Quentin Tarantino is for the most part probably my favourite director and has had very few missteps in a career that’s spanned over twenty years and so far 9 movies (if you count Kill Bill 1&2 as one movie). So it was with some degree of excitement I sat down to see his latest. Leonardo DiCaprio stars as Rick Dalton, a washed up Western actor reaching the end of his career and along with best friend and stunt-double Cliff (Brad Pitt), they attempt to continue working in an ever changing industry. Meanwhile, a religious cult threaten to shatter the glitz and glamour and bring the Hollywood dream and sixties with it, to an abrupt and bloody end.
With knowledge of the real life murders and that of Charles Manson’s cult I thought this was perfect material to get the Tarantino treatment. Imagine my surprise then to discover that that aspect barely fills up even a quarter of this long, drawn out movie’s 160 minute run time. Which would be excusable if what we get otherwise pulled me in at all. Here, Tarantino is at his most self-indulgent and selfishly nostalgic, revelling in a Hollywood I’m guessing many of us won’t even recognise, name dropping tv actors I’d never heard of and even doing a deserving to those I had (Bruce Lee is pretty much relegated to gag-fodder). Margot Robbie turns in an appealing, sexy but otherwise redundant performance as Sharon Tate, wife of director Roman Polanski and the most famous victim of the Manson Family murders. Even the dialogue lacks the usual flow and zip of a Tarantino script, that whilst natural sounding, in a movie that basically has little to no actual plot, it really needed to shine. Also, if your idea of entertainment is to watch Margot Robbie for longer than necessary watching herself in a movie theatre, or countless women show off their bare feet, Brad Pitt drive (and drive) around Los Angeles or feed his dog, and DiCaprio cough a lot … then more power to you. The ending will also divide audiences for sure yet I suppose I get what Tarantino was going for … even if it kind of pissed me off.
So, Tarantino’s apparent ‘love letter’ to late sixties Hollywood somehow does the unfathomable and makes the behind-the-scenes lifestyle of the movies actually look boring, Pitt & DiCaprio are fine, but even they look like they’re only here to do a friend a favour and collect a pay cheque. It’s real redeeming feature then is often impressive camera work, because shock – even the soundtrack gets a bit annoying. Definitely the director’s weakest effort since Death Proof – and at least that was more fun. Disappointing.
In hindsight, Kurt Russel makes for a perfect Santa Claus, but as I sat down to watch this I thought … really? I’ve been a fan of this guy for a long time (Kurt I mean, although who doesn’t like Santa?), and this story has two kids on Christmas Eve out to catch him in the act of delivering presents, and unwittingly sabotage Christmas when they stow away on his slay.
It’s a fairly typical Hollywood rendition of a Christmas movie and focuses on a family who have since lost the children’s father who was a fire fighter, and we get a stereotypical moody teenager on the brink of going off the rails with the wrong crowd, and a spirited younger sister who still believes in the magic of Christmas. I’ll admit the somewhat motor-mouth young girl playing the sister got irritating fast, and the squabbling between her and her brother was cliched as hell. Yet this is Kurt Russell’s movie and showcases an actor, who let’s agree hasn’t been in that big a stuff of late, seriously on top of his game and makes an initially grumpy Santa very likeable and fun. The movie’s budget sadly shows cut backs in the CGI department, with the elves looking like Minion rejects, and overly this isn’t that flashy or visually creative. A small twist towards the end involving Santa’s hat doesn’t make much sense either.
However for a perfect getting in the mood for Christmas experience, this does the trick, is funny, exciting in parts and delivers one of the most endearing Santas I think I’ve ever seen on screen. Worth a watch.
Director John Carpenter remains one of my favourite directors of all time. That’s not to say all his movies are masterpieces, but he firmly places his signature on all of them and I usually come away enjoying many aspects. The same can said for this cult favourite from 1981.
Kurt Russell plays Snake Plisken, a legendary soldier who on his arrival at a maximum security prison facility thats taken over Manhattan island in a futuristic version of New York … is about to be incarcerated for armed robbery. However after the President’s plane gets hijacked and he’s forced to board an escape pod launched into said prison island, the government call on Snake to go on a rescue mission. I remember loving this concept as a kid and hell, nobody looks more bad-ass than Kurt Russell with an eye patch and a semi-automatic. However I also recall not really being that into the movie itself.
Not much has changed. This is a particularly moody piece disguised as an action-thriller. It has all the required ingredients of pure popcorn entertainment, but somethings missing. The movie takes its time throughout and lacks any real thrills (not helped by what appears to be a tiny budget). However Carpenter helps by sprinkling several colourful characters here and there (with a stand-out Harry Dean Stanton) and along with Dean Cundey’s atmospheric and gloomy cinematography mixed with Carpenters own synth score, this still held my attention. Donald Pleasance, a Carpenter regular also pops up as the President, although lacks his usual presence. Overall this is Kurt Russell’s show and he’s great as a character way cooler than the movie he’s in, and every second the character is on screen, I couldn’t help but be mesmerised. One of those cult favourites still worth a watch, but not as memorable as its reputation might have you believe.
