jpcgillam Reviews

Chase a Crooked Shadow (1958)

An Interesting Mystery That Doesn't Quite Match Its Premise

[6/10 · 23 April 2022]

A South African heiress (Anne Baxter) begins to doubt her sanity when a man (Richard Todd) arrives claiming to be her brother, who was believed dead several months before, in Michael Anderson's mystery thriller.

It's got an intriguing set up, but I think a director like Joseph Losey would've done even more with it by heightening the more ambiguous psychological aspects of the story. Anderson does a good job of creating suspense here, especially in the claustrophobic shots that follow Baxter around the house, but everything's done too straightforwardly and stagily to really delve into this surreal side, which causes some of the twists to seem overly telegraphed in advance.

Nevertheless, it still builds a good mystery, with Baxter really selling her character's mounting paranoia as she struggles to convince the people around her that this stranger isn't her brother, slowly questioning her situation as time goes on. This leads to a great final sequence that really amps the tension up, rounding the story off in a way that helps to alter everything we've just seen.

Cast a Crooked Shadow is a solid thriller that has some effective twists and turns, even if it feels a bit too conventional to really stand out.

BlacKkKlansman (2018)

A Searing and Timely Comeback for Lee

[8/10 · 3 April 2022]

The true story of Ron Stallworth (John David Washington), the first African-American detective in the Colorado Springs Police Department who, with the aid of a colleague (Adam Driver) infiltrated the Ku Klux Klan in the 1970s, is dramatised in Spike Lee's biographical spy crime comedy co-starring Topher Grace, Laura Harrier and Jasper Pääkkönen.

This was widely considered a return to form for Lee, and contains an incredibly potent message, strengthened by some of the director's most urgent and energetic filmmaking since his early period. There are some truly moving moments, especially in the civil rights rally near the beginning, which sets up some of the key themes of justice and equality, using a variety of techniques to make the viewer become immersed in the meeting as much as the characters.

The most powerful scene, however, is the speech that Belafonte's character, describing a real historic lynching, gives towards the end, which is absolutely chilling, especially when juxtaposed with the KKK meeting happening concurrently. These scenes, showing the systemic racism and prejudice of the era, draws a parallel to the present day, showing how far we still need to go, with the closing scenes highlighting the injustice that still goes on today.

Although some scenes are a little too on the nose in their modern day comparisons, like Stallworth incredulous at the idea of a racist elected as President, for the most part the film gets across its ideas in a clever and subversive way. Key to this is the use of humour, walking a fine line between sending up the racists and while still showing their poisonous beliefs. This stops the film from trivialising their threat, although sometimes the tone does get in the way of the message, as the most powerful scenes are the ones played straight.

The era is recreated incredibly well, with Lee using popular culture and iconography of the time to draw us into the events of the story. Though a lot of liberties have been taken with the facts, with the results being much more conclusive than they were in real life, the story is used more as a symbol for the time, reflecting events as they should have happened, even if that does distort the story in places.

Washington gives a great performance, giving Stallworth a kind of offbeat charm and an earnestness that fits the tone of the film. He serves as an audience surrogate through which we can see the undercurrents of hate just below the surface of "conventional" society, as Stallworth uncovers the racism of the community.

However, he does feel quite sidelined at points, given a minimised role compared to real life, which means that he's a little underexplored as a character, with the phone conversations an effective device but feeling a little contrived (even if it is based on truth).

There seems to be more focus on Driver's cop, who is actually infiltrating the organisation, while Stallworth is given a (fictional) love interest when he's undercover, which gives the impression that the former did all the heavy lifting, which wasn't the case, although the romance is useful for providing a gateway into the civil rights movement of the time.

Driver is also really good here, getting across his character's discomfort in the racist ideas he has to repeat, with his religion providing an interesting point of tension in his undercover duties. However, I think the film would have been stronger if it had shown us more of Stallworth's involvement, as he's sometimes a little disconnected from the main narrative, which stops it from being as cohesive as it could have been.

