Talking Movies

April 6, 2019

You Have Been Listening To…: Part II

It is the third weekend of a personal hiatus from the radio. There will be no more reviews by me of any kind on Dublin City FM 103.2 till May. But here’s a round-up of links to the previous editions of Sunday Breakfast with Patrick Doyle and a list of the films we discussed on each one if you’re eager to explore the back catalogue.

DECEMBER

Review of 2018 (A Quiet Place) + TV Choice Die Hard 2 + Classic Home Alone

Review of 2018 (Mission Impossible 6, Goldstone) + TV Choice Spectre + Classic Duck Soup

Review of 2018 (Three Billboards Outside Ebbing Missouri, The Old Man and the Gun) + TV Choice Skyfall + Classic Home Alone 2

Preview of 2019 (Once Upon A Time in Hollywood) + TV Choice Edge of Tomorrow + Classic The Great Escape

 

JANUARY

BumbleBee + TV Choice John Wick + Classic Blade Runner

Stan & Ollie + TV Choice In the Line of Fire + Classic Bill & Ted’s Excellent Adventure

Glass + TV Choice Speed + Classic Heat

Vice + Oscars 2019

 

FEBRUARY

Happy Death Day 2U + TV Choice The Social Network + Classic Tom Jones

Cold Pursuit + TV Choice La La Land + Classic The Taking of Pelham 123

 

MARCH

The Aftermath + TV Choice Hunt for the Wilderpeople + Classic The Third Man

Fighting with my Family + TV Choice Boyhood + Classic The Italian Job

Classic The Enemy Below + Classic The Woman in the Window

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January 20, 2019

Notes on Glass

M Night Shyamalan’s unorthodox sequel Glass was the film of the week early this morning on Sunday Breakfast with Patrick Doyle.

And an unorthodox but pithy and accurate review would be that Glass is never boring but is utterly pointless. Shyamalan has, after patient coaching by producer of our times Jason Blum, clearly got his confidence back. But that might not necessarily be a good thing. Lady in the Water after all was clearly the the work of a supremely confident auteur, a man in any way insecure would never stretch 30 minutes of material into a feature movie. The Happening, when the wheels really fell off the wagon, was when Shyamalan was clearly unsure of his material and this infected his actors; as I noted at the time, the difference between the strained marriages in Unbreakable and The Happening is what happens when the actors no longer believe what they’re saying because they sense the director no longer believes. That is not a problem here. The always wonderful Sarah Paulson commits with every ounce of her being to a very silly role in much the same manner that Maggie Gyllenhaal did in White House Down.

Listen here:

September 9, 2018

Notes on The Seagull

The Seagull belatedly swooped into cinemas Friday. Here are some notes on’t, prepared for Dublin City FM’s Sunday Breakfast with Patrick Doyle early this morning.

The impecunious teacher Semyon (Michael Zegen) loves the sullen housekeeper’s daughter Masha (Elisabeth Moss), who loves the temperamental young writer Constantin (Billy Howle), who loves the flighty girl next door Nina (Saoirse Ronan), who loves the cynical famous writer Trigorin (Corey Stoll), who is the lover of the self-absorbed great actress Arkadina (Annette Bening), who had an affair with the dashing doctor Dorn (Jon Tenney), who the downtrodden housekeeper Polina (Mare Winningham) still loves after all these years by the lake. No wonder the master of this chaotic Russian dacha, Sorin (Brian Dennehy), feels that he has never truly lived in his 60 years because he never got married or became a writer but ground away in the government bureaucracy till he had ground himself down. But grinding people down is what life does, as Constantin and Nina painfully discover…

If you can’t steal The Seagull from the role of Masha then you’re not awake. Elisabeth Moss is wide awake.

September 2, 2018

Notes on Searching

Filed under: Talking Movies — Fergal Casey @ 8:58 pm
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Searching boots up in cinemas this week. Here are some notes on’t, prepared for Dublin City FM’s Sunday Breakfast with Patrick Doyle early this morning.

Harold internet stalks missing daughter, that’s this week’s 5 word summary. The conceit of this movie is that everything you are seeing on the cinema screen is on the screen of John Cho’s laptop. Now, does one need such a conceit when there is a decent thriller script underneath the flash gimmick? Probably not, but at least some jibes are made at internet narcissism and the terrifying digital footprint left carelessly behind online by social media users. There is also a cold open that takes its cues from Up but with a digital makeover.

