Triple Threat (2019)

If art for arts sake is a widely accepted philosophy, then action for action's sake must also be a thing. And while I acknowledge that a visual media like cinema can exist without any didactic need to explain itself beyond its own autotelic value, I prefer to have a little story in my action movies. Triple Threat delivers both, with emphasis on 'action' and the 'little' being literal.
A mission to free Thai prisoners from Indonesian captors ends in a massacre and a double-cross, leaving wronged parties on both sides. What follows is a story of payback involving many squibs and some of Southeast Asia's best martial artists, the kind who prove that well-choreographed action can itself be an art form. The dialogue is mostly English language, with some Chinese and Thai. It's occasionally badly dubbed, but it's tolerable.

2½ local assistants out of 5

The Devil and Father Amorth (2017)

Over four decades after he staged a pretend exorcism (and made cinema history as a result), director William Friedkin filmed a "real" one performed by Father Gabriele Amorth, a revered and respected member of the Diocese of Rome. Friedkin presents and narrates his own footage, referencing often the film that made his name, so expect spoilers for The Exorcist (1973).
Prior to the main event there's interview footage of authors William Peter Blatty and Jeffrey Burton Russell. Afterwards the medical community, experts in the fields of neurosurgery and psychiatry, comment on what the viewer has just seen. There's no definitive resolution. Instead, as with the fictional film, a viewer will likely see in the footage their own beliefs reflected back at them, with regards both sides of the incident; i.e. authenticity or artifice.

2 trance states out of 5

The Duel (2016)

Texas Ranger David Kingston (Liam Hemsworth) is sent to investigate the disappearance of a number of Mexican citizens in Mount Hermon, a Texan town, which brings him into contact with a man he's not seen for twenty-two years. The man is Abraham Brant (Woody Harrelson), who, since their last meeting in rain and blood, has supposedly been "touched by God".
There's a decent sense of hostility in the townsfolk, but Hemsworth is pretty bland much of the time, coming alive only when armed and angered. In contrast, there's a hint of Colonel Kurtz about Harrelson's Abraham, leading with a hospitality that's threatening. The supporting characters feel very 'written' for purpose, including Abraham's son Isaac (Emory Cohen), who's both a thorn in the Ranger's side and a bitter disappointment to his father.

2½ dust coverings out of 5

Ponyo (2008)

aka Ponyo on the Cliff by the Sea

A creepy human-faced fish hitches a ride on a jellyfish, leaving behind its equally creepy-faced siblings. Ponyo, as the free-loader comes to be called, is rescued by five-year-old Sōsuke, and so begins a magical friendship.
At least, that was the idea, but it didn't feel very magical to me for a long time. Besides a spectacular scene involving Ponyo and a storm, the first hour felt more like two. But things changed for the final third. The relationship between the two children grew deeper and it became reminiscent of My Neighbour Totoro (1988). Ponyo's 'everything is new and exciting' attitude became uplifting, and the adventure took on new life. The destructive tides and planets situation seemed a step too far, but the story redeemed itself emotionally, which is what saved it in my eyes. But I won't watch it twice.

3 nap times out of 5

Talaash: The Answer Lies Within (2012)

Not a sequel to the similarly titled Talaash: The Hunt Begins... (2003), The Answer Lies Within is a search for a different truth. Namely, why popular film star Armaan Kapoor (Vivan Bhatena) was seen speeding in a car through a shady part of town, before veering off the road and into the ocean depths.
Inspector Surjan Singh Shekhawat (Aamir Khan), a man with a crippling tragedy in his past, leads the case. The tone of the film reflects Surjan's feelings mostly, with moody lighting and music to match. The investigation becomes two-tiered, professional and personal, affecting the inspector's life and that of his wife Roshni (Rani Mukerji), who deals with the past in her own way.
One crappy train station scene aside, I feel that Dir. Reema Kagti respected both the psychological and unnatural threads of the story equally.

4 white petals out of 5

The Wizard (1989)

Corey (Fred Savage) accompanies his half-brother Jimmy (Luke Edwards) to California, for reasons that only one of the children understand. Along the way the siblings meet travelling teen Haley (Jenny Lewis) and, without going into detail why, video games become an important feature of their world.
It's a road movie for kids that seems rooted in the era it was released because of the video games (arcade Double Dragon, NES Ninja Gaiden, TMNT, etc), but its themes of bonding, self-realisation and awakenings of self-worth are timeless. The handling of each one is varied, but there's enough to make the journey worthwhile. Its attempt to make the Nintendo Power Glove seem cool are less successful, but it's nothing to be ashamed of - Nintendo failed too.

2½ happy wanderings out of 5

Powaqqatsi (1988)

aka Powaqqatsi: Life in Transformation

Dir. Reggio's follow up to Koyaanisqatsi (1982) is another spellbinding assemblage of real life captured on film but with a focus this time on the affect of agriculture and industrialisation in third world countries.
The expert eye of the filmmaker is cast over various locations and activities, in CUs and aerial shots, while the music of Philip Glass adds deeper allusions.
The second half of the film, in which cars interrupt and obscure the focal point was obviously purposeful, but it lacks the emotional power of the first half.
Overall, though, there's a feeling that a shared experience, even one that can be described as a burden, can perhaps be a kind of dance that takes on new meaning when observed from a specific vantage point.