Grace, as KKK leader David Duke, also gives an excellent performance, getting across a sense of smarmy arrogance in the man that make his unwitting phone conversations with Stallworth all the more enjoyable in their bitter irony, showing him up as foolish and ineffectual.

The film was attacked in some quarters for being too soft on the police, but I thought the more nuanced representation of the force added a new dimension to the story, showing that while there needs to be something done to target systemic racism, the system itself works when the right people are utilising it.

This allows for an interesting debate within the story about where Stallworth's loyalty lies, showing that his ethnicity and his job don't have to be in opposition, although the use of one overtly racist cop does risk oversimplifying the issue. There are lots of elements being explored here, and as a result some are a little undercooked, but the sheer amount of passion in display manages to allow most of the points to land, even if it does become didactic in places.

While BlacKKKlansman does have some flaws, and doesn't quite come together, it still adds up into an impactful and timely statement of equality and justice, able to get its messages across in a way that's both entertaining and thought-provoking.

Topsy-Turvy (1999)

Leigh's Enchanting Period Drama

[8/10 · 16 February 2022]

The opposing styles and personalities of dramatist W. S. Gilbert (Jim Broadbent) and composer Arthur Sullivan (Allan Corduner) begin to clash as the famed duo attempt to mount their next production, in Mike Leigh's period drama co-starring Lesley Manville, Timothy Spall, Kevin McKidd, Shirley Henderson and Sam Kelly.

The film works as both an affectionate love letter to the theatre and a vivid snapshot of the era, with Leigh's often playful approach helping it to stand out from similar biopics. Instead of just dryly reciting the facts, he takes a look at all of the various people involved in shaping The Mikado, a much more ground-level approach that lets the various little strands all build together into one rich tapestry of stories.

This more character driven style really lets the ensemble cast shine, with Broadbent and Corduner especially standing out as the duelling duo at the centre of it all. They do a great job of bringing out the conflicting personalities of the famed collaborators, creating strong characters whose conflicts are fascinating to watch.

I loved seeing The Mikado production gradually go from page to stage, and it's told with a wryly observational sensibility that really drew me in. Like Leigh's other projects, the actors helped to form the script through improvisation, and the film explores that sense of collaboration within the story itself, which casts an fond eye on this eclectic group of performers all coming together to create something as a team.

However, I think the film could maybe have gone a little deeper into exploring the characters, as the wide scope often leaves the subplots a little thin on the ground. Topsy-Turvy doesn't always doesn't always have enough substance to fully justify the lengthy runtime, but Leigh does a fantastic job of immersing the audience in the era in a way that really brings the story to life.

Swan Song (I) (2021)

An intriguing and heartfelt sci-fi drama

[9/10 · 12 January 2022]

Terminally ill family man Cameron (Mahershala Ali) decides to take part in a cloning program to spare his wife and son from grief, discovering more about his life in the process, in Benjamin Cleary's sci-fi drama co-starring Naomie Harris, Awkwafina and Glenn Close.

Despite the high concept premise, the film is told in a very understated, empathetic way, using the sci fi tropes to explore Cameron's relationships. Like Minority Report, the technology actually feels like it could be developed in the near future, adding a richly evocative backdrop for the film to take place.

Fragments of the past are gradually revealed as he goes through the process, and this gradual non-linear approach helps to fill in the gaps slowly, drawing us in as more details are revealed over time. This is Ali's first leading performance in a film, and he's fantastic, able to balance huge amounts of warmth with a sense of inner conflict.

He and Harris feel so believable as a long-term couple, sharing a wonderfully observed bond that makes the story all the more touching, and even though her role isn't as developed she really makes the most of her time on screen.

The idea of letting someone else taking over your life for your loved ones' sake is a fascinating one, and though arguably the film could have gone further in exploring this it's still heartbreaking to see Cameron try to let go for the greater good, preparing for his clone Jack to assume his place in the family.

