Hitman Hart: Wrestling With Shadows

Image Source: IMDB

Written By: Mark Armstrong

Distributor: Vidmark/Trimark
Production Companies: A&E Television Networks, High Road Productions and Trimark Pictures
Director: Paul Jay
Producers: Paul Jay, Sally Blake, David M. Ostriker and Silva Basmajian (NFB)
Writer: Paul Jay
Main Cast: Bret Hart, Vince McMahon, Shawn Michaels, Stu Hart, Julie Hart, Owen Hart, Davey Boy Smith and Jim Neidhart
Released: December 20 1998
Running Time: 93 Minutes
Certificate: E

Since it's WrestleMania Week, this week's retro movie review takes a slightly different approach by focusing on a wrestling-themed production, which is more of a documentary than a film; however, its reality-based content and gripping footage allows it to shine nonetheless.

Wrestling With Shadows tells the story of Bret Hart, at one point the WWF/WWE's biggest star. He first became WWF Champ in 1992, and lost his third title to Shawn Michaels at WrestleMania XII in 1996. Shortly afterwards, Hart went on an extended vacation from wrestling, and pondered his future as WCW made him an offer; bear in mind that WCW was now overtaking the WWF in terms of popularity. It is around this time, in autumn 1996, when Bret chooses to stay in the WWF that the documentary begins to tell its narrative.

Visit our Wrestling sub-page for full article by clicking here

Austin Powers In Goldmember (Austin Powers 3)

Image Source: Wikipedia

Written By: Mark Armstrong

Distributor: New Line Cinema
Production Companies: Gratitude International, Team Todd and Moving Pictures
Director: Jay Roach
Producers: Jan Blenkin, John S. Lyons, Eric McLeod, Demi Moore and Mike Myers
Scriptwriters: Mike Myers and Michael McCullers
Main Cast: Mike Myers, Beyoncé Knowles, Seth Green, Michael York, Robert Wagner, Mindy Sterling, Verne Troyer and Michael Caine
Released: July 26 2002
Running Time: 94 Minutes
Certificate: 12

And so we come to the third and final chapter of the Austin Powers trilogy! In 1997, the build-up suggested that Austin Powers would be popular but a bit of a niche film. In 1999, the sequel was more popular. By 2002, when Austin Powers 3 arrived, it had become one of the most anticipated films of the year, and the casting reflected this: Goldmember opens with a self-parody called Austinpussy (a take on the James Bond film Octopussy; other Bond homages are included in this film), and this scene features cameos by Steven Spielberg , Tom Cruise, Gwyneth Paltrow, Kevin Spacey and Danny DeVito (we also get a cameo by John Travolta later on). We then come to the real opening scene, an elaborate musical montage that includes another celebrity cameo by Britney Spears.

We begin by learning that Dr. Evil (Mike Myers) plans to go back in time again, to 1975 this time, and to bring back Johan van der Smut a.k.a. Goldmember (Mike Myers in his fourth new character of the trilogy) to help him in a plot to pull a meteor into the Earth that will strike the polar ice caps and cause global flooding. However, his plan is quickly foiled by Austin Powers (Mike Myers again) and both Dr. Evil and Mini-Me (Verne Troyer) are arrested. For this act, Powers is knighted but, to his disappointment, he realises that his father Nigel Powers (Michael Caine) is not present. He soon learns that Nigel has been kidnapped.

The only man with the answers about Nigel's whereabouts is Dr. Evil, still imprisoned. After some humorous jail scenes involving Evil and Mini-Me, the evil Doctor informs Austin that Goldmember is behind the capture and explains where and when to travel back to for a rescue - but only if Evil and his miniature sidekick are released from prison, which Austin agrees to. We then go to 1975, and we realise that Nigel is very much of the same, flirtatious mould that Austin is, albeit a little older and ever-so-slightly wiser. We meet Goldmember, as well as one of his female sidekicks Foxxy Cleopatra (Beyoncé Knowles). Long story short, Goldmember takes Nigel with him into the time machine and back to 2002, whilst Austin is left to be taken out by Goldmember's assailants. But Foxxy helps Austin escape and the two return to 2002 as well, where the plot takes shape and a trip to Tokyo, which includes a brief reappearance by Fat B-----d (yes, Mike Myers once again), provides details of what Dr. Evil and Goldmember have in mind, and also leads the two to finding and rescuing Nigel.

It seems like standard fare, then, as Powers and company look to quash Evil, but there are some changes. We realise that Austin and Nigel have some differences which could affect their chances of remaining on the same page. Meanwhile, Scott Evil has started living up to his surname and proving to be the son that Dr. Evil would finally appreciate, which not only sees their father-son bond strengthen, but also results in the Dr. Evil-Mini-Me relationship weaken, to the point where Mini-Me later joins Austin's side (and hilariously turn into a Mini-Austin). It all comes down to one final showdown between Powers and Evil, the culmination of years of assassination attempts, destructive plots and all manners of time travel, and act as the true end to the Austin Powers trilogy. But, wait: there's a twist. Not all is as it seems, and a stunning relevation changes everything. But there's still a resolution to be found; how will this twist affect the climax as well as the future?

As stated, this film had been anticipated for a while, much more than the previous two entries. For this reason, it had a higher standard to live up to, and I felt that it did. I actually enjoyed it more the second time than I did the first, just because aspects of the plot seemed to make more sense then. The humour is of the same vein as in the previous Powers films, although the sexual innuendo is slightly toned-down in this entry. The story is of greater prominence this time around, although that isn't to say that the comedy within the movie suffers; not at all. There are still plenty of funny moments, both verbally and visually, which range from Austin's impossible-to-ignore mentions of a mole on the face of his team's mole, Number 3 (Fred Savage), to some witty one-liners by Nigel Powers, to a ridiculous yet hilarious visual in Tokyo involving Austin, a fountain and - well, I won't spoil it here.

The new additions to the line-up hold up their roles well. Knowles does a good job as Foxxy, and Michael Caine does a tremendous job of not only applying himself fully to the role of Austin's father, but of actually out-shining his on-screen son at times. One would assume that the parent may be a distraction or a hindrance, but Nigel is a great character to join the fold. If anything, the only disappointing new character is actually Myers' newest creation, Goldmember: he has some funny lines, but overall he is nowhere near as funny as Mike's three other alter egos, and I found myself enjoying his scenes less than anyone else's in the movie.

As a whole, I thought it was a very good movie and a worthy addition to the series. That being said, I thought it was a step down from The Spy Who Sh---ed Me; a fair number of the jokes feel forced, either by recycling material and not being funnier this time around, or just not being as funny as the cast clearly want it to be. It would have been better to have abandoned this material and come up with something new in those scenes, as they did with the Austin character: sex is not really on his menu in this film besides the original scene where he first finds Nigel, and instead we get a new, family relationship with Nigel, and as stated his jokes are overall really funny. I also thought that the time travel aspect was unnecessary; having dealt with going forward in film one and going back in film two, it just felt like a rehashed concept in film three.

Rumours continue to circulate that there will be a fourth movie in the series. It has been nearly 13 years since Goldmember now, so I doubt it happening, and I actually hope it doesn't now. Myers wasn't exactly a young man when the trilogy began, but I think the character would feel too old now. If some material misfired in Goldmember, I can't see it working again in a new movie. Plus, without giving away the ending of the film under review here, the manner of its conclusion means that another film would feel odd; either some key plot developments would be ignored or we would lose some much-loved characters. And, besides, the Austin Powers character is essentially a 1960s swinger living in the modern age; the world has changed a lot since 2002, and with nearly a decade-and-a-half added to the time clock, how many younger people nowadays even know of what life was like back in the 1960s for some of the jokes to work?

So, I hope that Goldmember marked the end of the Austin Powers series and, if it did, it went out on a high. Despite my comments earlier, this is still a very funny movie and a satisfactory end to the trilogy. I just felt with watching this that it was the right time to bring the series to an end, and so whilst there would undoubtedly be a following and a tremndous amount of hype for a fourth movie, I hope that the Austin Powers tale culminated with this movie, Goldmember. If you want to see this film, I would suggest watching the previous two films first but, if you decide to just see this one, you will still enjoy it a lot.

