Freddie Francis directs Peter Cushing, Patrick Wymark and Christopher Lee in this thin tale of antique dealers haunted by the Marquis de Sade’s skull.

Any film that has British Horror royalty (Cushing and in a smaller but outstandingly played part Lee) outbidding each other at auction and playing billiards has to be worth a watch. Yet this is a very short story that feels unpleasurably stretched over its run time, sometimes well (the flashbacks to the skull’s first victims in Napoleonic France are saucy fun) but often drearily (a final near wordless 20 minutes where Cushing struggles against possession drags on and then drags some more.) Of its time and with that colourful Amicus handsomeness.

5

David Michôd directs Guy Pearce, Robert Pattison and Susan Prior in this violent, post society road movie.

Starting elusive and palpably intense but ending on a grim, nihilistic punchline, this Mad Max inspired drama winds down a little too early. Once we have gotten used to its expert world building it seems to grind to a halt. Set “10 years after the collapse”, seemingly in that same dusty, fly ridden outback (scarred with roads and pockmarked with unfortunates ekeing out sad existences) as the 1979 classic, helps. Guy Pearce brings his usual captivating, emotionally bottled up manliness to his central turn, while Robert Pattison doesn’t shit the bed in a role you still feel a better actor could bring a lot more to. Ho-hum, his name and looks probably got this funded so it is hard to resent his presence. And even if plot and character wise it doesn’t really amount to much at all there are sequences, moments and smaller performances so expertly delivered that the film has a lasting haunting power.

7

William Friedkin directs Gene Hackman, Roy Scheider and Fernando Rey in this fictionalised retelling of NY cops taking down a massive narcotics ring.

Taut, documentary style grit gives way to white knuckle action movie manna as determined but unsupported cops grind down an efficient and intelligent gang of drug runners. This is sterling, superlative work all round; whether in the staggeringly unvarnished attention to detail of the police procedural, the evocative capturing of a time and a place, the persuasive and appropriately economic score, or the daring assembling and editing of the big, relentless chases. Hackman’s toweringly impressive alternative and engrossing take on a rule bending but dedicated cop is the granite rock on which this evergreen classic is built around and held up. Hard boiled cinema heaven.

10

 

Steven Spielberg directs Tom Hanks, Mark Rylance and Amy Ryan in this Cold War negotiation drama.

Given the talent involved and the moment in history recreated, this often feels like a smaller, slighter film than the one trailered. And this proves a strength as the nimbleness and light touch leaves rooms for some fine mid level action set pieces and beautiful performances from the leads. At times Rylance and Hanks’ excellent turns feel like a visual essay comparing the subtle stage actor and beloved movie star’s long developed crafts. Instead of uncomfortable contrast though it is the perfect compliment of styles. In fact, when Rylance is later left behind in the States and Hank’s intelligent lawyer is left adrift in beyond “The Wall” bureaucracy the movie loses a little wind from it sails that the pairs’ chemistry unfussily generated. The opening courtroom grand standing and growing mutual respect of the leads in the first half makes for a better movie. Spielberg directs more ambitiously in this opening hour with some excitingly disconcerting scene shifts, a lovely of-its-time moment involving photographers’ flashbulbs on the floor and all interiors filmed with a blinding outward light bursting through the windows (like the threatened nuclear exchange has happened and these conversations are the final moments of humanity being captured). That relaxed but masterly direction is muted in the more Diet Le Carre second section but all in all this is probably Spielberg’s most satisfying and pleasurable work since War of the Worlds, over a decade before.

7

Chad Stahelski and David Leitch direct Keanu Reeves, Michael Nyqvist and Adrianne Palicki in this retired hitman seeks bloody revenge for his murdered puppy actioner. 

A deceptively simple, outlandishly fun slice of cartoon action flick that gets better with every watch. A knowingly blank Reeves takes down scores of henchmen in bloody, bone crunchingly kinetic marathons of violence linked by a fantastically classy supporting cast of old favourites. Relative newcomer Palicki outshines the old hands as Miss Perkins; an even more amoral, female mirror of our anti hero. Wearing all the best influences (Woo, Leone, Melville) proudly on it impeccably tailored sleeves and told in bold, comic book frame inspired strokes, this could be the start of our new favourite franchise.

8

John D Hancock direct Zohra Lampert, Mariclare Costello and Barton Heyman in this sensitive lady moves into a haunted farmhouse chiller.