I think the film falters a bit in the portrayal of Jack, as it never quite settles on how to portray him, but I suppose this ambiguity reflects Cameron's own feelings of displacement, with Ali getting across the disorientation and angst in both characters so well.

As it begins to hint at a more suspense-driven twist in the last third that doesn't go anywhere the pace begins to drag, feeling as it the story's being stretched out for the sake of it, but everything's tied up in the final scenes, which bring it all full circle in a touching way.

Swan Song probably could have done even more with the questions it raises, and is a little too long, but nevertheless contains a whole host of powerful moments that look at the way connections shape people.

The Amazing Howard Hughes (1977 TV Movie)

A Solid but Underdeveloped Biography

[4/10 · 1 January 2022]

Tommy Lee Jones stars as Howard Hughes in a biopic spanning the life of the eccentric business magnate, from young hotshot mogul to notorious recluse. Hughes was such a fascinating character, possessed by a drive and idiosyncratic nature that brought him to the top but eventually took over in later years, and this contrast has provided the inspiration for many different retellings over the years.

This version was originally made as a 2 part miniseries, and unfortunately tries to get too much in over the course of the runtime, ultimately just skimming the surface of the eventful, stranger than fiction life story. I think I must have watched the theatrical edit, which explains the slightly disjointed way it's told, jumping through the key points as if it's just ticking them off.

Hughes goes from making a movie to becoming studio head to flying around the world, but the film never really elaborates on any of these remarkable achievements, anxious to move onto the next milestone and as a result getting quite monotonous after a while. I think even with the cut parts reinstated it still would have felt truncated, the format ultimately proving overambitious for a story of this size. The Aviator only covered the first half of Hughes' life, which made it feel much more developed and character driven.

This film is much more event driven, hitting all of the milestones but giving enough insight into any of the motivations, which remain at a distance throughout. I think a lot of this is down to the writing, which doesn't do enough to draw out the dramatic stakes. A good example is the portrayal of Hughes' near fatal plane crash and subsequent legal battle with the TWA; in The Aviator this provides the majority of the second half, building tension as to whether the rapidly deteriorating Hughes is willing to testify, but in this version he just goes immediately and without conflict, which can't help but feel like a missed opportunity.

Though Jones definitely looks the part, and it gave him a major career breakthrough, he never feels like he inhabits the character, which results in a flat performance that never gets to the heart of why Hughes behaved as he did. It might just be the limitations of the script, but Jones feels quite bland here, lacking the nervy, focused energy of Leonardo DiCaprio's take or the ragged, world weariness Jason Robards brought in Melvin and Howard.

He's better while showing Hughes' increasingly harmful quirks, though, and these are the strongest moments, getting across the compulsive nature of this behaviour, and if the film had leaned into this more it would have felt more developed and involved that it was. The film was based on a book written by right hand man Noah Dietrich, which might explain the detachment factor, as it always feels like it's being presented from a distance. Dietrich is played by a superb Ed Flanders, who's great as the down to earth voice of reason who increasingly becomes sidelined as the years go by as his employer's mental state begins to break down.

I though this dynamic was the best part of the whole film, given depth in a way none of the other relationships are, although it being Dietrich's account there's a definite undercurrent of bitterness to the way it's presented. Maybe the film was just made too soon after Hughes had died to really give a fully rounded portrayal of his story, lacking the hindsight later versions were able to have.

The Amazing Howard Hughes never quite takes off, going on a whistlestop journey that touches all the bases without enough substance behind it.

One Flew Over the Cuckoo's Nest (1975)

A Superb Look at Non-Conformity

[8/10 · 31 December 2021]

When rebellious convict Randall McMurphy (Jack Nicholson) is sent to a mental institution to avoid hard labour, he quickly clashes with the cold Nurse Ratched (Louise Fletcher) and her methods, which begins a battle of wills between her and the inmates, in Milos Forman's psychological comedy-drama co-starring Will Sampson, William Redfield, Brad Dourif, Sydney Lassik and Christopher Lloyd.