Overall Rating: 8.5/10 - Excellent

Austin Powers 2: The Spy Who Sh---ed Me

Image Source: Wikipedia

Written By: Mark Armstrong

Distributor: 20th Century Fox
Production Companies: New Line Cinema, Eric's Boy, Moving Pictures (uncredited), Team Todd and Pixar Animation Studios
Director: Jay Roach
Producers: Jan Blenkin, John S. Lyons, Eric McLeod, Demi Moore and Mike Myers
Scriptwriters: Mike Myers and Michael McCullers
Main Cast: Mike Myers, Heather Graham, Michael York, Robert Wagner, Seth Green, Mindy Sterling, Rob Lowe, Elizabeth Hurley, Kristen Johnston and Verne Troyer
Released: June 11 1999 (US) and July 30 1999 (UK)
Running Time: 95 Minutes
Certificate: 12

Just when you thought it was safe to get back into bed ...

The second part of the Austin Powers trilogy, The Spy Who Sh---ed Me (a take-off on the name of the James Bond flick The Spy Who Loved Me), picks up where the original left one, quite literally; we return to the location where Austin Powers (Mike Myers) and his new wife Vanessa (Liz Hurley) are together, only to discover that she is an evil fembot! Austin withstands an assault and is sad at the discovery, but then cheers up when he realises that he is single again, which opens the film.

It is now 1999, and Dr. Evil (Mike Myers again) returns to Earth in hilarious fashion, as a guest on The Jerry Springer Show (which was very popular back then) to discuss his awkward relationship with his son Scott (Seth Green). This is a brilliant scene, probably the funniest of the entire trilogy. We then learn that he has plans to return to 1969, whilst Austin was frozen, to steal his mojo and thus weaken Powers', erm, powers, but not before meeting his new sidekick, a little man who is one-eighth the size of Evil, Mini-Me (the role that made Verne Troyer famous).

Back in 1999, Powers meets one of Dr. Evil's assistants Ivana Humpalot (Kristen Johnston) at a photo shoot, but although Ivana is assigned to kill him, instead she finds him irresistable and they have sex. But disaster strikes: as part of Dr. Evil's, erm, evil plan, he employs a new associate of his, the hilariously-titled and humourously-large Fat B-----d (the third character played by Mike Myers in the continuation of a running joke), to visit the frozen Austin and remove his "mojo". With Powers weakened from a villain-tackling standpoint and a sexual standpoint due to this, there is no greater incentive for him to also go back in time and defeat Evil, who is planning to destroy the world from his new lair on space (he calls the whole plot "The Alan Parsons Project", which you may have heard of via the rock band).

In the 1960s, Austin meets a young lady who would become his new sidekick, Felicity Sh--well (Heather Graham; by the way, apologies for the dashes but, hey, this website is family-friendly). As the name suggests, she is nothing like Vanessa, and since this is Austin Powers we're talking about, there is instant connection, but Powers concedes that without his mojo, he simply can't bring himself to have sex with her, although he does find her to be beautiful (who wouldn't?).

In the meantime, Evil is treating Mini-Me more like a son than he does Scott, which causes friction, but he also gets closer with the 1969 Frau (who, unlike the retro No. 2 who is played by Rob Lowe, hasn't changed at all from the modern day). Fat B-----d is disgusting, but in a funny way. (Author's sidenote: Somehow, my old secondary school class managed to convince the teacher to let us watch this movie in class. The scene where Fat B-----d talks about "having a crap on deck that could choke a donkey" was the point where it was turned off; that lesson was great fun. Oh, I miss doing English). Never more so than when he is naked and Felicity has to sleep with him to insert a tracking device into the mammoth man, a fact that Austin later learns and is disappointed by (the opposite to his actions in the first movie).

Austin and Felicity track him to Evil's lair and soon all involved head to space for the climatic, daft but funny conclusion. During the credits are extra scenes with the odd revelation, so keep watching once the main feature ends.

Throughout the movie are a ton of jokes, many quite rude or gross (there are two different montages of quips about penis references), but overall they are very, very funny. There are scenes which are funny for other reasons, including the ridiculous yet amusing performance of "Just The Two Of Us" by Dr. Evil and Mini-Me. And knowing that a third movie is on the horizon, the ending is satisfying enough.

To me, this film was the peak of the Austin Powers saga. The jokes are better than in the original and the new characters are great additions, and the material is fresher than in the third movie. You do have to be into a certain type of humour to enjoy it (or, to put it another way, if you're not into a certain type of humour, you won't enjoy it), but assuming that you're on board and you "get" the jokes and scenarios, you will love this movie. As stated, there is one more film in the trilogy which I will review next week, and that one is also great, but if you only plan to watch one Austin Powers movie, make it The Spy Who Sh----d Me.

Overall Rating: 9.5/10 - Classic

Austin Powers: International Man Of Mystery

Image Source: Wikipedia

Written By: Mark Armstrong

Distributor: 20th Century Fox
Production Companies: Capella International, Eric's Boy, Juno Pix (uncredited), KC Medien, Moving Pictures (uncredited), New Line Cinema and Pixar Animation Studios
Director: Jay Roach
Producers: Jan Blenkin, Eric McLeod, Demi Moore, Mike Myers, Claire Rudnick Polstein
Scriptwriter: Mike Myers
Main Cast: Mike Myers, Elizabeth Hurley, Michael York, Mimi Rogers, Robert Wagner and Seth Green
Released: May 2 1997(US) and September 5 1997 (UK)
Running Time: 94 Minutes
Certificate: 15

In 1997, Mike Myers, star of the Wayne's World films, introduced the world to his newest movie trilogy. This one was a spoof on the hugely successful James Bond franchise as well as other films, except that the hero here, Austin Powers, hammed up his British roots (Myers pulls off the role very well; although a Canadian, he has British connections via his parents) to become a sixties swinger as opposed to the perfect gentlemen that Bond was and remains. Plus, whilst Bond had an appetite for women which was more a charm as part of his character, in Austin Powers a desire to have sex IS the character: although his primary focus is to prevent terrible things happening, his obsession with females often threatens to steer him off-course.

This first movie of what would become a three-parter begins with Powers having fun one night in his nightclub, surrounded by many beautiful women (who hilariously know exactly who he is, despite him supposedly being a secret agent), as well as his assistant Mrs. Kensington (Mimi Rogers), only to be subject to an attempted assassination by Dr. Evil (also played by Myers, a running joke that is never acknowledged throughout the series). Powers avoids this fate by punching the villain's assailant (a woman who turns out to be "a man, man!"), but Dr. Evil gets away in a space rocket disguised as a Big Boy statue, which cryogenically freezes him for 30 years.

We then jump to 1997, where Basil Exposition (Michael York) reveals that Powers froze himself in response to Evil's actions, and with reports that the Doctor is back on Earth with plans for world domination and/or destruction, it is time to release Austin in an attempt to stop the diabolical plot. The scenes where Powers comes back around are funny, as are the items he left behind. We also meet Vanessa Kensington (Elizabeth Hurley), daughter of Austin's old partner who is Powers' new sidekick. Unlike her mother, though, she has no desire to sleep with Austin, insisting she is work-focused and that times have changed since the 1960s when casual sex was the norm.

Meanwhile, we are introduced to Dr. Evil's team of scallywags, including his number 2 man ("His name ... Number 2"), played by Robert Wagner, and Frau Farbissina (Mindy Sterling). Other evil members of the squad include Patty O'Brien, played by Paul Dillon; Mustafa, played by Will Ferrell; Random Task, a deliberate parody of Odd Job played by Joe Son; and Alotta Fagina (as in, "a lot of vagina" ... get it?), played by Fabiana Udenio. Evil is also surprised to learn that he had a son created in a lab during his time in exile, Scott Evil (Seth Green). Seeing a relatively normal young man trying to win the love of his dangerously evil father is very amusing, especially later in a scene where they attend a therapy session and Evil freely admits that he wants Scott killed, and reveals daft parts of his background: "My mother was a 15-year-old French prostitute named Chloe with webbed feet. My father would womanise, he would drink. He would make outrageous claims like he invented the question mark. Sometimes he would accuse chestnuts of being lazy."

Still, while the developing relationships on both sides are of importance, the primary plot is about Evil's desire to hold the world ransom for money, despite Number 2 having made his empire a multi-billion dollar enterprise called Virtucon while he was frozen, which then becomes an attempt to get more money by stealing nuclear weapons after Evil learns that his ideas had already been done, and his behind-the-times approach surfaces again when he initially suggests a ransom fee of 1 million dollars; under advice, this becomes one hundred billion dollars.

