Fast Times at Ridgemont High (1982)

Everyone remembers this film for stoner slacker Spicoli (Sean Penn), although he's very much the secondary character to all the ensemble drama around him.

Amy Heckerling's first film, based on the non-fiction book by Cameron Crowe (in which he posed as a high school senior for inspiration), is never quite as perfect as my memory of it purports to be, but it certainly captures the wild zeitgeist of American culture in the '80s. It's an iconic coming-of-age comedy with mammorable performances from Jennifer Jason Leigh and Phoebe Cates.

4 fapus interruptus out of 5

Criminal Justice (1990)

A slow-burning TV drama about a father with priors (Forest Whitaker) accused of assaulting a Brooklyn prostitute (Rosie Perez) who was someplace she ought not to have been, doing something that would land her behind bars for the night. The viewer doesn't see the woman's assailant, so it comes down to her world against his, and only one of them puts any value in truth.
The story would hold its own ordinarily, but the passion and believability of both Whitaker and Perez take it to another level. It shows both sides of the argument, as the months roll by. But more than that it examines the justice system itself. Presented as something that isn't just broken, it never functioned to begin with, as anything other than a self-serving entity that prioritises saving time and money over the thing for which it was named.

3½ burdens of proof out of 5

Bloodsport (1988)

VD travels to HK for a three-day illegal martial arts tournament known as the Kumite. Between bouts the script has him stumble through clichéd flashbacks and musical montages. He befriends a fellow fighter (Donald Gibb) and gets involved in a passionless relationship (Leah Ayres) that's as dull as twitter.
The action star's speed and physicality is impressive, especially the eye-watering splits, but the more important aspect — by that I mean the acting — is pathetic. He's not alone in that, however, because about 90% of the (English language) cast are as bad. Often the editing isn't much better.
The main villain is the most memorable character. Played by Bolo Yeung, his two-dimensionality works in his favour; well, until he gets dialogue.

1 nut punch out of 5

Battlefield Earth (2000)

aka Battlefield Earth: A Saga of the Year 3000

Given BE's shitty reputation I expected bad acting or incompetent editing, but what struck me as the worst aspect was the direction! Bloody hell, the word 'amateur' doesn’t apply — it could aspire to that — it's downright atrocious. The majority of the film is shot in canted angles, which makes no rational sense, adding nothing of value to the story. If I'd not been viewing it in a 2.35:1 ratio (on DVD, bought for 10p sealed from a charity shop) I'd have thought there were shenanigans afoot because the blundering CUs make it look like an unwatchable 'zoomed-in to avoid copyright detection' video on YouTube. Oh, and yes, the editing and acting, especially Travolta, are mostly awful, too. Even the 'so bad it's good' category has standards, which BE didn't meet.

0 rat meals out of 5

Vantage Point (2008)

A twisty thriller set in Spain during a political summit concerned with creating an international alliance to tackle America's war on terrorism. It's of such importance that the US president (William Hurt) is making an appearance, making himself a visible target for the people he's there to protest against.
The singular event is replayed many times from the perspective of various attendees, the 'vantage' points of the title. Initially it's exciting and adds a level of intrigue but the overuse and highlighting of too many damn coincidences turns it around until it becomes an exercise in endurance. Likewise, the editing, effectively adding tension at the start, starts to annoy over time. The ridiculous car chase is where I gave up caring about any of it.

2½ phone calls out of 5

ARRIVAL [2016]

Director Denis Villeneuve's weighty cerebral sci-fi Arrival is everything I wanted from his film-making and more.
After twelve monolithic spacecrafts situate themselves in random spots on Earth, a linguistics professor is summoned by the U.S. military to communicate with the mysterious beings.
While most films about the arrival of space-folk are grand in scale, Villeneuve opts for a more personal story that thrives on intellectual and emotional stimulation, while still managing to keep us in the dark from what is really going on.  When working with Villeneuve, composer Jóhann Jóhannsson always seems to have a magnificent way with inserting his soundscapes deep into the pulse of the film giving it a life all it's own.  Hardly interested in alien interstellar travel, the film invests it's time in the heart of humanity or the lack of.  You'll decide when all is said and done.

