George A. Romero directs John Amplas, Lincoln Maazel and Christine Forrest in this horror drama where a young man believes himself to be a vampire.
Almost a sub genre in and of itself the old ‘Mentally Ill Or Creature Of The Night’. Martin is sleazy and bitty. There are compelling moments, usually his long drawn out attacks on women which are as sad as they are chaotic. This story is only ever really going one way and it often stretches the patience a fair bit. Romero does a good job to keep the mystery alive on a shoestring… Even Martin’s black and white flashback to his vampire origins could be his own delusions.
Laura Wandel directs Maya Vanderbeque, Günter Doret and Karim Leklou in this Belgian drama about a cycle of primary school bullying told from the point of view of a nervous seven year old girl.
About as good as this type of film is going to get. You can’t fault it. Wandel achieves her mission. Sadly accurate, so you also wouldn’t want to endure it twice.
Michael Caton-Jones directs Bruce Willis, Richard Gere and Sidney Poitier in this remake of the 1973 film The Day of the Jackal, which was based on the 1971 novel of the same name by Frederick Forsyth.
A flat modernisation. Some scenes have a TV movie cheapness, others go all out with CGI which weakens the action. Denuded of its “true story” terse appeal this didn’t really need to keep The Jackal branding. A few story beats are retained but it could just as easily been a Clint sequel to In The Line Of Fire. Gere’s choice to play his proactive fink as an IRA political prisoner rings false in a number of ways. Willis is fine value as the reptilian, shape shifting killer. There’s a good movie here, and they already made it in the Seventies.
Stephen Herek directs Keanu Reeves, Alex Winter and George Carlin in this sci-fi teen comedy where two loveable airheads travel through time in a phone booth to pass their history final.
This could have easily been the Mac & Me to Back To The Future’s E.T. A cheap cash-in, with ropey FX and a jobbing director. Instead it becomes something unimpeachably special through sheer innocence and joy. More apiece with the grungy / Generation X / lo-fi / end of history nineties. These aren’t goal orientated temporal racers. They do not disrupt reality or need to fix the timeline. They are relaxed pals who are “just dust in the wind, dude!” Zero footprint daytrippers. Apart from the casting coup of a pre-fame cusping Keanu, what Bill & Ted 1 has in spades is unfussy charm. Of course, every historical figure they borrow automatically trusts them and just goes along with it. Of course, Napoleon would be a buzzkill at ice cream parlours, bowling alleys and water parks. Of course, they’d all be arrested if you let them loose on a Californian mall. Bill & Ted is a celebration of just being nice and caring and open. They aren’t smartest guys in the time slip but they are the biggest hearts. That wins the day, gets the A grade and ultimately changes our future into being a utopia. A movie without villains, minimal action or romance. Instead a fun soundtrack, a hundred great quotes and Amy Stotch as Missy. “Be excellent to each other… And party on, dudes!”
8
Perfect Double Bill: Bill & Ted’s Bogus Journey (1991)
Justin Simien directs LaKeith Stanfield, Rosario Dawson and Owen Wilson in this family horror comedy based on the kids’ theme park ride at Disneys the world over.
Game cast, iffy script. I’ve read a lot of people ragging on the near constant product placement (especially during an emotional monologue). If that’s what it takes to pay for this bunch of up-and-comers and firm favourites to assemble then I guess it is worth it. Even the kid is good. Messy story and unfunny dialogue aside, a lot of love has gone into the look of this. I’m a big fan of the ride and always happy to see any of the leads in an ensemble. Throwaway but forgivable.
John Dahl directs Nicolas Cage, Dennis Hopper and Lara Flynn Boyle in this neo noir where a drifter, who is mistaken for a hitman, gets involved in a scheme of embezzlement and murder in a small town.
Super simple, unadulterated neo noir. The mighty JT Walsh is in it doing his usual untrustworthy yet straightforward masculinity shit. Everyone else of note is a David Lynch alumni. Lara Flynn Boyle is way, way too young for her part, not half as interesting as two dozen actress of a similar ilk kicking around at that point. Her name probably helped get it made but imagine Susan Sarandon or Michelle Pfeiffer in the same role. There are some gripping small scale set pieces and the running joke that Cage’s dope can’t get much further than the town limits each time he tries to escape gets better each and every time. Nothing special but exactly what I like. Celluloid + on location shoot = timeless beauty.
Shawn Levy directs Ryan Reynolds, Hugh Jackman and Matthew Macfadyen in this Marvel sequel crossover alternative universe mash-up that brings Logan back to life for yet another adventure.
Imagine being older than 13 and thinking this was the cinematic highlight of the year? Multiple dull 10 minute long talking head exposition scenes, inconsequential violence, cameos, cameos, cameos and, of course, salty meta snark. For people who only communicate via memes. Just goes on and on and on without ever really starting. I do have a nostalgic affection for a few of the surprise resurrections… but it also made me definitively feel like this subculture has left me fully behind.
Aki Kaurismäki directs Janne Hyytiäinen, Ilkka Koivula and Maria Järvenhelmi in this Finnish drama where a nightwatchman’s life is destroyed by a femme fatale.
Not really a crime film despite the plot, more a parable. There’s very little cuteness here, less humour. The usual Kaurismäki poker face style hardens into something I really appreciated.
Alexander Payne directs George Clooney, Shailene Woodley and Beau Bridges in this comedy drama where a lawyer must look after his two daughters while his wife dies and he has to oversee a huge Hawaiian family land deal.
This hit a lot harder on first watch in the cinema. Now it feels a mite insubstantial. Some neat moments but I’m a little scared that Bobby Carroll in his early thirties was overly seduced by multiple shots of Shailene Woodley in a bikini. You don’t often get that in yer obvious Oscar bait fare. A minor Payne.
Bobby Carroll's Movie Diary 