Powers bumps into Evil's associates at a casino, leading to a humorous assassination attempt scene. But as Powers and Vanessa uncover the Project Vulcan which Evil has in mind, the two become smitten, yet Austin feels that it isn't right for them to have sex. Which makes it funnier when he does later sleep with Alotta Fagina with his justification being that he had to do this to get the required information about the project.

Eventually, Austin and Vanessa are captured by Evil, as he closes in on the time where he will proceed with his dastardly plot even if he receives the money. The two are trapped, but even if they find a way out, can they stop Dr. Evil before it is too late? Will Austin's sexual temptations prevent the duo from staying on the same path? And is everyone really on the same page on Dr. Evil's team? Plus, if they do survive, what will become of Austin and Vanessa's relationship?

There are many comedic elements, many of which parody the stereotypical aspects of super-sleuth films of the past, such as the apparently dangerous yet not completely threatening devices (Dr. Evil puts Austin and Vanessa in "the unnecessarily slow-moving mechanism"), the lack of importance given to minor characters (a deceased henchman's wife wonders aloud why nobody ever considers them), deliberately bad production (an extended laugh by the evil crew, a threat to world leaders being interrupted by a clip from Beavis & Butthead) and other moments of mirth. And we haven't even mentioned Evil's cat Mr. Bigglesworth!

This is a great comedy film; it is a little slow to progress at times, and it looks very old-fashioned when watching it now despite it only being released in 1997 (and I mean the 1990s-era scenes, not just those from the 1960s), but it is a very funny movie with a lot of laugh-out-loud moments. It helps to be someone not embarrassed by sexual innuendo as there is a ton of that here; but even if it isn't your thing, you should find a wealth of enjoyment from the movie spoof elements, the silly dialogue between Dr. Evil and his team, and the one-liners which are repeated to this day by die-hard fans of the trilogy. Myers, in particular, deserves great praise for perfectly playing two very opposite yet equally funny characters (some would say that Evil is the funnier of the two), and for writing the screenplay as well.

As this is part one of the series, you might guess that this is the peak with the subsequent two films being slightly disappointing add-ons. But you'd be wrong: movies two and three (which I will cover in future reviews) are both very funny and, if anything, this is probably the least amusing of the three parts. Don't let that put you off seeing this film though: Austin Powers: International Man Of Mystery is a comedy treat from which you will take a great helping of entertainment.

Overall Rating: 8.5/10 - Excellent

Airplane!

Image Source: Wikipedia

Written By: Mark Armstrong

Distributor: Paramount Pictures
Production Company: Paramount Pictures
Directors: Jim Abrahams, David Zucker and Jerry Zucker
Producer: Jon Davison
Scriptwriters: Jim Abrahams, David Zucker and Jerry Zucker
Main Cast: Robert Hays, Julie Hagerty and Leslie Neilsen
Released: July 2 1980
Running Time: 87 Minutes
Certificate: 15

"Surely, you can't be serious."

"I am serious. And don't call me Shirley."

If ever a piece of dialogue embodied a film, it's this classic exchange from the movie Airplane! For whilst the plot centres around the possibility of an aeroplane crashing, and one's desperate attempts to prevent such a tragedy from happening, the frequent one-liners and ridiculous yet hilarious visual jokes are so funny that the tone of the movie is never anything less than slapstick comedy (fans of the Naked Gun movies, including me, will not be surprised once viewing this film that the Zucker brothers were also responsible for the aforementioned trilogy).

Ted Striker, played here by Robert Hayes, used to be a fighter pilot. Unfortunately, after a bad experience which traumatised him, he now has a fear of flying. But he happens to be a passenger on this flight, which becomes uncomfortable when he learns that one of the air hostesses is Elaine Dickinson (Julie Hagerty), who used to be his girlfriend. They catch up on old times, accompanied by flashback clips (the homage to Saturday Night Fever, a recent film at the time as it was released in 1978, is great), but it becomes clear that past problems remain an issue for both, and their interaction becomes awkward for each as the film rolls on despite Ted's hopes to rekindle their romance.

However, there is a greater problem on the horizon. The menu for passengers consists of only two options, fish and steak, but the fish has given food poisoning to everybody who has eaten it including, worryingly, the pilot and his co-pilots. The illness is identified by Dr. Rumack, played by my favourite comic actor Leslie Neilsen, who humorously says that he avoided the food problem himself by eating lasagna. Still, whilst the problem is identified, it hasn't been solved: the plane is going to crash unless someone else takes control at the cockpit.

But whilst an inflatable autopilot named "Otto" helps, the only passenger with experience of flying planes is Ted Striker, who as noted is nervous enough due to a fear of flying. At this point, though, he's the only hope that everyone has, causing people to panic (including the Statue Of Liberty, who puts her head in her hands at the prospect). Despite having never flown an aircraft of this nature, he gives it a shot, but nerves get the best of him, especially when having to exchange instructions with Rex Kramer (Robert Stack), previously Ted's commanding officer. Add to that his relationship problems with Elaine, and the forecast seems bleak. However, a timely pep talk by Rumack convinces Ted that he has what it takes to finish the job and land everybody safely - but is it too little, too late?

The premise is easy to follow and the side-story of an old romance slowly reforming gives the story a logical structure, but the true entertainment comes from the hundreds - and I do mean - hundreds of physical, visual and verbal gags, many of which are very, very funny, and some of which are classic movie lines. Other images are unforgettable, such as this one of Steve McKroskey (Lloyd Bridges) to the right.

Image Source: Pix Good

Notice anything?

I am a bit biased, but I have to say that Leslie Neilsen is brilliant here as a straight-faced doctor who comes out with some hilarious comments or is simply funny in his overall mannerisms, including a repetition of a good luck message after the situation has been resolved. In fact, this marked the first role in comedy for Neilsen, previously a serious actor (which was another spoof element), who would then go on to become famous for deadpan comedy.

Robert Hayes is very good as Ted Striker, and is believable not only in portraying the Ted character and handling the situations he encounters, but also in making the ridiculous seem genuine. For instance, if somebody says they have "a drink problem", it's unlikely to resemble the dilemma Ted has, but it never stops being funny despite the daftness of it. The rest of the cast are good too: Julie is very good as Elaine, and even minor characters are involved in some very amusing moments, one example being the use of the pilot phrase "Roger" when one of the co-pilots is actually called Roger.

In closing, Airplane! is the perfect spoof of a disaster movie (it particularly lampoons the 1957 film Zero Hour!). It takes a logical storyline and turns it into a comedy classic, not by making the overall plot nonsensical, but by adding a huge amount of great jokes to virtually every scene. You would probably have to watch this more than once to notice them all. And they range from the silly (Dr. Rumack's exchanges) to the dark (such as trying to calm down passengers on a risk-surrounded flight by showing them a movie which includes a plane crashing), but they all have one thing in common: they are very funny and even the oft-repeated lines never get old. If you haven't seen Airplane! in the past, make plans to watch it because it is an all-time great comedy film, maybe even the best comedy ever, so you will love it. Shirley.

Overall Rating: 10/10 - Perfect

Mike Bassett: England Manager

Image Source: Past Posters

Written By: Mark Armstrong

Distributor: Entertainment Film Distributors
Production Companies: Artists Independent Productions, Film Council, Hallmark Entertainment
Director: Steve Barron
Producers: Steve Barron and Neil Peplow
Scriptwriters: John R. Smith and Rob Sprackling
Main Cast: Ricky Tomlinson, Amanda Redman and Bradley Walsh
Released: September 28 2001
Running Time: 89 Minutes
Certificate: 15

Released in 2001 as a prelude to the 2002 World Cup, Mike Bassett: England Manager is a spot-on parody of not only the English management set-up, but also of the game in general. But far from being a film that points fingers and criticises, it is a movie that highlights the stupidity and the hilarity of characters, situations and organisations in a manner that should please all football fans.

Ricky Tomlinson is the perfect choice to play Mike Bassett. He has a regional dialect, he says what's on his mind, he looks nothing like a footballer but claims to have a brilliant understanding of the game - in short, he is the common man, which many would argue is nothing like the England manager. But that's why the casting works: he is the polar opposite of how an England figurehead would behave (although some situations are not too dissimilar to those encountered by certain men who have had the job, albeit behind closed doors). Tomlinson is best known for playing Jim Royle in The Royle Family, but he is just as effective and just as funny in this role.

