Jay Chandrasekhar directs himself, Kevin Heffernan and Brian Cox in this throwaway comedy about highway patrolmen more interested in pranks than arrests .
Super Troopers only redeeming feature above countless frat boy-ish comedies is it makes meoww laugh a lot. It is no better (or worse) than an Animal House, Police Academy or a Harold and Kumar and that sometimes is exactly what you want. Unsophisticated fun.
8
Jim Kouf directs James Belushi, Tupac Shakur and Dennis Quaid in this thriller about dirty cops pinning a murder on a homeless drunk but struggling to make their frame stay in place.
An involving if uninspired cop thriller from the writer behind Stakeout. There is nothing outstanding about it but you can get lost in its dense plot and enjoy its stock characters with ease overlooking the tears when certain twists prove reality defying.
6
Rian Johnson directs Bruce Willis, Joseph Gordon-Levitt and Emily Blunt in this time travel sci-fi thriller about a hitman who has to kill his older self.
Looper certainly has a lot going for it to mark itself out as a modern classic. Gordon-Levitt pulling a Face/Off and out Bruce Willis-ing Bruce Willis, the ageing star himself in what feels like it might be his last committed performance in a film his fan base might enjoy, the well realised dystopia and logistical thoroughness of the time crimes syndicate, the narrative flourishes (our mad dash through Joe’s intervening years is a masterful stroke) and some solid yet stylish action. But, just as on my virgin trip to see this at the multiplex, this home viewing cannot hide a certain disappointment. We are sold on young Willis hunting an old Willis cat and mouse actioner but the second half delivered instead shifts into something more akin to the western Shane. And while what happens on Emily Blunt’s farmstead is by no means weak, you cannot help but feel the initial premise has been somewhat overlooked, that you’ve been served a dish you did not order as the last 40 minutes play out. All that occurs if far too strong to dismiss but on each viewing I couldn’t help but imagine a Looper where, after the Heat style diner tête-à-tête between opposing generations, the movie returned to that sci-fi crime district we started at and all satisfying hell truly broke loose.
8
William Friedkin directs Ellen Burstyn, Jason Miller and Max Von Sydow in this blockbuster prestige adaptation of William Peter Blatty’s demonic possession horror.
As a shocker The Exorcist is starting to creak and show its age. Slow moving, with transgressive images that maybe are no longer as powerful, and themes of faith and belief that feel outmoded to a largely agnostic audience. But as an immaculately assembled drama tinged with extreme supernatural elements it remains challenging, instilling in you wafts of niggling doubt and uncertainty. It is a classy and intelligent act of constant manipulation, one that impresses almost inspite of its genre trappings. The subliminal faces emerging, kinetic attacks reverberating and endurance test finale all still tumble into place perfectly. Miller’s central turn is emotionally engaging too.
9
Check out my wife Natalie’s Horror blog https://cornsyrup.co.uk
We also do a podcast together called The Worst Movies We Own. It is available on Spotify or here https://letterboxd.com/bobbycarroll/list/the-worst-movies-we-own-podcast-ranking-and/
David Frankel directs Anne Hathaway, Meryl Streep and Emily Blunt in this glossy, bitchy chick-lit treat about a journalism graduate who excels as an assistant to a ruthless fashion editor.
If you told me 10 years ago that a mash-up of Cinderella and Working Girl would become probably the most rewatched DVD in my collection I would have scoffed. But I cannot help but rate this gorgeously attired comedy drama and find my self drifting back to its colourful yet acidic pleasures on at least a yearly basis. There are four great leads – with Hathaway as our corruptible ingenue, Streep as the ice cold boss from Hell (in a role that feels like the cornerstone of her entire oeuvre), star of the show Emily Blunt as a loveable megabitch showing inept headliner the ropes with withering disdain, and the ever resplendent Stanley Tucci managing to somehow find fathoms of depth in the fairy godmother role lifted straight from Hector Elizondo in Pretty Woman. Sure, the male eye candy is uniformly weak and/or sleazy but this is a narrative where the kissing and cuddling is so low down on the pecking order of priorities as to be more a frustrating distraction. It is a film where the rock is failure at near impossible but career enhancing tasks and the hard place is losing one’s soul, freedom and personality to your employer… and watching Hathaway and Blunt navigate that tight labyrinth in impeccable outfits is an absolute pleasure.
9
Howard Franklin and Bill Murray direct Bill Murray, Geena Davis and Randy Quaid in this crime comedy of a bank robber dressed as a clown who after executing a perfect heist finds himself trapped in the New York public transport system en route to the airport.