This independent horror middle ground between the far superior Carnival of Souls and Texas Chainsaw Massacre lolls around frustratingly goreless and scareless until an OTT spook house twist finish. The building mystery is as often grating and snail paced as it can be beautiful and eerie. The same for the acting. Too often you feel like you have interrupted a particularly sexless swinger’s party rather than a waking nightmare. The period features make it watchable.

5

Dennis Duggan directs Adam Sandler, Adam Sandler and Al Pacino in this annoying sibling moves in with her settled brother comedy.

I openly like Adam Sandler films. Some are sweet, some are mindlessly funny, some are a bit rushed and lazy. This one though (according to the Internet) is allegedly a contender for the worst films ever made. And yes, it contains Sandler’s standard schtick, ensemble, strange celebrity cameos and fast food plus resort chain product placement but also occasionally enough some laugh out loud silliness. Essentially par for the course for Team Sandler undeserving of any hate, shock or ire, and a mindlessly OK way to kill an evening.

4

 

Paul Goodwin directs Pat Mills, Dave Bishop and Grant Morrison in this documentary about the galaxy’s greatest comic.

2000AD was a massive monolith of my childhood. Every Saturday I would be up at the corner shop first thing to buy my copy and many a day were wasted re-reading or merrily cataloging back issues. It defined and evolved my tastes and ambitions until college when I almost unforgivably just gave it up. Partly I had outgrown it, partly the current run of stories no longer spoke to me. Many, many file boxes of six panel teenage mind expansion were dumped at a charity shop when my parents downsized a decade later. About a year ago, I returned to being a regular reader, more out of nostalgic reasons than anything else. And expectations tempered, it still holds up. This documentary feels like a DVD extra to my youth. The creators bitch and moan, we don’t really cover any further than the period I loved. And for that reason Future Shock is not the best or all that entertaining text for the unitiatiated. Neither a full history, nor an unbiased one… Seemingly every fan became a writer and we know that isn’t true. Also a bit too much screentime is given to outlier superstars Alan Moore and Neil Gaiman, who yes, contributed a few good stories when they needed the money but weren’t mainstays like Wagner, Mills and Garth Ennis (the latter of whom is noticeably absent and unmentioned.) Animation brings the still brilliant and distinctive artwork to life, the talking heads are passionate but if you had not been raised by Tharg you’d still walk away 100 minutes in not really knowing who or what Indigo Prime, Robohunter, Button Man or even a Future Shock are. Charming but insubstantial.

6

Jon Faverau directs Neel Sethi, Idris Elba and Ben Kingsley in this live action(ish) adaptation of Walt Disney’s classic adaptation of Rudyard Kipling’s classic.

Jonny Fav is becoming the sure thing when it comes to directing universally gratifying cinematic jaunts. Elf, Iron Man, Chef and now this. None of them felt like must sees the day before their release but then he just knocks these full of heart, big starry entertainments out of the park and creates a new family favourite every time. We haven’t had someone quite like this making movies since Speilberg and Zemekis first came to power. So just take my word for it this The Jungle Book really works. It is full of adventure and excitement, eye popping visuals and deceptively easy humour. The vocals help. Murray as Baloo and Kingsley’s Bagheera are spot-on loyal updates of the animated original’s voice work, whereas Walken’s King Louie and Elba’s Shere Khan take their villians into riskier but more rewarding directions. The tiger in particular shifts dramatically from the old charming bully to that recognisably terrifying psycho  none of us can make eye contact with in the pub for fear of a random thrashing. A radical change that works, so well done Idris for unleashing Khan’s inner geezer. If such changes make you cautious let me put your understandable doubts at ease. The Jungle Book 1967 is my all time favourite Disney, and I all feared this would be a fumble of a retread, yet within minutes of popping my 3D glasses on I was enraptured. I instantly appreciated how much this steered the attitude and philosophy back to Kipling’s source for good without rejecting what worked as cartoon. It is a new, action set-piece strong experience, faithful yet modern, old school yet cutting edge. A balls to wall awesome piece of family entertainment.

10

Gavin Hood directs Helen Mirren, Aaron Paul and Alan Rickman in this drone based war film.

Involving as an emotional and intellectual debate, this dry little thriller tries to be 12 Angry Men / Fail Safe on the current big issues of drone warfare and collateral damage. And quite impressively almost meets that self-imposed high standard. The dialogue could be a bit meatier but really the consistently muscular cast add flavour to the proceedings even when the script falters on them. Nice to see Captain Philip’s breakout actor Barkhad Abdi impress again in another well written part but it’s Rickman in his penultimate big screen turn that steals the show. Thank goodness this late bow leave his marvellously unique acting reputation not just intact but given an additional bit of spit and polish. He alone is  worth your tenner’s admission.

7