The tale (produced as a mockumentary) begins with the health-induced end of the England managing reign of Phil Cope (humorously accompanied by the newspaper headline "Can't Cope"), and after every top candidate is ruled out or rules themselves out, the FA has to turn to second-string boss Mike Bassett for the top job. His task is simple: one win in the last three World Cup qualifiers and England will grace the main stage. But, instead, the side make a pig's ear of it: two defeats are followed by a draw which is made worse by a shocking penalty miss which would have guaranteed qualification. Fortunately for Bassett, an unexpected result elsewhere in the group allows them an alternative passage to the tournament.

Unfortunately, whilst the road to glory was tough on Bassett, the tournament itself provides more nightmares: an appalling 0-0 draw with Egypt is followed by a heavy defeat to Mexico. On the brink of elimination, and most likely the sack, Bassett is encouraged to turn to alcohol to ease the tensions. This only leads to a drunken escapade, caught on camera, which points an even greater spotlight on him.

Despite widespread calls for him to resign, Mike refuses to step down but, when he is heavily criticised by the media, his response is powerful enough to win back some support from the die-hards. But his future still rests on the outcome of the final group game against Argentina; can his side pull off a miracle or is it bye-bye Bassett?

The plot is enhanced by the number of satirical stereotypes for players in the squad, from the alcoholic playmaker (Kevin Tonkinson, played by Dean Lennox Kelly) to the ultra-aggressive defender (Gary Wackett, played by Geoff Bell), as their troublesome situations are comedic yet true-to-life. This extends to the dugout, as Bassett's assistants include a spineless yes-man (Dave Dodds, played by Bradley Walsh) and an old-fashioned coach more interested in his used car business (Lonnie Urquart, played by Philip Jackson), a clear parody of Graham Taylor's management during his tenure as England boss.

In fact, the pre-World Cup section is largely based on Taylor's reign, from the poor results to the media scourge. Post-qualification, the film focuses on the pitfalls of the job, albeit in hilarious fashion; don't expect Roy Hodgson to swear at his own fans in the same way that Bassett does after the Egypt game. Other elements of the parody, which are nevertheless true, include how the manager's wife Karine (played by Amanda Redman) and son Jason (played by Danny Tennant) can feel the brunt of the national side's poor performances by association with the figurehead, and how the English media builds the team up to knock them down, almost resenting their success. The movie also features several celebrity cameos, such as Pele, Ronaldo (the original Brazilian one, not Cristiano) and Atomic Kitten.

There is a danger with films like this that they will either insult the audience or come across as being too serious. However, the movie is nothing of the sort: it raises some intriguing points about the English football set-up and aspects of life as a manager in this country, but it makes its points and tells its story through a range of truly funny incidents, visuals and one-liners. Tomlinson's half-time team talk when they're losing to Mexico is priceless. His general reactions to the bewildering situations he finds himself in (from the lacklustre training mechanisms to the incorrect team selections which sees lower-league players called "Benson" and "Hedges" included because his squad was written on the back of a cigarette packet) are brilliant.

And even the supporting cast are really funny, particularly Jackson who as assistant manager only has a minor role, but is totally believable and, whilst understated, his restrained delivery is what makes his material work. Something I also appreciated was how it didn't follow the perfect story arc: some developments are a little predictable, but without spoiling the plot, you will realise that it doesn't just go for the simple rags-to-riches-style story. The movie eventually spawned a TV series in 2005 based on domestic management (which I felt was a little disappointing), and rumours continue to suggest that a sequel to the movie is coming soon.

Mike Bassett: England Manager is the kind of film that you want to watch in the run-up to a major international tournament. Alternatively, it is a great football comedy to watch at any time because it is really funny and, whilst it was made in 2001, many of the pastiches are still relevant today. In fact, it is darkly comical that for all the ridiculous incidents that are encountered here, the vast majority are only slightly exaggerated versions of real-life events, characters and situations. So, if you are a die-hard football fan, a casual supporter or just someone looking for a funny British film, an ideal movie for you is Mike Bassett: England Manager.

Overall Rating: 9/10 - Outstanding

Up

Image Source: Wikipedia

Written By: Elaine Yu

Distributors: Walt Disney Studios and Motion Pictures
Production Companies: Walt Disney Pictures and Pixar Animation Studios
Director: Pete Docter
Producer: Jonas Rivera
Scriptwriters: Bob Peterson and Pete Docter
Main Cast: Ed Asner, Christopher Plummer, Jordan Nagai and Bob Peterson
Released: May 29 2009 (US) and October 9 2009 (UK)
Running Time: 96 Minutes
Certificate: U

The first time I saw any visuals of Up was in the trailer when it was just released at the Cannes International Film Festival in 2009, which heightened my anticipation to see it in full. Even though it was reputable for its 3D visual effects, I was more impressed by the storyline between the old man, Carl, and the boy, Russell. In this way, it is not like the classical Disney films, which always focuses on a romance between a Prince and a Princess. However, it still creates that fantastic Disney wonderland for both kids and adults.

A mass of colourful balloons, the old house and the miraculous adventure in the forest conform to the fantasy of fairy tales. But, to me, the moment that is most touching is that which showcases the married life of Carl and Ellie as opposed to the up-and-down journey. This scene is like the animation version of salience film. No words for characters; the story is told by the transition of senses. It is also important to talk about the slight variation of the soundtrack in this scene. The melody is the same, but the beat varies with the atmosphere and with their mood. For example, at Carl and Ellie’s wedding, it is upbeat, but when they realised that they couldn’t have children, it slows down. Because of the excellent soundtrack, Up received the Best Score at the Academy Awards, the Grammy Awards, and the Golden Globe Awards in 2009.

Unlike the romance in fairytale Disney films, where the Prince and the Princess live happily ever after, Carl and Ellie have been gradually getting old. For the family, they put off pursuing their dream, but they didn’t quit. Ellie did not make their dream come true in their lifetime, but is Carl going to make it? That is a clue which the story leaves you with. I actually prefer this kind of imperfect romance: it is realistic, just like the romances of the real world: imperfect, but beautiful.

Films are supposed to involve viewers in the fantastic world, and allow them to escape from the dissatisfied real world to further entertain them. Indeed, escaping happens in the film, as Carl avoids moving from his house to a retirement home and keeps the promise to his wife. He decides to turn the house into a makeshift airship with a mass of balloons, and starts his adventure to Paradise Falls just to keep his promise to Ellie. Nevertheless, the dream is disillusioned: he realises that his hero, the famous explorer Charles F. Muntz, was a devil accused of fabricating the skeleton of a giant bird. Fortunately, they beat the villain and fly back to the city.

Once you are confronted with the situation of dissatisfaction that mirrors reality, you can escape. But it is not a wise choice, as the great world outside is just in your imagination. It might be cruel and evil. The ending implies that the wise choice on handling a tough situation is saluting it actively and bravely.

The great visual effects will entertain audiences, particularly younger viewers. More importantly, though, the reflection and inspiration for the film is the foundation for it to gain a great reputation. The reality in Up is more than worthy to be explored and results in a superb animation picture.

Overall Rating: 8.5/10 - Excellent

The Naked Gun 33 1/3: The Final Insult

Image Source: Wikipedia

Written By: Mark Armstrong

Distributor: Paramount Pictures

Production Company: Paramount Pictures

Director: Peter Segal

Producers: Robert K. Weiss and David Zucker

Scriptwriters: Pat Proft, David Zucker and Robert LoCash

Main Cast: Leslie Nielsen, Priscilla Presley, George Kennedy, O.J. Simpson, Fred Ward, Kathleen Freeman and Anna Nicole Smith

Released: March 18 1994 (US) and May 20 1994 (UK)

Running Time: 83 Minutes

Certificate: 12

The third and final entry in the incredibly funny Naked Gun trilogy follows the same formula as the two previous films: a basic, silly yet humorous plotline, with the Police Squad required to prevent a disaster occuring. Along the way is a ton of slapstick comedy, from one-liners to physical jokes to facial expressions. This is seen as the weakest of the three films, although it is still extremely funny and is a more than worthy end to arguably the greatest comedy trilogy ever.