August 12, 2018

Notes on The Meg

The Meg swims into cinemas this week. Here are some notes on’t, prepared for Dublin City FM’s Sunday Breakfast with Patrick Doyle early this morning.

I have seen the future and it makes Cliff Curtis happy.

The Meg has been rescued from two decades in development hell by Chinese money. They really wanted to see The Stath battle a giant shark. So here we have a Hollywood blockbuster, led by English and Antipodean talent, with Li Bingbing co-star with the Stath, the action taking place off of Shanghai, and, a particular delight this, Li’s screen father taking on the 1950s B-movie staple of the scientist who wants to study the monster not destroy it. Why does this make Cliff Curtis happy? Perhaps it’s being allowed to use his own accent, perhaps it’s shooting near New Zealand, but I have the distinct impression of a continually winking, thumbs-upping, grinning Curtis in his role as friend of the Stath who guilts him into this madness.

August 5, 2018

Notes on Ant-Man and the Wasp

Ant-Man and the Wasp is the big movie this week. Here are some notes on’t, prepared for Dublin City FM’s Sunday Breakfast with Patrick Doyle early this morning.

Ant-Man and the Wasp is not as funny as it needs to be. Edgar Wright was booted off the original, but some of his script and sensibility survived. Not so here. Peyton Reed is no visual stylist, and the funniest moments tend to be centred around Michael Pena and the comedy of getting derailed by tangents; as John Cleese once described Michael Palin and Terry Jones’ typical approach to scripting. Pena and his co-workers get derailed by Danishes for breakfast, the truthiness of truth serum, the existence of the Baba Yaga, and the Moz nature of his grandmother’s jukebox. All of which is a merciful relief from a film with three villains, two of whom aren’t really villains, and none of whom make much impact. Five writers are credited with this work and one imagines pages flying around at random, some with jokes, others with blank pages and INSERT SCENE: SOMETHING SOMETHING QUANTUM written on them. It remains baffling to the end how Paul Rudd was able to enter the quantum realm and leave again not a bother on him while Michelle Pfeiffer got stuck there for thirty years.

July 29, 2018

Notes on Mission: Impossible – Fallout

Mission: Impossible – Fallout is the only possible choice for movie of the week. Here are some notes on’t, prepared for Dublin City FM’s Sunday Breakfast with Patrick Doyle early this morning.

Mission: Impossible – Fallout is a more serious film than its two immediate predecessors. There are far fewer jokes, and even the colour palatte is grimmer: Berlin, Paris, London, and snowy Kashmir. No jaunts to Dubai or Morroco here. Instead we have a film that marks 10 years since The Dark Knight with a very Batman/Joker dynamic between Cruise’s Ethan Hunt and the diabolical mastermind he refused to kill, Sean Harris’ Solomon Lane. Just like Batman and the Joker, Hunt’s refusal to take one life may result in many more lives being lost; where is the morality in that? There’s even an elaborately planned assault on a prisoner transfer as Lorne Balfe’s score knowingly dives into the Zimmer Bat-soundscape of ostinato synthesiser and strings.

July 22, 2018

Notes on Hotel Artemis

Hotel Artemis is this week’s cream of the crop for Talking Movies. Here are some notes on’t, prepared for Dublin City FM’s Sunday Breakfast with Patrick Doyle early this morning.

Drew Pearce makes his directorial debut from his own script which plays like The Purge meets John Wick’s The Continental by way of John Carpenter. There is a very classy cast, headed by Jodie Foster, and including Sterling K Brown, Dave Bautista, Sofia Boutella, Charlie Day, with Jeff Goldblum a cameo as the Wolf King. There are too many echoes, possibly because Pearce started writing this in 2012. It’s like David Cronenberg’s novel Consumed, working on it for 40 years, publishes it in 2014, and yet touchscreen smartphones and 3D printing were integral to plot, so how could he have been writing all those years? There’re some great lines, and there are delicious touches, especially the way the Wolf King’s arrival is built up, but it fails to reach top gear. The clicking of a well-made screenplay produces a certain pleasure, not unlike the teasing structure of the novel Lullaby by Chuck Palahniuk, but not here where Sofia Boutella does a half rampage. Pearce either doesn’t have the budget or the directing skill of Joss Whedon for River’s rampage in Serenity, the Firefly movie, but her dress and skills and the build-up are so similar it means it needs to pay off bigger and better than it does.

