. It's best if I say no more than that. I'll add only that the performances of the four principal actors are great.

3 old photos out of 5

Inside Man (2006)

It has a number of big names on the roster, but the real star of Inside Man is the person sat behind the camera, Dir. Spike Lee. His technique overshadows proceedings one minute, then works its magic subtly the next. Of the former, having Clive Owens' bank-robbing character speak directly to the viewer and some high-contrast flash-forward moments stand out the most, whereas the latter is perhaps best illustrated by the expert framing and superb camera movements that help tell the story. It's an interesting telling, most of the time, but the narrative itself tries too hard and too often to remind us of how clever it all is, which sometimes backfires, resulting in pushing a viewer out of a scene while Spike's artistry works hard at drawing us in.

3 Steves out of 5