Before we get to the main story, we learn that Lt. Frank Dreben (Leslie Nielsen) and Jane Spencer-Dreben (Priscilla Presley) are now married (hence her name change), but are searching for a spark that will spice up their sex lives, partly because Jane is hopeful that they may be able to have a child (or, as Frank says later on, a "little Frank Junior"; the visual of what he could look like is hilarious). But Frank's spirit is slightly down, partly because, as we see, he has recently retired from the Police Squad. Fortunately for him, his old friends Ed Hocken (George Kennedy) and Det. Nordberg (O.J. Simpson) pay him a visit and explain that they need a little assistance in an ongoing investigation. Frank is reluctant to get involved given his retirement, but does admit that he misses the old job - and, as Ed points out, "(Frank hasn't) shot anyone in six months", to which Frank replies "That's true. Funny how you miss the little things."

So, Frank gets involved, but when Jane learns of his participation, she leaves him. Unusually, Frank tries to cover up his undercover work by suggesting that he was with another woman, but Jane humorously takes no notice and is more concerned with him getting involved in stopping crime again. As the story rolls on, we learn that a new villain (Rocco Dillon, played by Fred Ward) is planning to escape from Statesville Prison and, with the help of his team of cronies, he plans a major incident. To try and stop this, Frank offers to go to jail as a pretend criminal, get on Rocco's side and help him with his plot, with the intention of stopping it from within and alerting Police Squad of what is planned.

Eventually, we discover that the plan is to blow up the venue of the Academy Awards. By now, Jane is back on the scene, but the question remains: how can Frank and co prevent this explosion happening? Their attempts are not as difficult as one may expect in terms of turning things in their favour but, without obtaining the smoking gun, disaster is still guaranteed. A staple of the Naked Gun trilogy is how Frank's efforts to stop a tragedy occuring are ridiculously over-the-top yet riotously entertaining, and this movie is probably the funniest of the three in that regard: if you haven't seen this film, these scenes will provoke almost constant laughter. But the big question is: does the Police Squad succeed in their final big-screen outing? And, despite their trials and tribulations, do Frank and Jane finally get their "little Frank Junior"?

As stated, The Naked Gun trilogy ends in a great way here. Unlike some trilogies which try to resolve ongoing plot mysteries, none are required here: it simply allows the cast to do what they do best, and that's try to prevent chaos in a hilarious fashion. The only real link between all three movies concerns the evolution of the relationship between Frank and Jane and, in that respect, the ending should satisfy. There is a slight weakness in this movie in that, more than in the previous two, the plot at times takes a back seat to comedy, which isn't necessarily a bad thing considering that it is a comedy; however, it does mean that some jokes have that "trying too hard" feel to them, although there are a ton of laugh-out-loud moments.

It's hard to say whether this should have been the end for The Naked Gun or not. This entry proves that there was still a lot of life left in the trilogy; it didn't really feel stale, and the jokes are as funny as ever. But perhaps it was best to let it end while they were still really, really entertaining, and to not let it continue and eventually become a shell of its former self (as was the case for other film series', such as Police Academy). And this allows the Frank Dreben character to go out on a high, or at least a high by the standards of his character and the world that he operates within.

Leslie Neilsen died on November 28 2010, aged 84. It was a great loss to the world of both movie and comedy that such a funny man would leave us, despite his advanced years. And it did feel weird when I first watched these movies again after his death. But whilst we won't receive any further entertainment from Neilsen, we can always look back on his work and savour the moments when he was utterly hilarious. Renowned at first for being a serious actor, the Canadian eventually became the comic actor who we all remember him as. He also shone in other movies, most notably Airplane! But he will be most remembered for his brilliant role as Lt. Frank Dreben in the three Naked Gun movies. Comedies will continue to be churned out, and many will be hilarious, but to this writer, none will ever be as complete a comedy package as The Naked Gun trilogy, and no comedy performer will ever be as funny in a movie setting than Leslie Neilsen as Lieutenant Frank Dreben.

Overall Rating: 9.5/10 - Classic

Selma

Image Source: Wikipedia

(Copyright: Paramount Pictures/Pathé, the
film publisher or graphic artist.)

Written By: Mark Armstrong

Distributors: Paramount Pictures (US), 20th Century Fox (UK) and StudioCanal (Australia)
Production Companies: Cloud Eight Films, Harpo Films, Plan B Entertainment and Pathé
Director: Ava DuVernay
Producers: Christian Colson, Oprah Winfrey, Dede Gardner and Jeremy Kleiner
Scriptwriters: Paul Webb and Ava DuVernay (uncredited)
Main Cast: David Oyelowo, Tom Wilkinson, Carmen Ejogo, Andre Holland, Tessa Thompson, Giovanni Ribisi, Lorraine Toussaint, Stephan James, Wendell Pierce, Common, Alessandro Nivola, Keith Stanfield, Cuba Gooding, Jr., Dylan Baker, Tim Roth and Oprah Winfrey
Released: December 25 2014 (US) and February 6 2015 (UK)
Running Time: 128 Minutes
Certificate: 12A

When one thinks of Martin Luther King Jr, the leader of the African-American Civil Rights Movement, the mind immediately recalls the famous "I have a dream" speech from 1963. This new movie about MLK, however, focuses not on arguably the most famous words of the 20th century, but on King's describe in Selma in 1965.

After opening with an unexpected twist at the 1964 Nobel Peace Prize presentation in Oslo, Norway, where King (played by David Oyelowo) is presented with the prize, the plot focuses on the racial prejudice towards black people that at that point remained prevalent in parts of the US, particularly when it came to voting. Whilst King asks then-President Lyndon B. Johnson (Tom Wilkinson) to consider passing legislation that would allow blacks to vote unencumbered, Johnson notes that there are more pressing issues that he has to take care of. (Incidentally, critics have argued that Johnson is portrayed here as someone who just does not want to give King what he wants, whereas in reality their relationship was far more cordial.)

However, not only are blacks not being allowed to vote, but as they protest, they are the victims of racist hate attacks. By 1965, mass matches are planned from Selma to Montgomery which, they hope, will bring about change. They do not succeed at first due to the increasingly brutal response of the state's law enforcement, but as these vicious beatings are broadcast across the country, a growing number of white Americans join their side, which prepares big questions as the film nears its climax: can the addition of white supporters boost the chances of black people getting to vote? Can King himself handle managing these marches? And at what point will President Johnson be forced to recognise that enough is enough and that passing the requested legislation will bring about an end to the tension?

Even if you are unfamiliar with American history (and whilst I was familiar with Dr. King, I did not know the full story behind these marches), you can probably guess the ending, based purely on the way in which the world has changed since the 1960s, a perfect example being the election of the first black US President, Barack Obama, in 2008.

The performances are very powerful (in particular, Oyelowo is totally believable as King), and the scenes are at times excruciatingly graphic. Some will undoubtedly leave you thinking "How could they do this to those people?", which is a sign of how realistic such moments are played out. And the ending should, if not bring a smile to your face, at least make you feel like justice has been done.

On the other hand, I found that the movie dragged; had it been 90 minutes, with insignificant scenes cut, it would have held my attention more, as not a lot happened for large points. To reflect racist views of many Americans in the era, there is a lot of discriminatory language used which may be unsettling to viewers. Some historical inaccuracies have been noted, one of which was touched upon earlier. And some were disappointed that the film focused more on King than the Selma situation itself. Also, the costs of using Martin's speeches verbatim were so high that some important dialogue is changed to avoid paying royalties (this is one reason why we get no reference to the "I have a dream" speech, even as a way of introducing King at the beginning).

On the whole, though, I think Selma is worth seeing. I wouldn't class it as one of the year's finest movies, but the strong, believable performances of the leading cast and the significance of what the story achieved in reality make this a compelling viewing experience.

Overall Rating: 7.5/10 - Good

The Naked Gun 2½: The Smell Of Fear

Image Source: Wikipedia

Written By: Mark Armstrong

Distributor: Paramount Pictures
Production Company: Paramount Pictures
Director: David Zucker
Producer: Robert K. Weiss
Scriptwriters: David Zucker and Pat Proft
Main Cast: Leslie Nielsen, Priscilla Presley, George Kennedy, O.J. Simpson and Robert Goulet
Released: June 28 1991
Running Time: 81 Minutes
Certificate: 15

The sequel to The Naked Gun (as you may have guessed given its title), the second Naked Gun film sees the old crew return as they encounter a new yet similar quandary to that of the original picture: the US President at the time, George H W Bush (played by John Roarke), plans to base his recommendation for America's renewable energy programme on the advice of Dr. Albert Meinheimer (Richard Griffiths). This upsets those in the oil, coal and nuclear industries, including Quentin Hapsburg (Robert Goulet). Their solution: replace Albert with their own double for Meinheimer, Earl Hacker (also played by Griffiths, funnily enough). The switch is in line with Albert's energy announcement at the upcoming National Press Club dinner.