In a way, it's lucky that attempts to get the film made in the mid 60s didn't pan out, as it probably wouldn't have been a mainstream hit a decade before. A decade later, however, and an America just emerging from the hangover of Vietnam and Watergate embraced its defiant spirit with open arms, recognising the conflict at the hospital as something much more universal than it might have been seen before.

McMurphy is almost a manifestation of rebellion, a larger than life figure that inspires the people around him to break out of their ordered routines, and Nicholson imbues this Lord of Misrule with a sly, ferocious charisma that's both dangerous and magnetic. It was a departure for the actor, who at that point had mainly played more brooding, understated types, but really defined his screen persona for the years to come, solidifying his both his stardom and place in the New Hollywood movement.

I found MacMurphy a compelling character, but for a long time he seemed a bit too invulnerable and self-assured to fully connect with, never seeming to be affected by anything that happens. It's only towards the end that Nicholson lets some vulnerability in, showing MacMurphy deciding to stand up for his friends and put his own motives to one side, and this let the character feel even more rounded than before.

After I saw the film I read that Ken Kesey's original novel had the Chief as the narrator, which makes a lot of sense for the distanced, almost mythic way MacMurphy's presented. It also explains why the focus seems to shift to the Chief's story towards the end, as while watching it the change felt a little abrupt. The deleted scenes also give more of a sense of it being from his perspective, although in the actual film the character's arc is still really well done, slowly gaining confidence and inner strength through his friendship.

Foreman's semi-documentary approach makes it immersive to watch, bringing us into the sterilised, claustrophobic world the characters inhabit in a way that feels incredibly realistic. However, I thought the boat excursion in the middle was a bit unnecessary, though, as although it gives more insight into the characters we lose some of the confined atmosphere the rest of the film builds up, opening the story up too much.

The actors all lived on the wing while they were filming, which gives their performances a lot of credibility, often never feeling like they're acting. Because of the ensemble approach, the supporting characters aren't developed all that much, often blending together, but each actor brings a conviction that humanises the patients, the film never feeling like it's talking down to them. Foreman seemed drawn to films about outsiders and outcasts, and it's quite touching to see the makeshift community form as time goes on, even if MacMurphy does seem to be using them a lot of the time.

This was Dourif's breakthrough role, and he really shows Billy's inner struggle between his deeply repressed side and a desire to break out of it, and you can almost see the conflict playing out in his mind. This results in a scene near the end where his newfound confidence is shattered that's stuck with me since I saw it, Dourif's performance helping to make it an incredibly raw and poignant moment.

Each character adds something to the story, with Lassick's childlike sidekick, Redfield's pompous outsider and Devito's quiet shellshocked veteran each having their chance to shine, but it's Fletcher who stands out most amongst the supporting cast. What makes the performance so chillingly effective is how rationally she plays it, avoiding caricature by making Ratched seem almost relatable at first, but with a coldness behind the eyes that increasingly manifests itself as we realise just how ruthless she is.

She excellent here, providing the ice to Nicholson's fire, and the conflict between the two characters is absorbing to watch. Even though I knew what would happen, the ending is heartbreaking, effortlessly managing to move from comedy to intense drama to tragedy without ever falling into melodrama. The themes of entrapment and maintaining your identity even in the hardest circumstances still resonates today, and these final scenes help to round that off perfectly.

For me, a few little things keep One Flew Over the Cuckoo's Near from being a masterpiece, but it's still a brilliantly astute, offbeat and empathetic ode to non-conformity that features one of Nicholson's defining performances.

No Time to Die (2021)

A fitting end to Craig's Run

[7/10 · 5 November 2021]

Daniel Craig's final outing as James Bond finds the former MI6 agent pulled out of retirement by an old friend, finding himself face-to-face with ghosts from the past as he attempts to track down a bioweapon that could put the world in danger, in Cary Joji Fukunaga's spy thriller co-starring Léa Seydoux, Raimi Malek, Lashana Lynch, Ben Whishaw, Christoph Waltz, Ana de Armas, Naomi Harris and Ralph Fiennes.