3½ distributions out of 5

Invaders from Mars (1986)

Young David Gardner (Hunter Carson) watches a meteor shower from the safety of his bedroom window one night, but in addition to falling rocks he sees an alien spaceship land not far from his home, on Copper Hill. Not long afterwards, the adults in the surrounding area begin to act oddly.
A remake of the 1953 film of the same name that on paper has a lot going for it: directed by Tobe Hooper, it co-stars Karen Black, has creature effects by Stan Winston and music by Christopher Young. The result is a peculiar PG rated movie with glorious 80s FX and some set-bound campness in the later half. It's not usual for a youth in a movie for kids to be braver than the adults, but in Black's case it's because her character (a school nurse) understands the implications more than the child, which successfully adds some depth.

2½ sinkholes out of 5

The Flintstones (1994)

I occasionally watched repeats of the original Hanna-Barbera cartoon as a kid, but I don't consider myself a fan of the show. I tried the film for one reason only: Liz Taylor, who plays Pearl Slaghoople (Fred's mother-in-law); but in reference to casting it's John Goodman who's most perfect in his role.

The story sees the 'modern Stone Age family' have their loyalties tested when an unexpected class division causes a rift between best friends Fred and Barney (Rick Moranis). Its U rating means it's mostly average kids stuff, but there are some genuinely funny gags, and a few very dark humoured ones.

The star of the show for me was the props and sets — the majority of which would've had to have been built and/or moulded from scratch — and the practical creature effects provided by Jim Henson's Creature Shop.

2 dictabirds out of 5

For the Love of Spock (2016)

Not unlike Trek Nation (2011) did for its subject, FtLoS is a documentary in which a son looks upon the career of his father and in so doing reflects upon their time together and what they meant to each other. For Dir. Adam Nimoy, whose famous father was loved by millions of people the world over, it's both a professional and personal journey, and ultimately a celebration of both the man Leonard and the incomputable legacy that he left behind.
Incorporating newly filmed interviews with family members, old Super-8 home movie footage, magazine articles and TV interviews it paints a picture of Leonard's beliefs regarding his famous Star Trek character and compares it with what it meant to the fans, through responses and testimonials.
Note: there's a lot of spoilers for TOS episodes, if you've not seen them.

3½ raised eyebrows out of 5

The Delta Force (1986)

The opening shot sets the tone perfectly, for good or ill. The scene that follows, wherein special ops member Chuck does what other men won't, reinforces it tenfold: it's 80s action from Canon Films with men and guns.
Much of it takes place on an aeroplane, with an ensemble cast that gets very underused. Chief hijacker Abdul (Robert Forster) is mustachioed and menacing. but he didn't reckon on the Deltas doing their thing. They wear covert black duds with a bright US flag patch on the arm lest the audience forget who they're cheering for. If they get tired walking, they've got bikes that shoot mini-missiles. Abdul and his middle eastern cronies are boned - even if Chuck is perpetually late to the party and Silvestri's music sucks.

2½ clear runways out of 5

Babes in Toyland (1986)

It's Xmas eve in Cincinnati, but eleven-year-old Lisa (Drew Barrymore) isn't feeling the seasonal spirit. I kind of respected her at that stage, but the film is about recapturing it, so something had to give. In Wizard of Oz style she wakes in Toyland, wherein people from her real life take on roles in the new world, including her sister's sleazy boss and his employee Keanu.
The world is populated by story folk, which means man-size teddy bears and simpletons with the intelligence of chocolate chip cookies. But Pat Morita, too, which was a surprise. Will Lisa stop the rotten Barnaby (Richard Mulligan) from ruling Toyland and find in her heart not just the true spirit of Xmas but the importance of embracing childhood, too? Is there even any doubt?

2 flower cars out of 5

The Man Who Killed Hitler and Then the Bigfoot (2018)

Sam Elliott plays Calvin Barr, retired, greyed and living an average, quiet life in a typical US town. From time to time the old man reminiscences about his eventful past, played onscreen by Aidan Turner. The contrasts between then and now highlight more than just changes in time and location, pointing a self-reflective finger at the role Calvin played in his own shortcomings and the secret burden he carries, a defining influence on his solitary disposition.
The peculiar title makes it sound like a one-trick summer action/fantasy movie trading on ridiculousness, and I almost overlooked it based on such an assumption, but it's not like that. It's a soulful story that neither overreaches nor overstretches its central theme, even in its more fantastical scenes.

3 such selves out of 5

Hitman Redemption (2018)

aka Asher

Ron Perlman stars as an ageing hitman who's edging close to retirement, or whatever it is that passes for the same in his unusual profession. It's slow to develop, having more in common with Noir than a typical action movie.
It spends much of its time characterising the killer by showing how he spends his evenings alone. Alas, the benefits to that approach get smothered in the gloom. Its attempts at black humour work well enough on a surface level, making good use of Perlman's steadfastness, but again they don’t quite hit the mark when it comes to serving as commentary on deeper feelings.
It introduces into his moody and reflective loneliness a light in the form of Sophie (Famke Janssen), a ballet teacher who's struggling to cope with personal matters. The two aren't a perfect match, and the chemistry between them is pretty bland. If not for being a fan of Perlman I'd probably have lost interest in the relationship, and the movie itself, earlier than I ultimately did.

2½ sprinkler systems out of 5

Hail Satan? (2019)

A look into the rise of The Satanic Temple, from humble beginnings to widespread recognition. The organisation claims its use of Satan in practices and literature is merely symbolic, as a figurehead of antithesis representing a need for religious autonomy. The doc pokes fun from time to time, but leader Lucien Greaves is an educated individual that sometimes deserves to be heard, and the Seven Tenets that guide practitioners make a lot of sense.
If nothing else, Dir. Penny Lane's film exposes the level of hypocrisy and wilful social-blindness that exists in America, and shows how deeply ingrained notions of the Judeo-Christian God are in the political affairs of state, a "Nation Under God" pairing that flirts with theocracy.

3 fruits of knowledge out of 5