However, the Police Squad, led again by Lt. Frank Dreben (Leslie Neilsen), get wind of the plot and attempt to prevent it, whilst at the same time dealing with Hapsburg's hired goons. It all leads to the dinner itself, where their evil plot has to be foiled, but there's a twist: in the event of his plan failing, Hapsburg has a bomb planted to take everybody out, including the President. Once again, it's up to Dreben and co to stop it all happening, but events along the way mean that the Squad may not even get into the dinner. How will they do it?

Frank's romance with Jane Spencer (Priscilla Presley) is renewed here: Jane now works for Dr. Meinheimer, and they reacquaint when Frank explores the possibility of a plot against the good doctor. We aren't told why Frank and Jane hadn't seen each other since the first film, but it does result in this classic exchange:

Frank: "How are the children?"

Jane: "We didn't have any children."

Worryingly for Frank, though, she has a new boyfriend, who is none other than Hapsburg. Frank's attempts to rekindle his love for Jane are again turbulent, but are less prominent than in the first movie, and all involved know whose side they are on by the time of the climax.

The sequel to The Naked Gun is slightly less into telling a story and more about providing funny lines and moments. And in the vein of the first film, there is a wealth of entertainment to be found here. The Squad and Jane are all played by the same cast, so expect the same kind of one-liners, humorous visuals and hammy expressions.

Image Source: Neon Reels

(By the way. this entry into the series also features Frank's all-time best facial, as seen to the right).

I don't want to give too much away, but I will simply say that if you enjoyed the first Naked Gun then you will love this movie. And, if you read my previous review, you'll know that I am a huge fan of the trilogy and of Leslie's work in particular, so yes I found this to be a hilarious comedy, the humour for which still holds up and always will in the future.

I mark it down a smudgeon just because the increased emphasis on humour means that the believability of one or two comedy moments is stretched and, whilst still funny, those jokes feel a bit forced. Overall, though, this is another exceptional chapter in the Naked Gun trilogy which will more than satisfy fans of the original, and fortunately the series wasn't over there, as I will document in a future review.

Overall Rating: 9.5/10 - Classic

The Naked Gun: From The Files Of Police Squad!

Image Source: Wikipedia
(Copyright: Paramount Pictures, the
film publisher or graphic artist.)

Written By: Mark Armstrong

Distributor: Paramount Pictures
Production Company: Paramount Pictures
Director: David Zucker
Producer: Robert K. Weiss
Scriptwriters: Jerry Zucker, Jim Abrahams, David Zucker and Pat Proft
Jonathan Nolan and Christopher Nolan
Main Cast: Leslie Nielsen, Priscilla Presley, Ricardo Montalbán, George Kennedy, O.J. Simpson and Nancy Marchand
Released: December 2 1988 (US) and February 10 1989 (UK)
Running Time: 85 Minutes
Certificate: 15

I am personally a huge fan of comedies, and the Naked Gun trilogy is one of my absolute favourites. As such, when I decided to re-watch the first Naked Gun for the purpose of a review, I was slightly nervous in case my own nostalgic memories of the movie may have hindered my viewing experience or, at least, influenced my review. Fortunately, I need not have worried: the whole film is one gigantic gem.

To set the stage, this movie is an extension of the previous cult TV series Police Squad! Leslie Nielsen remains the star as Lt. Frank Dreben, but two roles have changed: his main detective partner Capt. Ed Hocken is played here by George Kennedy, and Det. Nordberg is now played by O.J. Simpson - an awkward casting in hindsight, although the trilogy would be over before this was an issue.

Unlike the short episodes of Police Squad, this is a feature-length movie (obviously) which has several story arcs, but two are most dominant: the possible attempt by Vincent Ludwig (played by Ricardo Montalbán) to arrange an assassination of Queen Elizabeth II during her visit to Los Angeles, with Dreben continuously trying to find evidence of such a plot with ridiculous results; and Frank falling in love with Ludwig's associate Jane Spencer, although their romance encounters a few bumps along the road.

There are a couple of other storylines of note, which include Nordberg's difficulties to recover from a previous attack (that being said, some of these problems are hilariously due to Frank's own incompetence). It all comes down to a major baseball game where Dreben knows a murder attempt is likely - but trying to convince Mayor Barkley (played by Nancy Marchand), who doesn't want anything to do with Frank by this point, that the plot is genuine, and more importantly Frank's attempts to get involved so that he can try to prevent the assassination attempt, present challenges that seem impossible for him to overcome. His methods are totally daft and riotously funny - but will he succeed?

The plot sounds simple, but it works very well; however, the real strength of this movie is in the slapstick comedy. If you have never seen this film before and plan to watch it, you will be laughing from the first minute to the last at a variety of physical and verbal quips. It is a film that isn't very violent, doesn't have too much swearing, only has occasional sex references - and, yet, this film should be a draw to adults who simply want to have their funny bone tickled.

Central to the humour is Leslie Nielsen. I was a big fan of his work, but it is in the Naked Gun trilogy that he shines brightest. He brings to life the character of a police detective who is bumbling and often causes more harm than good, yet we never feel rage or apathy towards him. He always has good intentions, he comes across as a genuinely nice and polite man (a rare breed amongst police characters dealing with deadly criminals), and in the end, somehow or someway, he nearly always makes good on his promises.

But what really makes the Dreben character, and Neilsen's portrayal of it, is the very frequent humour. His one-liners come thick and fast, made funnier by the 'that was odd but I won't question it' facial reactions of those in his presence at the time, and, most importantly, his own deadpan delivery of these quotes. There are so many that they tend to have you still laughing by the time you hear another one. I could provide a list of the best jokes, but instead I'll let you watch the film; I don't want to spoil lines that, during the movie, will frequently give you the giggles. In fact, you'd probably have to watch the film several times to hear all the jokes, since you'll probably miss some due to the sound of your own laughter.

As stated, Neilsen is marvellous in this role. Some comedy actors sport an expression that says “I'm funny and I know it.” Not Neilsen: he is funny - really funny - but he approaches the role of Dreben as an actor playing a comedy character. This means that despite the sheer daftness of his lines and situations, he never once looks like he is dying to laugh; he manages to keep a straight face and a calm, confident delivery throughout, as do his fellow cast members. Best of all may be Neilsen's range of facial expressions, from utter confusion to disgust to my favourite, his 'everything's great' grin; that smile alone would be enough to have an audience laughing wildly. If you don't believe me, watch him and you'll soon agree. The casting of Neilsen here and in the original Police Squad! series is superb as he is a constant shining light in what was the greatest role of the career.

The supporting cast also put in strong performances. Priscilla Presley plays the Jane character well: she is emotional but not overly so, she reacts to ridiculous situations in the same, understated way that Frank does, and while she plays second fiddle to Dreben on the humour scales, she does have a few funny lines or situations herself which are all her. Frank's fellow police officers are good too, and even Jeannette Charles, who plays the Queen, delivers a humorous visual of Her Majesty joining in a Mexican Wave whilst the rest of her entourage do not. But make no mistake about it, Leslie Neilsen is the absolute star of this motion picture; he takes a funny film and, with his character and performance, elevates it into all-time great territory.

The film is produced by David and Jerry Zucker and Jim Abrahams, which explains the daft situations and slapstick comedy as silly humour is their forte, but they do it well as evidenced here. In this case, they not only include intentionally stupid jokes and visuals but also standalone moments which, in another context, may lower the tone of the production but, here, they fit in well. From a tiger attacking a baseball player in an archive video to Dreben hanging off the edge of a building by a statue's, er, member, this movie delivers so many different situations that are produced perfectly and are almost all hilarious that you will struggle to find a favourite moment because there are so many contenders.

Overall, then, The Naked Gun is as good as I remembered it all those years ago (if not better since I now get some gags that I didn't understand when I was younger). It is a classic 1980s comedy which hits far, far more than it misses with its humour. The premise is simple, the jokes are often and at times outrageously funny, and although it is by its very nature a daft film, it makes enough sense to leave one feeling satisfied with developments and with the conclusion. But it is the career performance of Leslie Neilsen in his greatest role as Lt. Frank Drebin which takes this from what would have been a really funny film anyway to a truly perfect comedy (as evidenced by the rating below).