I didn’t get to chat about all of these points, but we did cover most of them. Tune into 103.2 FM to hear Patrick Doyle’s breakfast show every Sunday on Dublin City FM, and catch up with his excellent Classical Choice programme on Mixcloud now.

July 20, 2018

Miscellaneous Movie Musings: Part VIII

As the title suggests here are some short thoughts about the movies which aren’t quite substantial enough for each to merit an individual blog posting.

Did you just ask me who I am?…

Humphrey Who?

Patrick Doyle asked an unnerving question on his Sunday Breakfast show a couple of weeks ago. How many people know who Grace Kelly is anymore? … How could people not know who Grace Kelly is?! Then I started to worry… I am interested in history in general, and this extends into burrowing with curiosity and sympathy into the back catalogue of cinema. But I have to admit that for many people, probably I fear the vast majority, they frankly couldn’t give a damn. (And would only have the faintest idea that that was a reference to the most popular film ever made) A particularly dispiriting display of wilful ignorance of the past came at the Lighthouse Hallowe’en screening of Hallowe’en back in 2016. The very young, very very drunk audience, mostly in party later on fancy dress costume, was hooting in derision from the get-go. At anything and everything, any detail of dialogue or costume or reality (like a 70s car) that revealed the movie as having been made in 1978. I couldn’t understand this attitude of unbridled contempt then, and still struggle with it now. Do they not think people as yet unborn will hoot in self-same derision in 2046 at the films they hold precious now? For heaven’s sake most of these people were sporting the Snowflake hair-do whose sheer omnipresence and ostentation means, as I wrote some months back, that it will be as embarrassing on Jan 1st 2020 as bell-bottomed jeans were on Jan 1st 1980.

Censor and be damned!

Channel 4 has got my goat recently by showing films too early for its own purposes. Dante’s Peak saw a trio of deaths removed, presumably for fear of upsetting younger viewers. But then why show it in early afternoon?! Instead we got the build-up to the trio of grisly deaths, and the emotional fall-outs of the other characters reacting to the grisly deaths, and but no actual deaths so people seemed to be reacting to nothing. It’s all too reminiscent of the time that RTE decided to cut Raiders of the Lost Ark, and left out Indy getting shot, but kept in Indy in great pain attempting to bandage the bloody wound that he’d acquired mysteriously while driving without incident. Channel 4 also decided to censor Romancing the Stone. They snipped the full bloody detail of the animatronic alligator pulling off the villain’s hand, but then kept in his sustained agonised screams and fumbled frantic one-handed bandaging of the bloody stump where his left hand used to be. I don’t know whether it could be said to be more disturbing to show consequences after eliding the actions, but it is frustrating. Channel 4 should take a page from the book of the censor in Malaysia; who banned a film altogether after he’d had to make so many cuts it was left an incoherent mess that did nobody any favours. Show these films later in the day or just don’t show them!

July 8, 2018

Notes on the First Purge

The First Purge is an incredible fourth entry in five years in the micro-budget horror series. Here are some notes on’t, prepared for Dublin City FM’s Sunday Breakfast with Patrick Doyle early this morning.

The Purge series has expanded dramatically in scope since the claustrophobia of 2013’s house under siege original with Ethan Hawke and Lena Headey trying to survive the night of annual temporarily legalised criminality. Arguably though as the series’ scope has become bigger it has become less unsettling; the government snuffing out a troublesome underclass isn’t as unnerving as your envious neighbours smiling as they come to dispatch you. If Rio Bravo/Assault on Precinct 13 was the model for that then writer/director James  DeMonaco was explicit in locating the sequels in Escape from New York territory. The First Purge features a hero shot to beat all hero shots as Y’lan Noel’s Dmitri decides to finally sort out this situation and stomps towards the tower block, wearing his Bruce Willis white vest, with a big gun over his shoulder, a trashcan on fire to his right, and the block shrouded in smoke from the mayhem across Staten Island. In some respects this film is Attack the Block with a more likeable lead and no jokes or aliens.

I didn’t get to chat about all of these points, but we did cover most of them. Tune into 103.2 FM to hear Patrick Doyle’s breakfast show every Sunday on Dublin City FM, and catch up with his excellent Classical Choice programme on Mixcloud now.

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