Ghostbuster, Groundhog Day and Rushmore… sure, sure… but no one ever brings up Quick Change these days, Bill Murray’s near forgotten but hilarious slice of misanthropic perfection. It is filled tip to toe with great casting; Jason Robards and Tony Shaloub get as many laughs as the main man himself. The premise of Murray desperately fighting against the careless bureaucracy, casual ineptness and proud inefficiency of city life opens up to gift the audience with some amazing zingers and there are at least three expertly sustained nail biting comedy set pieces. Gold stars to everyone involved, and too many unique moments to mention.
10
John Schlesinger directs Jon Voight, Dustin Hoffman and Brenda Vaccaro in this tale of a dumb Texan who travels to the Big Apple to become a hustler only to discover he is the mark for everyone else in the city to exploit.
Told in bold, fractured swipes, Midnight Cowboy is still a brave and affecting drama focussing on two complex failures; who want to be predators but are trapped as the lowest of the low on the NY food chain. Schlesinger captures a time and place with a heady mixture of both picture postcard accuracy and grimy police report pessimism. Equally, he visually taps in to the two leads fears and desires through discordant flashbacks and petty fantasies jutting into the increasingly dismal narrative. Hoffman puts in fine work with less screentime as the enfeebled Rizzo, a character that shifts from repulsive to beloved over his tragic decline. A bonafide classic.
10
Bruce Malmuth directs Steven Seagal, Kelly Le Brock and William Sadler in this tale of a cop who recovers from a seven year coma to take down a corrupt senator who killed his wife.
A one year past its sell by date Eighties action thriller written by aliens who only understand the Earth and human interaction via some space capsule filled solely with Eighties action thrillers VHSs sent to them by a prankster in NASA. See if you can follow the logic: Seagal films some dodgy dealing on a camcorder > he immediately goes to an off licence to buy a bottle of champagne > hoods hold up off licence and kill owner but Seagal subdues them > while waiting for the uniform cops to let him go he calls a cop friend to tell him about his new home movie > he then heads home, hides video behind fridge, has a prayer with son, fucks wife, drinks warm, blood spattered champagne > goons turn up, kill wife, let kid run away, put Seagal in coma, don’t bother looking for incriminating evidence > an internal affairs cop covers up Seagal’s lack of death, adopts son > 7 years later and Seagal wakes up a John Doe with a hot nurse infatuated with him and his nemesis having become an untouchable senator > a hospital chase ensues with a bedbound Seagal marshalling his gurney away from an assassin > hot nurse takes him off to a countryside dojo, she conveniently is housesitting, so he can recover via the power of training montage, the grounds happen to be littered with temporary structures just waiting to be crashed through should there be a second act car chase… And that, my friends, is your first half an hour. Mental? Yes. Campily enjoyable? Yes! A baffling early step in Seagal’s baffling rise and inevitable fall at the box office? YES!
3
Wes Anderson directs Gene Hackman, Gwyneth Paltrow and Owen Wilson in this stylised comedy drama about a family of child geniuses who are now damaged adults and their distant, gruff patriarch who fakes cancer to reconnect with them / not divorce their mother.
A perfect film (though not quite as out and out fun as its predecessor Rushmore) that is intricately assembled in look, emotion, humour and detail with a watchmaker’s precision. A very stylish watchmaker. Anderson got caught in the trap of trying to repeat too closely what worked here a little too often afterwards but that does not diminish the calvalcade of fine movie moments this marches at us. So much to love: Alec Baldwin’s Barry Lyndon inspired narration, the vinyl celebration of a soundtrack, a toweringly charming beast of a central performance from Hackman, the sole decent turn from Paltrow in her career, or the deeply cutting moments that resonate, hidden among the twee visuals and soft antics. Movie heaven.
10
Tom Ford directs Amy Adams, Jake Gyllenhaal and Michael Shannon in this psychological thriller about dissatisfied art dealer who becomes enthralled in her long estranged ex-husband’s dark debut novel.
Like The Accountant after an hour of near perfect set-up we get the rush of disappointments as we realise the punchline is not the strongest part of the joke. In Nocturnal Animals case, a flawed but visually exciting lurk around bad choices, imagined lives, revenge and the weakness of gender, we at least always have achingly beautiful people to watch as it all untangles nihilistically onto the floor. Two narratives bounce off each other; a Bret Easton Ellis homage starring Adams frames a Jim Thompson inspired thriller starring Gyllenhaal and Shannon. Both absolutely grip with a facist’s zeal to keep you guessing and fearing the worse from the start. 40 minutes in, I thought we had something with the truly dark, seductive threat of a Blue Velvet on our hands… but that tension eventually peters out. What remains is not bad but lacks the palpable power generated earlier on when we find ourselves out on a lost highway. Gyllenhaal also feels a little understretched here after a brilliant run of immersive roles. Still the powerful flavours Tom Ford plays with do linger afterwards and I get the feeling Nocturnal Animals might be worth a revisit sooner rather than later. Never a bad sign.
7