The film caps of Craig's era as 007 well, tying several loose ends together while having an identity of its own, something Spectre struggled to do. This allows it to feel more separate, although the reoccurring elements from its predecessor can feel a bit forced, especially considering how most of them are discarded fairly early on.

I liked the nods to earlier films in the franchise, although the inclusion of We Have All The Time In The World felt more like nostalgia bait than anything, trying to milk some of the power of its use in On Her Majesty's Secret Service, which felt a little unnecessary. The journey that Bond goes through has a lot more weight this time, exploring his mind in a way the franchise hasn't really tapped into, and Craig's more raw performance aids this different direction.

Though I'm not a huge fan of his run as Bond, I thought he was excellent here, really tapping into a more vulnerable side of the iconic character in a way that makes the film as a whole much more interesting than it could have been. Craig has played Bond from since he was an ambitious new recruit, and here he allows the character to be older, more world-weary and almost burnt out, but with a sense of dedication and tenaciousness that provides a great central conflict.

This look at an older Bond hasn't really been done before, as even when Roger Moore was pushing sixty there was no real reference to his age, and so exploring 007 being thrust back into action makes the film stand out more. His performance is especially strong in the more emotional moments, which are quite poignant at times, and work well with the more action-heavy sequences.

Seydoux is also really good, and makes the most of her more expanded role to create one of the more layered and developed female characters of the franchise, with Madeline's character arc just as important as Bond's. As usual with the series, the gorgeous locations are like a supporting character of their own, providing a great backdrop the the story and serving to create a real sense of glamour, the Cuba sequences in particular being really well shot.

However, the plot itself is isn't the strongest, with the inclusion of a villain with plans on a global scale in a secret lair, which seems generic and cliched compared to some of the more grounded, grittier earlier instalments. The plot sometimes gets a little too convoluted for its own good, lacking an overall cohesiveness despite having lots of entertaining elements.

Though there's a welcome sense of humour running throughout the story, a lot of the more obvious comic relief moments didn't really land, especially from the scientist character, who was far too broad considering the general tone, and came off as a caricature more than anything.

Malek's main antagonist was unfortunately pretty underwhelming, too bland to really make an impact, especially considering some of the more memorable villains in the franchise. I think the key to a good Bond Villain is when the film goes beyond their central gimmick and explores more of what makes them tick, with Silva from Skyfall being a good example, but here Safin is just given an accent and a scarred face, never feeling like an actual person.

Lynch, as a new 00 agent, gives the part energy, but the character is quite one note and flat, never given much of a personalty beyond complaining about Bond and she's never given enough to do, which seems like a waste of a potentially interesting character.

As a result, other characters, especially Harris' Moneypenny, are sidelined, and if more time had been dedicated to fleshing out some of the supporting cast the film would overall be stronger. Though she isn't given much screentime, de Armas shines as the CIA agent who helps Bond in Cuba, really adding a lot of personality and charm to her scenes, and it's a shame she isn't in it for longer as she completely steals the show.

I enjoyed the film, but it does feel like the edges have been sanded off somewhat, at times feeling like it's going through the motions, which gives some of it the impression of being muted and a little lacklustre in places. It definitely picks up energy as it goes on, though, and contains some superb set pieces that might not quite be on par with the some of the series' most iconic moments.

Particularly memorable are the action sequences in Italy near the start, which set everything up well and help to set the tone, and the climactic fight between Bond and the henchman, which are gripping to watch.

Despite the story being a little messy, I enjoyed the film; it's probably a second-tier Bond movie, but makes up some undercooked areas with a lot of heart and emotional weight, along with a breezily escapist quality that has made the franchise so enduring. After the fairly forgettable Spectre, it's a return to form that might not quite reach the heights of Skyfall (my favourite of Craig's outings) but has a lot of great elements and uses them well.