Overall Rating: 10/10 – Perfect

The Dark Knight Rises

Image Source: Wikipedia
(Copyright: Warner Bros., the
film publisher or graphic artist.)

Written By: Luke Mythen

Distributors: Warner Bros. Pictures

Production Companies: Legendary Pictures, DC Entertainment and Syncopy

Director: Christopher Nolan

Producers: Emma Thomas, Christopher Nolan and Charles Roven

Scriptwriters: Jonathan Nolan and Christopher Nolan

Main Cast: Christian Bale, Michael Caine, Gary Oldman, Anne Hathaway, Tom Hardy, Marion Cotillard, Joseph Gordon-Levitt and Morgan Freeman

Released: July 16 2012 (NY) and July 20 2012 (UK & US)

Running Time: 164 Minutes

Certificate: 12A

Back in 2003, a little-known director named Christopher Nolan (Insomnia, 2002) began working on the reboot for the Batman franchise that Warner Brothers had been waiting for. At this time, Nolan had only made a couple of feature films, all of which were very low budget; however, they were all well-received at the box office and by critics alike. And so he and David Goyer (Man of Steel, 2013) set about the task of drawing up a new way to tell Batman’s origin story and a new theme for the franchise.

In 2005, Batman Begins was released, and it was a huge success; this was the film that all Batman and comic book fans alike had been waiting for since the dreadful Batman Forever (1998). And after that came arguably the greatest comic book movie of all time with The Dark Knight. The film will forever be remembered for the performance of the late Heath Ledger (Brokeback Mountain, 2004) as the Joker, rightfully earning himself an Oscar for Best Supporting Actor in 2009.

So it’s understandable that the announcement of the most recent installment in the franchise was greeted with mass excitement. Before the confirmation of the Dark Knight Rises, the Internet had been awash with speculation about the title, whether Nolan would direct it, and who the villain would be portrayed by. Now, I am reviewing this retrospectively; it has been almost three years since this film was released. I still remember the day I went to see it for the first time: I queued up early, having already pre-booked my tickets online. And, fortunately, the movie lived up to the hype as I shall now explain.

To begin with, the story picks up eight years after the Dark Knight, and it is really interesting to see where the characters are at this point; they are still struggling to cope with the actions and decisions made eight years earlier. Bruce Wayne had become a recluse within his own home, and therefore Batman hadn’t been seen since the death of Harvey Dent/Two Face. However, there is a dark force coming to Gotham in the form of Bane. Batman must come out of retirement to fight the evil Bane and protect his beloved city.

Now, I am not going to give any more of the story away in case you haven’t seen it already. Because this was the final installment, and that this was emphasised by Christopher Nolan from the beginning, fans speculated about whether Batman would live, die or pass on the baton onto someone else. The film is around two hours and forty minutes, which is an awfully long time; yet the movie is so enthralling that the time passes by very quickly; you are so engrossed into the story and the images on-screen. Part of the reason concerns production. Along with the Dark Knight, Nolan decided to film certain scenes in this film in the IMAX format. These scenes look fantastic on the big screen; Nolan is a master of the IMAX camera, and it really helps the movie, especially in the action scenes with the Bat and Tumbler fight complex.

Running concurrently with all the fighting is a very warm story that runs deep through the majority of the characters. The theme of the movie is hope: despite everything that happens in the film, the characters cling onto Batman as hope, and at times even Bruce Wayne looks up to Batman. This movie has to deal with a number of story arcs coming to an end, and occasionally it does seem to be juggling too many plates at once, but they all come to a deserving and worthy end that fans should feel comforted by.

The casting and acting is brilliant. Each actor brings something different to their character. Tom Hardy as Bane was a good choice: Hardy is a method actor, and so he gained around 40 pounds to make sure he was big enough to play Bane. But it is his eyes that steal the show: for the majority of the film, he wears a special breathing mask that covers up everything other than the eyes (which puts a lot of pressure on the scriptwriters to tell the story when you can’t see the lead villain’s mouth). Tom does a fantastic job and, in particular, he deserves a lot of credit for diverting us from the fact that Heath Ledger is not here to play his role, and instead he gives us a completely different and totally believable and threatening villain; a villain that can even stand toe-to-toe with Batman in a fight on a number of occasions.

However, it is Anne Hathaway who steals the show this time around. A lot of fans complained beforehand that she wasn’t good enough to play Selina Kyle and that she wasn’t fit enough for the role. But credit to Anne: she went through six months’ worth of prep in the gym before shooting and closely studied how cats move. She is perfect for the part: she doesn’t allow the suit to overtake her on the screen, and she brings a new look and style to a very well-known character. She is by far the best part of this film.

In addition, the cinematography is absolutely fantastic, and that is all down to Christopher Nolan’s brilliant cinematographer Wally Pfister (Transcendence, 2014). Every shot looks visually stunning on a large canvas, and this allows colours and sound to really fly off the screen.

Overall, The Dark Knight Rises was a fitting conclusion to the greatest comic book trilogy of all-time, and maybe even the greatest trilogy of all-time period. The climax left me feeling satisfied, the action was enjoyable, and the story was interesting from beginning to end. A worthy end to a classic trilogy.

Overall Rating: 9/10 – Outstanding

The Blind Side

Image Source: Wikipedia

Written By: Luke Mythen

Distributors: Warner Bros. Pictures
Production Companies: Alcon Entertainment and Fortis Films
Director: John Lee Hancock
Producers: Broderick Johnson, Andrew Kosove and Gil Netter
Scriptwriter: John Lee Hancock
Main Cast: Sandra Bullock, Tim McGraw, Quinton Aaron and Kathy Bates
Released: November 20 2009 (US) and March 26 2010 (UK)
Running Time: 129 Minutes
Certificate: 12A

The Blind Side is a 2009 semi-biographical sports drama film, based on the upbringing and career of American NFL star Michael Oher. The film was written and directed by John Lee Hancock (Saving Mr Banks, 2013; The Rookie, 2002), and is based on the book by Michael Lewis entitled ‘The Blind Side: Evolution of a Game’. The film was nominated for many awards, and picked up the Best Film prize at the Academy Awards and at the Teen Choice Awards. Sandra Bullock also received special praise for her performance, picking up an Academy Award for ‘Best Supporting Actress’ and a Golden Globe in the same category.

Now, I am not going to lie: I have not got a clue about American football. I do not know how to play the game, I do not know the rules of the game, I do not even know any of the major stars in the game. It is something that has never interested me and, when I have seen it on television, either at Wembley Stadium or in its natural home of the USA, quite frankly it has bored me. So when I discovered The Blind Side, I had my reservations about it. I knew that it had done very well during the awards season, and I admire the work of Sandra Bullock in other films (Gravity, released in 2013, and Speed, released in 1994, are two such examples); however, I was still unsure about this movie. In the end, I finally decided to give the film a chance, and I am very thankful that I did. This carries a number of different emotional story arcs that effectively convey into the overall plot of the film; for that reason alone, it is a must-watch for any film fan. Notice that I did not say sports fan! Yes, the premise of the film is about American football, but that pales into insignificance when you watch the emotional entanglement of the Tuohy family as they battle to help a young man find his feet in a world that has never been fair to him nor has it provided him with an opportunity to shine.

Sandra Bullock is fantastic in this movie. Her character, Leigh Anne Tuohy, starts out as a focused interior designer who works very hard. She is married to her husband Sean Tuohy, played by country singer Tim McGraw (Friday Night Lights, 2004). They have a happy family with two children: a young boy named Sean Jr. “S.J.” Tuohy, portrayed by Jae Head (Hancock, 2008), and 16-year-old daughter Collins Tuohy, played by British-born actress Lilly Collins (The English Teacher, 2013). The opening act introduces us to these characters during a volleyball game between two schools. This scene was designed to emphasise the family’s rich sporting background. On the way home, they pass by Michael, or ‘Big Mike’ as he is referred to initially. Leigh Anne feels sympathy for him, and decides to invite him back to their family residence.

