Wolfgang Reitherman, John Lounsbery and Art Stevens direct Bob Newhart, Eva Gabor and Joe Flynn in this Disney animated adventure where two mice rescue a missing orphan.
A movie that has been a part of my cinematic consciousness before I even really knew what a movie was. The set pieces are really strong and Bernard and Bianca are a very pleasurable double act. Sexy lady mouse. The movie feels tinged with a permanent sadness we’ve not experienced in a Disney cartoon before. That beautiful if morose atmosphere does carry over into the next few entries, with diminishing returns, but here it adds a curious flavour that I’m not entirely for or against.
7
Perfect Double Bill: The Rescuers Down Under (1990)
Chris Sivertson directs Christina Ricci, Santino Barnard and Don Durrell in this indie horror movie where a Fifties housewife on the run settles at a house by the lake with dark secrets.
So… oh so… many production companies kicked in a penny each to produce something dull and uninspired. Ricci looks bored throughout. There is mystery and there are twists but not in a compelling way. Ambient horror, cheap horror, horror-free horror.
Janicza Bravo directs Taylour Paige, Riley Keough and Colman Domingo in this movie based on a thread of tweets about a weekend of stripping gone wrong.
“Strength does not come from winning. Your struggles develop your strengths. When you go through hardships and decide not to surrender, that is strength.” ― Arnold Schwarzenegger
Chris Marker directs Hélène Châtelain, Davos Hanich and Jacques Ledoux in this short French art film constructed almost entirely from still photos, it tells the story of a post-nuclear war experiment in time travel.
Famous to my generation as being a key influence on Terry Gilliam’s 12 Monkeys. The Gen-X sci-fi favourite is almost a faithful remake of the plot of this short, strange film. Yet while the famous blockbuster is more of an adventure, La Jetée focuses as much on the psychology and doomed romance of time travel experiments. Being the guinea pig in one. Told in a slideshow of stark monochrome photos we still feel the protagonists’ attraction, frustration, pain and futility. Time and memory happening at an uncontrollable fluctuation. Very rare a short film enters my personal Top 1000 movie. This inarguably belongs there.
Ryan Coogler directs Lupita Nyong’o, Angela Bassett and Letitia Wright in this Marvel superhero adventure about the people of Wakanda trying to find their place in the world after their heroic new king has died.
A very gorgeous film in the most part. I remember being quite impressed by how respectfully it handled itself and delivered an adventure that felt a bit more emotionally grainy than recent Marvel confections. The action was solid in the first two acts. Yet there is still the feeling that this is all just mega budgeted teatime television and the talent involved could probably be better utilised making something set in the real world. The ending is quite unmemorable. It is nice having a Marvel movie that is a bit more solemn and somber but I also rarely felt disappointed I waited Wakanda Forever out to hit streaming.
Chris Marker directs Alexandra Stewart, the people of Japan and a giraffe in this documentary essay where other cultures are remembered like alien confusion-scapes.
The unnecessary footage of an animal being shot and graphically dying really sucks the life out of the room. And while that nightmare moment does match up with some of themes explored… it stops this for me, and many, from being the rewatchable classic it otherwise would be.
Chad Stahelski directs Keanu Reeves, Donnie Yen and Ian McShane in this final episode in the retired hitman tries to re-earn his freedom action saga.
Yeah… I’m guessing it is long. But there’s plenty to love here. The beauty of the whole thing. Should gun movies look this fuckable? The new guys: Shamier Anderson and Rina Sawayama but especially Donnie Yen’s unwaveringly calm blind assassin. The set pieces are epic. Really put you through the wringer. My only quibble is the Arc de Triomphe fight in moving traffic bends the laws of physics too much. It only really is exciting if when you get his by a car, you die. And I know this is a cinematic universe with Kevlar tailored suits. Sometimes the borrowing is a bit too obvious, sometimes the talky talky stuff does feel inessential. Still this is exactly what I want from my action cinema so it seems churlish to complain the portion is too big. Should there be more Wick? Probably not… but very few franchises end on a high. This one might just.
Jessica M. Thompson directs Nathalie Emmanuel, Thomas Doherty and Sean Pertwee in this bloodless horror romance flick where a long lost relative of some European aristocrats turns up at a country house clearly owned by a vampire.
Downtown Abbey meets Bram Stoker but set in the modern day. Feels very much like a Young Adult novel that has been sifted through a TV show development sieve. So… not very cinematic. Flat, ponderous and often quite boring.
Peter Farrelly directs Zac Efron, Bill Murray and Russell Crowe in this war drama true story about a ne’er-do-well New Yorker who decides to bring a beer to each of his drinking buddies while they serve in Vietnam.
I’m about to type a sentence that lists a lot of decades. There was a real boom in the late Eighties and early Nineties for accessible films that dramatised big events of the recent past (the Fifties / the Sixties / the Seventies). Some might say your Driving Miss Daisys, Good Morning Vietnams and Forrest Gumps sanitised or even mollified the huge schismatic upheavals of near history. Taking big issues, ones still influencing the politics and injustices of the American present, and polishing them into nostalgic light entertainments. Not every film has to be as brutalising and as self-lacerating as Platoon. We know which movies have a more realistic bent on the past and which ones want to reframe civil and global trauma into something box office worthy. I’m of the school that there are room for both… you can take a less journalistic, less coroner’s report, approach to events from our lifetime and still make them sad and funny and add a little sparkle. But then again, I did grow up on a steady diet of Quantum Leap.
Peter Farrelly’s Oscar winning Green Book felt anachronistic when it scooped the Best Picture Oscar a few years back. A call back to a time when prestige and full houses mingled a little easier. Directed by a silly comedy hit maker, dealing with race and racism from a conservative white male POV and more jovial and adventurous than worthy or punitive. Yet… considering it was a box office hit aimed squarely at adults and was as entertaining as it was focussed on dealing with weighty issues… I was happy to enjoy it for it was – a really well made, salty bit of Hollywood product. In my eyes, it is one of the few recent Best Picture winners that a casual movie viewer might elect to rewatch for fun if it popped up near the top of their streaming menu on a Saturday night. The Greatest Beer Run Ever is a follow-up in very much the same mode. Much as the award winning road movie put a glossy and laugh worthy spin on racism, here the big gaping wound on America’s psyche (the failed occupation of Vietnam) is approached not from the vantage point of some bleeding heart liberals or gung-ho warmongers but of an average dude who believes what he reads in the paper and would vote for whoever could lower his taxes… if he could be bothered to vote.
A game Zac Efron is the glue that makes this unlikely mixture of fish-out-water comedy and occasionally hard hitting tragedy work. He’s a fun guy, sweet hearted, not particularly heroic, who brashly puts himself in a dumb but kinda admirable danger. All for the sake of being a decent human being on his own terms. And as he spends his improbable but seemingly true week in Vietnam handing out tinnies of Pabst Blue Ribbons, his eyes are opened to the destruction his people are bringing to this beautiful country, the brutalising violence his old drinking buddies are enduring and the lies his government has fed him and the folks back home. Did all this need to be said again? Possibly not. But that doesn’t stop this from being a very enjoyable, universal film with a fair bit more emotional grit and heft to it than teenage fantasies like a Fast X or your Black Adam.
Bobby Carroll's Movie Diary 