No Time To Die isn't perfect, and could have done with a leaner, more focused sensibility and a little more grit, but it's nevertheless a bittersweet, engaging and often poignant final outing for Craig that benefits from more of an emphasis on the character dynamics than usual.

The Color of Money (1986)

An electric follow-up to a classic

[7/10 · 15 March 2021]

Paul Newman won his only Oscar for his reprise of one his most famous roles, pool hustler Fast Eddie Felson, in this sports drama directed by Martin Scorsese and co-starring Tom Cruise and Mary Elizabeth Mastrantonio, in which Felson, twenty five years after The Hustler, mentors a young brash newcomer. The cast is superb, with Newman giving the role a real sense of poignancy and charisma. Scorsese's direction is also great, with stunning camerawork and montages that seem to be a practise run for a similarly virtuosic style in Goodfellas. However, I felt that the plot was a bit loose and unfocused at times and that the film lacks the depth and power of The Hustler, although I enjoyed it.

The Prisoner (1955)

A stagey but absorbing drama

[7/10 · 6 March 2021]

Alec Guinness and Jack Hawkins star in this political drama, adapted from a play, in which a Cardinal in an unnamed Eastern European Communist regime is imprisoned for treason, his interrogator trying to mentally break him. It worked well as a gripping psychological thriller, as the Cardinal gradually begins to be worn down and manipulated, and also was an interesting look at a repressive regime. Guinness is excellent in the lead role, and Hawkins plays the Interrogator with a brilliant mix of sympathy and menace, both giving complex and developed performances. It's stage origins are quite apparent as it's very talky and ambiguous, and some parts (like a romantic subplot) didn't really go anywhere, but overall it was a thoughtful drama elevated by superb performances.

Vengeance Valley (1951)

A Great Character-Driven Western

[7/10 · 6 March 2021]

Burt Lancaster and Robert Walker star in this western about the conflict between the wild biological and responsible foster son of a cattleman. The characters were interesting and the story was engaging and entertaining, with both leads perfectly suited to their roles. I enjoyed the character-driven first half more than the second part, but overall it was a great western drama.

The Girl in the Picture (1985)

A sweet 80s British comedy

[7/10 · 4 March 2021]

A romantic comedy drama starring John Gordon-Sinclair about a young photographer and his relationships. It was cute and I liked how character-driven it was; the plot is fairly loose and the film is mainly about the interactions between the characters, who were likeable and felt believable. It's not as sharply written or warm as Gordon-Sinclair's most famous film, Gregory's Girl, but it has charm and is lighthearted, making it a pleasant watch.

The Hideout (1956)

A solid second feature

[4/10 · 4 March 2021]

Dermot Walsh, Rona Anderson and Ronald Howard star in this crime thriller about an insurance investigator who becomes mixed up in crime after accidentally taking the wrong case to the airport. It was a solid B movie and was an interesting time capsule of London at the time, being filmed around the Docklands. It's good to see Sam Kydd, a character actor who frequently appears in British films of the time, having a much bigger role than usual, and the film has lots of twists and turns that keep the pace quick. However, the characters aren't very well developed and the plot often felt a bit rushed and convoluted.

Paratrooper (1953)

An entertaining war movie

[6/10 · 3 March 2021]

A war drama starring Alan Ladd and Leo Genn, about the British Parachute regiment in the early days of the Second World War. It was a solid war movie and was quite well done, although some of it felt a bit cliched. I watched the US version, which was retitled Paratrooper, and so several of the actors were dubbed, including Stanley Baker, presumably to make them more understandable, although it was strange to hear Baker speaking with a completely different voice. I liked the film and the action sequences were good, but there weren't enough of them, and the characters didn't feel developed enough to keep the plot going in between. Still, it was entertaining and well crafted, if not exceptional.