This new Blu-ray from Studio Canal comes in deluxe fold-out packaging boasting a poster, art cards and a detailed booklet. The movie is in decent shape (offered up in both 4K and HD editions) boosted by two soundtrack options that includes a new 5.1 DTS HD Master Audio soundtrack that although far from a surround showcase, sounds heftier and sharper than the otherwise acceptable stereo score. The picture whilst understandably gloomy is detailed and does the job marred only by an overly soft presentation. I didn’t get to check out the 4K transfer as I don’t have access currently to a 4K screen. Extras consist of a 52 minute documentary, deleted scenes etc. and four commentaries – which round off a very impressive package. Oh and they threw the CD soundtrack in also.
Growing up I must have seen this movie on TV several times, and always marvelled not only at the atmosphere and setting, but those incredible creature effects by makeup artist Rob Bottin. Over the years CGI has taken over considerably, the recent ‘prequel’ being a noteworthy example of CGI not able to replace decent practical effects, and so despite this being over thirty years old, how does it hold up compared to today’s offerings?
Kurt Russell leads a cast of characters which bare at least thematically a resemblance to the crew of Alien’s Nostromo. These guys, working at a remote research facility in the Antarctic are not marines, but simple blue-collar workers, not unlike what you’d find of an oil rig … who are about to get an unexpected and unwelcome visitor. Director John Carpenter took inspiration from 50s b-movie The Thing From Outer Space, but brings his own personality and considerable directing chops to deliver probably one of the stand out horror movies of the 80’s. Colourful characters bring a realism to the movie that works well and the cast all do a fine job with Russell proving a great lead. The setting is also claustrophobic and well filmed; combining a mix of traditional cinematography with hand-held camera work. Once the ‘thing’ starts imitating various characters, tension ramps up and it became pretty disturbing and scary, especially with how the characters convey their paranoia and fear for those they once called friends. However the star of the show is the creature itself and it’s transformations and gory appearances are stuff of cinematic legend by now – and all these years later still impress. The scenes with tentacles, spiders legs and all sorts of other things still sent shivers my way. Yet Carpenter sensibly chose to make this as much a character piece as a creature feature and for that reason it excels.Arrow Video once again deliver a stunning package with the movie’s latest treatment on Blu-ray, improving immeasurably over the previous Universal release which suffered from lip-sync problems. Here we get a 4K restoration boasting a clean, detailed image free of dust or damage and in fine shape, even if it’s not the most vibrant movie you’ll see. All those gory details certainly get showcased however. Add to this a choice of original 2.0 Stereo, 4.1 and also DTS HD 5.1 Master Audio, and along with Ennio Morricone’s ominous score and clear dialogue – this is impressive stuff. Now as usual Arrow don’t shirk on the special features and here we get two audio commentaries; firstly an archive Kurt Russell & John Carpenter one which feels like two old time buddies watching a movie together, complete with laugh-out-loud reactions to certain scenes. The other is a commentary by a trio of podcasters that’s well worth a listen for endless titbits and geeky knowledge. We also get several featurettes, some archive, some new that are well worth dipping into if you’re a fan (and let’s admit it, if you’re reading this you already are). The Blu-ray limited edition I picked up also comes with a fold out poster, art cards and a detailed booklet as well as fancy slip case packaging. Which makes this edition essential.
The first movie was my favourite of 2014, so the prospect of a sequel was very exciting. This time around we find the unorthodox gang of heroes causing strife with a race of beings after Rocket the Raccoon (voiced by Bradley Cooper) gets a little light-fingered with some batteries. However following a space battle that could cause the guardian’s lives to end abruptly, a mysterious stranger saves the day. Turns out Star Lord (Chris Pratt) has a Dad who just so happens to be a pretty powerful guy himself, played with charismatic flair by the ever dependable Kurt Russell.
This fills in a few gaps left over from the last movie, especially the question surrounding Chris Pratt’s father and it was great being back in the company of these very likable characters again. The dialogue is especially sharp throughout, something that was a highlight of the last movie and the jokes & references come thick and fast to make this a ton of fun. Pratt’s character constantly makes quips about eighties pop-culture such as TV shows like Cheers and characters such as Skelator and Pac-Man, and makes him a very relatable and refreshing presence in this sort of movie. I was also glad to see that, despite the trailers, Baby Groot isn’t over-used but damn is he cute and very funny every second he’s on screen.
The soundtrack, another highlight last time around isn’t quite as memorable (apart from a great use of Mister Blue Sky by ELO) and a left-over side plot involving sisters Nebula (Karen Gillen) and Morgana (Zoe Saldana) felt unnecessary. I also did not get much out of the gold-painted race that turn up at the beginning and chase after our heroes. That being said Michael Rooker’s Yondu was again a joy and I’ve always liked the actor and we get some great moments with him here. The same can be said for scene-stealing Dave Bautista as Drax. Action generally is top-notch but the plot didn’t grab me as much or feel as layered this time, with the whole Kurt Russell’s planet sequence stopping the movie dead at one stage.
As it stands though this was a solid sequel and I can’t wait to see what comes next. The Guardians of the Galaxy will return!
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