To be honest, this was my major disagreement with the plot-line: yes, the narrative is based on true events, but the entire family welcome him in, basically with open arms. Surely, there must have been some resistance from the husband or daughter about letting a stranger stay in their home. In my opinion, they could have covered this in a little more depth. However, it is a small gripe that does not disrupt the flow of the film nor does it take one’s attention away. I am a big fan of the BBC film reviewer Mark Kermode, and he said something about a film once that really stayed with me. His comment was: “If you are watching a film and you start wondering and thinking about what should be in the film, whether it is realistic of the characters to do a certain action, then you do not have a care for the characters in the film. You are more interested about other things than what is actually on the screen.” Despite my reservations about the aforementioned scene, at no point in this film did I feel like that; I was completely engrossed from beginning to end.

By the middle act, The Blind Side it is trying to pull a number of different yet interlinked story-lines along. You have the struggle of Michael trying to fit in at his new adopted home, during which time he is trying to get good grades so he can go off to college, and he is still trying to impress his school football team. In the meantime, Leigh Anne is trying to find Michael’s true mother and to learn where he originally came from. This could cause complications for the viewer and become difficult to follow; however, this is not the case. The movie has a seamless flow to it that keeps you interested without too much actually happening on-screen. As the film rolls on, Leigh Anne instills confidence into Mike to try and make sure that he can become the very best at American football. Now, Leigh Anne isn’t in any need of extra cash, so from the beginning you are aware that her motives for helping Michael are different, and I believe that is what helps the movie to stand out; what are Leigh Anne’s motives?

By the time we reach the climax, the film has followed the usual routines for this genre; the problem has been solved, and cue a celebratory montage. However, one question is thrown at Michael which, in turn, is thrown to the audience, and suddenly the conclusion is not all what it seems. What is that question? Now that would be a spoiler, as it makes one reflect over the events of the film and make you decide your own feelings on the situation, partly because the question is essentially left unanswered. We are left to assume that her motives are positive, although that doesn’t necessarily mean that the lady on whom this is based made her decisions for the same reasons. All I will say is that it relates to an affiliation to a certain college football team, which is foreshadowed during the volleyball game from the opening scene. Despite this unanswered question, the ending provides enough satisfaction that you will probably not be wishing for a sequel, but part of the movie’s strength is that the tale is told so well, and the ending is conclusive enough that no sequel is necessary. I certainly found it to be 129 minutes well spent.

Overall, I believe that The Blind Side was a real success. It drew me in, and I am a UK resident with no knowledge of or interest in American football. And at times, I was inspired by what the Tuohy family did for Michael and, in turn, what he did in return. This movie is fantastic at what it aims to do, which is to bring you into this perfect American family and take you on the same journey as Big Mike himself.

Overall Rating: 8/10 – Very Good

South Park: Bigger, Longer and Uncut

Image Source: Wikipedia

Written By: Mark Armstrong

Distributors: Paramount Pictures (US) and Warner Bros. Pictures (International)
Production Companies: Comedy Central Films, Braniff Productions and Scott Rudin Productions
Director: Trey Parker
Producers: Trey Parker and Matt Stone
Scriptwriters: Trey Parker, Matt Stone and Pam Brady
Main Cast: Trey Parker, Matt Stone, Mary Kay Bergman and Isaac Hayes
Released: June 30 1999 (US) and August 27 1999 (UK)
Running Time: 81 Minutes
Certificate: 15

When it debuted on Comedy Central in the States back in 1997, South Park was a revelation. At a time when cartoons rarely pushed the envelope, South Park used crude humour and shock tactics, along with some pretty funny dialogue and situations, to provide a truly groundbreaking television show. It wasn’t afraid to mock celebrities, companies, religions, or even itself; its initially poor animation would be a subject of its own ridicule in the years to come.

Whilst ratings were at their peak during the earliest years of its run, the show has grown into something more akin to political commentary through the most asinine yet hilarious storylines imaginable, resulting in a far more polished and entertaining programme. The initial elements which made the show stand out (strong language, sexual themes etc) are now taken for granted by viewers, even though they are laid on thicker than ever. Any episode from the last few years would probably have sent some people bonkers, had they been aired in the late 1990s. Which, ironically, provides the plot for its motion picture, South Park: Bigger Longer and Uncut, released in 1999.

The story is based around the boys (Cartman, Kyle, Stan and Kenny, for those unfamiliar) sneaking in to see the new Terrance & Philip film, which features strong language and a ton of innuendos which the kids start using as part of daily conversation. As more and more people see the movie, and start casually swearing (more than usual), school staff and parents are shocked at how the film has influenced the children, and begin lambasting and protesting against Terrance & Philip. Cue the arrest of the two Canadian TV stars (T&P, again for South Park newbies), the reactionary killing of the Baldwins, and the resultant decision for the US to go to war with Canada, including the planned execution of Terrance & Philip at a USO show. Giving away further plot developments would spoil the movie for those who haven’t seen it, but I can add that there are a number of secondary storylines, the most notable being Stan’s attempts to “find the clitoris” as he looks to win back Wendy’s affections, who seemingly has a new boyfriend in Gregory. Oh, and Satan and Saddam Hussein plan to take over the world.

As this film was created during the early years of South Park’s run, it relies a lot on the shock tactics which initially made the programme stand out, albeit pushed to a new height (all swearwords are unbleeped, sexual innuendo is fairly consistent and stronger than it had been previously in the show, etc), and less on political commentary, although it becomes obvious that Trey Parker and Matt Stone are using the film’s theme to generally comment on the reaction to its own programme; namely, those whose reactions to a provocative TV production are over-the-top end up doing more harm than good with their attempts to censor material that they find offensive.

Music was used heavily in this film, a lot more so than what South Park fans had been accustomed to. At the time, this seemed like a bad idea beforehand; but most songs were in tune with the plot-lines, and many either provided witty one-liners or were comedy gold, for reasons ranging from the language used to the ridiculous voices and humorous visuals. In fact, a number of the songs are fondly remembered today as being some of the funniest or most memorable musical numbers ever in any movie. Of course, the show has since incorporated music to such an extent that the songs are usually hilarious for the aforementioned reasons, so in hindsight any concerns that the film would drag because of its large use of music were unnecessary.

Watching the film again, all these years later, obviously provides a different perspective than when I first saw it, but the two experiences have one important thing in common: both then and now, I found the movie to be hilarious. It bursts into life with the Terrance & Philip movie, and from there the number of funny, clever or simply hilarious quotes and moments is vast. Watching it in modern times obviously alters one’s reaction to certain scenes; for example, the prevalent use of the f-word is far less shocking now than back then, and as the show routinely uses unbleeped swearing nowadays, the fact that strong language is used so often and is uncensored in the movie doesn’t have much of an impact. The animation is a bit rough-around-the-edges, but by no means a distraction; as stated, South Park’s animation would often be made fun of by the show itself (including in this film). I was surprised by how quickly scenes flowed; at times, I was almost out of breath due to how fast lines were being delivered. The other slight downside is that some of the show’s funnier characters in later years either play a minor role (Randy Marsh, Butters) or had yet to be introduced, so they aren’t present at all (Timmy, Jimmy etc).

But without question, one comes away from the film feeling positive. The show uses a number of simple themes which, in fact, had already been used or touched upon in the series beforehand, and creates an unforgettable animated experience. The one-liners, the musical numbers, the ridiculous situations, the simple yet massively detailed animation, the self-parodying, the heavy yet clever use of adult themes – everything comes together brilliantly, and the outcome is what will probably be the funniest animated movie that you will ever see. I would expand further but you really have to see this film to appreciate how funny some moments are. For first-timers, I will simply advise you to watch out for the T&P movie, the scene where Cartman is fitted with a V-chip, and a musical number about Canada; chances are that you won’t easily forget them.

Fans have been clamouring for a sequel since then, with the nearest thing being the hugely enjoyable three-parter Imaginationland from Season 11. Trey and Matt have often pointed out how exhausting the production of this movie was and its knock-on effect on the TV series, and given the amount of problems they encountered during the process (including plenty of confrontations with Paramount Pictures over the movie’s rating), they have publicly stated that if there ever was a second film, it would most likely close the series as a whole. It would be great to see a proper follow-up one day, though, especially given how the programme has evolved since the movie was released at the close of the 20th century.

Overall, then, South Park: Bigger, Longer and Uncut doesn’t have quite the same impact as it did back in 1999, but it remains a hugely enjoyable movie that will have you repeating one-liners, and maybe even one or two of the songs, for a long time to come. If you’re a South Park fan then you’ve probably seen it at some point, but even if you’re not, you really should see what stands out as one of the all-time great animation experiences.

Overall Rating: 8.5/10 – Excellent