5 communication traps out of 5

ROGUE ONE: A STAR WARS STORY [2016]

Taking a slight detour from the established Skywalker family Star Wars stories, director Gareth Edwards' Rogue One remains in the same universe but delivers a far darker and violent tone.
In what is essentially a footnote in the original saga, the film tells the story of the scoundrels rebelling against the Rebels, as they go on a dangerous mission to retrieve the plans of the infamous Death Star.
Filled with all sorts of familiar faces, bridging the gaps between the two sets of trilogies, the film clearly panders to it's fans and with a quality film like this it's easy to take in.  Edwards relishes in playing in an already well-established series but he gives it his own stamp of gritty chaos that feels fresh to the universe.  There's a bit much going on in the beginning but once the action starts up it all swiftly comes together as a damned fine pulpy sci-fi thriller.

4 not very nice days on the beach out of 5

DOPE [2015]

Writer/director Rick Famuyiwa hits gold with the coming-of-age crime-drama, Dope.
Growing up in a rough neighborhood of modern L.A., three teenage outcasts, obsessed with 90's hip-hop, have their lives turned upside down when they receive a rare opportunity to attend an underground nightclub party.
A perfect blend of incisive humor, keen observation, social issues and a fast-pace make Dope some of the most fun I've had with a film this year.  The three leads are an absolute hoot to watch, as they never get too goofy but allow the outrageous situations around them make up the funniest moments.  With a story that is all about going against typecast it shouldn't be any secret that one should expect the unexpected with this hidden gem.

4 pound cakes out of 5

Repo Men: Unrated Version (2010)

I expected crap from all but Forest Whitaker, but I was pleasantly surprised by the rest of it. It's like Logan's Run (1976) for a new era, with the colourful hedonism replaced by moody lighting and corporate ugliness.
What kept me entertained the most was the black humour and, more specifically, the many small ironies woven into the situations and social contexts. The hero's change of heart, for example, is pure irony, as is allowing people to extend their life by signing it away.

The future as presented isn't completely unrealistic. It's the American health service taken to its extreme next level. If they could get away with that kind of thing today, then they'd probably do it.

3½ pink sheets out of 5

Taken 3 (2014)

Olivier Megaton takes the directorial reigns again as Bryan Mills fights to clear his name when he is framed for his ex-wife's murder. This time on American soil, he must circumnavigate the police and one very crafty detective (Forest Whitaker). While Neeson is usually cast now as the grisly yet crafty veteran, I really saw his age in a few of the chase scenes. The camerawork covers it up with nauseatingly jarring close-up shots and movements. I found the vehicular chase scenes completely laughable and groan-inducing. But the close-combat hand-to-hand fight sequences were the true highlight of the film. Predictable twists and a mountain of plotholes and corn-veniences aside, the third installment keeps up the action and thrills despite an aging Neeson.

2½ unwanted crotch shots out of 5

Ghost Dog: The Way of the Samurai (1999)

Ghost Dog is a loner but he’s well-respected. He lives in a modern American city but follows an ancient Samurai code as outlined in Yamamoto Tsunetomo's Hagakure. The code guides him and shapes his morality in his role as a perfect assassin for the Mafia.
The gangsters lives are empty and wasteful. In contrast, Ghost Dog's life is filled with meaning and purpose. It's an unusual, romanticised one that he's created himself, but that doesn't make it any less noble.
Forest Whitaker can help make an average film good. Likewise, he can make a great film like Jarmusch’s GD even more exceptional.
It’s not essential but some knowledge of chanbara cinema will greatly increase your understanding of many aspects of the story.

4½ meditations out of 5

Panic Room (2002)

I had difficulty understanding why a single parent would need such a big house. It soon became clear: it was to enable David Fincher to swish and swoop his camera in some spectacular ways. The movement is the real star of the film, but I'm also a fan of Jodie Foster and Forest Whitaker, so those three together kept me entertained despite the relatively thin plot about a domestic burglary being stretched to breaking point.

