Bede Reviews

Lantana (2001)

Rich, satisfying.

[10/10 · 21 November 2001]

'Lantana' is being touted as a psychological thriller. That to me conjures up images of 'Wait Until Dark' or even 'Petrified Forest'. 'Lantana' is not a thriller. It is a rich, satisfying exploration of relationships, of trust and betrayal, the gap between what people say and what they mean, and how people deal with loss. At the same time, the story is engaging, with elements of mystery and suspense, and 'Lantana' never preaches. The acting is excellent, every character evoking a response. While the Australian Film awards given other actors (La Paglia, Armstrong, Blake, Colosimo) were well deserved, I was especially taken by Daniella Farinacci's Paula.

I have long regarded 'Bliss' as the most interesting Australian film. What a pleasure to have a second film from Ray Lawrence. I hope we don't have to wait another 15 years for his third, or, if we do have to wait, that it is as good as 'Lantana'

Erin Brockovich (2000)

Unoriginal, uninteresting

[2/10 · 21 November 2001]

For some reason, we are asked to be impressed by the fact that 'Erin' was based on a true story. I wasn't. Nothing about the Roberts character was the slightest bit engaging, the great Albert Finney was wasted, the story was totally predictable, and Travolta's 'Class Action' did the same story better. Basically, I didn't care one way or the other whether the goodies won or lost the case, or whether Erin would or wouldn't find true love with the bikie. Everybody in the film, including the principals, was a caricature. I saw it through to the end only because I thought my wife was interested. She wasn't.

Charley Varrick (1973)

Bloody but enjoyable

[16 September 2001]

This is a very fine caper flick with a high body count, fashionable in the years after 'Bonnie and Clyde' and 'Butch Cassidy'. Walter Matthau gives one of his best performances (rivalled only by his part in The Fortune Cookie, in my view) as Charley Varrick, a quaint li'l ol' armed burglar, who is forced to have to outwit the police and the mafia, when he strikes it luckier than he wanted. Naturally, Charley reveals hitherto unsuspected super-human powers of perspicacity and ingenuity, and is able get out of all sorts of pickles. That this film is so enjoyable is due in no small measure to Matthau's charisma and credibility. Joe Don Baker is a suitably menacing hit-man, and all of the lesser roles are filled admirably. The desert forms a picturesque backdrop to the action. I recommend Charley Varrick.

Cancel My Reservation (1972)

Hardly worth writing about ...

[16 September 2001]

What a horrible little film--so many talented players wasted in a piece of ephemeral tripe! Bob Hope's gags consist mainly of long outdated topical references. He says, 'Johnny Carson' or 'Dick Cavett', and we are supposed to fall about laughing. Hope, by 1972, was far too old for this sort of role. It is a flop as a comedy, is in no sense a mystery, and mostly it is tedious in the extreme. If you see this film on your TV program, avoid it--it will disappoint you.

Run Lola Run (1998)

Transfixing

[10/10 · 29 August 2001]

I just saw 'Lola' for the second time, after a two-year gap. First time around, in the theatre, I loved it for its vitality, inventiveness, urgency, musical score, very funny asides ('Und dann ...'), and the visual impact of Lola's running, her bright red hair contrasting with the mundane streets. Second time round, on TV, watching with someone who on the whole would rather read, I still loved it (despite the trimming for TV shape), and so did she. Not for a second can your eyes leave the screen, because you are running with Lola. Your senses are engaged, your emotions are involved, and you find yourself thinking about the nature of life and of fate. Any film that scores so successfully on so many levels is a fine film.

The Bone Collector (1999)

One-and-three-quarters

[21 August 2001]

Maybe this film is one-quarter as good as 'Seven', but I doubt it. It is by turns one of the silliest and nastiest films I have seen for a long time. It was impossible to suspend disbelief in a bed-ridden forensic policeman who is (a) still on active duty despite his parlous condition, and (b) infallible in the face of incredibly esoteric clues, or in an inexperienced, untrained assistant who is allowed to wander alone into dangerous places, and who is, incidentally, impeccably made-up through all perils. Denzel Washington brings his usual dignity to his role, Angelina Jolie does well with really silly material, and Queen Latifah all but steals the show as the nurse ... but most of the roles are cardboard cut-outs (impenetrably stupid superior, loyal buddy, brilliant albeit untidy side-kick). Phillip Noyce handles crucial elements of the plot badly. The villain has been introduced so sketchily initially, that when he reveals himself, we are left thinking, 'Now who on earth was he again?' All the to-do about the heroine's father's suicide is meaningless. In all, this is a very disappointing film, with all of the nastiness of Seven, but none of the saving intelligence. I would not recommend anybody to see it.