3 stylish credits out of 5

THE BUTLER [2013]

With it's huge cast of big names, politically historical subject material and more calculated dramatic moments you can shake your fist at, it seems Lee Daniels made The Butler to be scream "give me an Oscar".
Forest Whitaker turns in a well-rounded thoughtful performance as do all his co-stars but unfortunately the film itself seems to make all it's points with neon signs never really going for subtly or grace.  Uneven storytelling and predictability prevent it from becoming the timeless classic it wants to be.
It's not a bad film but after awhile you tire of it trying to be too good.

3 JFK neckties out of 5

OUT OF THE FURNACE [2013]

Writer/director Scott Cooper's follows up the acclaimed Crazy Heart with another tale about troubled Americana, the moody drama Out Of The Furnace.
Like a Bruce Springsteen song, the film is filled with poverty, hopelessness, violence, love in the darkest of places and folks who are destined to forever live in their own personal prisons no matter what choices they make.   The story speaks of emotional punches and it makes it halfway there due to the astonishingly fantastic cast but loses half of it's impact due to a weak script.  It's well worth a look at for the beautiful photography, haunting music and great acting but leaves much to be desired when all the names attached seem to promise something so much more.

3 Midnight Meat Trains out of 5

The Crying Game (1992)

Films that use the conflict in Northern Ireland as a backdrop to tell their story tend to be pretty grim. While parts of The Crying Game certainly fit that description, there are moments where the gloom cracks and the light of hope shines through because it's essentially a love story.
Neil Jordan's film style certainly won't appeal to everyone. On the surface it seems languid and cheaply made, but if you don't turn off too soon you'll be rewarded with a well-crafted second half that's a deeply considered exploration of the secrets of the human heart.

3½ tools of the trade out of 5

THE LAST STAND [2013]

Director Kim Ji-Wong makes his American debut with the ridiculously violent Arnold Schwarzenegger film, The Last Stand.
It plays like a formulaic American action film with cool cars, loud shootouts, gorgeous girls, groanworthy sight gags and bone-crunching fist fights.  However it also includes some creative camerawork, unusually well-timed action sequences and shots of subtle humour to please fans of the director's previous work.  More like a modern day Western, this is an Arnie film done right, now matter how aged ol' Leatherface has become.

3 Atlantean broad swords out of 5

WHERE THE WILD THINGS ARE [2009]

Spike Jonze takes up the near impossible task of turning Maurice Sendak's children's book Where The Wild Things Are into a feature length film.  

Now it was this book and Jim Henson's imagination that molded me into the wreck that I am today, so I went into this film with extreme caution.  So I was happy to come out of it satisfied and in awe of what Jonze did with the story.  It captures the feelings of a child's frustration, rage and imagination quite well, while he is learns to see his own self through the lives of these confused and larger than life monsters.  

Also, there was something in my eye a few times throughout the film.  

3½ owls of nonsensical wisdom out of 5

Phone Booth (2002)

An arrogant douche gets trapped in a phone booth. Not because he's an idiot and can't work a door, but because if he leaves there'll be dire consequences.
About eighty percent of the film is focussed on one man in a booth, shot in sequence over just ten days. It's an interesting if flawed viewing experience, particularly for the film student.
Oirish boy Farrell impresses in the emotional scenes. I didn't think him capable of that. I was wrong. His momma should be proud.
Phone booth. Broken window. Trapped. Hitchcock homage? Give Farrell a blonde wig, stat!

2½ little red dots out of 5

Species (1995)

Scientists make an alien/human hybrid using DNA data transmitted from the deep dark corners of space. You just know that’s going to end well.
Species could have been really amazing. The first half hour is great. The creature design is excellent. The CGI is bad. Natasha Henstridge is surprisingly good. Forest Whitaker is his usual great self. Everyone else is wooden. The pacing is clumsy. The finale is abysmal.  In the end it’s more shit than shine, but has a few moments that will please sci-fi/horror fans.

2½ parent traps out of 5

The Last King of Scotland (2006)

Forest Whitaker finally got the role he deserved in this political kick in the head. He towers over every scene he’s in with a ferocious intensity that hurt my eyes to watch. He plays a Ugandan Dictator with a fiery and temperamental personality. It’s painted very black and white even when it’s purposing not to be, but it’s so damn good that it kept me hooked regardless. It's based on real events, but I don’t know how accurate it is politically.

4 bad cases of red eye out of 5