Bridget Jones's Diary (2001)

What Fun!

[19 August 2001]

Whoever thought of doing Bridget Jones as a modernized version of the ultimate romance 'Pride and Prejudice' is a genius. Perhaps it was Andrew Davies, who wrote the script for the wonderful BBC serial of that classic, with, of course, Colin Firth as the inscrutable Darcy, aloof, self-possessed, but underneath a seething maelstrom of emotions. (By coincidence or not, one of our cable channels has just re-run the serial.) In-jokes and parallels abound--Crispin Bonham-Carter in a tiddly little role; the only kiss between Bridget and Darcy coming right at the end, along with Darcy's only smile for the film; the differing reports of the early relationship between Daniel/Wickham and Darcy, leading to some of Bridget's Prejudice (along with her overhearing of Darcy's first impression of her); and this is a small sample of the delights for lovers of P&P, both the book and the serialisation.

Even without familiarity with P&P, it is a fun film. Bridget is a wonderful mess, who does a fine line of embarrassment; Daniel Cleaver is a gorgeous cad; Colin Firth a gallant hero (though what he could see in Bridget ...?); and the usual Chorus of friends (cf. Notting Hill, Four Weddings, Sliding Doors) is entertaining. The performances are strong all down the cast list. I particularly enjoyed James Faulkner's 'Uncle' Geoffrey, and Paul Brooks's Mr Fitzherbert ('Titspervert'). Renee Zellweger's accent has been criticized, but it completely fooled some English friends, and she was charming in the role.

I loved 'Diary', but I hope that any attempt to mount a sequel is quashed immediately.

Fat Girl (2001)

Touching

[15 August 2001]

Somehow this film picked up the English title 'A Fat Girl'. How inappropriate, I thought, because for most of the film, the romance of the elder, more attractive sister takes center-stage. It is only at the end, after some horrible things have happened, that it becomes clear that the film has been leading us to understand the fat sister Anais's strange reaction to what happened to her. I have read criticism of the violence late in the film, as not having flowed out of what has gone before. Such criticism misses the point of the movie, I think, which is about the contrast between Anais's first sexual experience and the lovely Elena's, and Anais's acceptance of rape as being preferable to being in love with the boy, as Elena had been, when we and Anais watched Elena's first intercourse.

I thought the acting in this film wonderful, and Anais Reboux, as the fat girl is an outstanding find. This is a touching film, with real characters with whom to empathize, especially the two girls, both young and romantic, one with a saving touch of cynicism.

Rififi (1955)

Absolute Must-see

[15 August 2001]

I recently saw a new 35mm print of this masterpiece. Everything about it was superb--the planning stage, which had a tension of its own; the execution of the burglary, silent, tense beyond words; the aftermath with its own terror and suspense. The B&W photography is superb. The streets of Paris, perpetually wet, are almost another character. The acting is generally excellent (some reservations about Carl Mohner as Jo), with Jean Servais outstanding. If you can only get to see this on DVD or video, fine, you really must see this classic if you haven't already, but if you can get to see it in a theatre, run, don't walk.

State and Main (2000)

Funny

[13 August 2001]

This was a funny film. Watching it was a pleasure, and I look forward to seeing it again. The dialogue was crisp and had an edge, it looked great, all of the cast seemed to be having a good time, and the small touches ('Bazoomacom') were good fun. I don't want to oversell this film, because one person's comedy is another's blah, but I loved it.

Chocolat (2000)

Haven't I seen this before?

[18 July 2001]

'Babette's Feast' meets 'Like Water for Chocolate' meets 'Simply Irresistible' meets ...

I was disappointed in this film. Lovely little village, great and luminous star (Juliette Binoche), mouth-watering choccies to look at, but the film is formulaic, derivative and predictable. The chocolate maker promotes sensuality; the Count tries to promote religion, asceticism and order. She is gorgeous and generous, he is overweight and pompous. Who will win? Gosh! Edge of the seat stuff here! The journey to the predictable end is enjoyable enough, despite Lena Olin'e overacting (good when she's being neurotic, lousy when she's being 'normal'), and the Johnny Depp scenes are very pleasant, but I constantly had the feeling that I had seen it all before.

Sugar Cane Alley (1983)

An affirmation

[8 October 2000]

A bright youth, living in grinding poverty in a shanty town among the cane fields of Martinique, has the chance to escape, thanks to a heroic grandmother and teachers who admire and foster his potential. While the audience sympathises with Jose's desire to get out of Black Shack Alley, it is treated to the richness of the Alley's life, to Medouze's sonorous tales of life in Afrique, to the antics of the village children, and to the kindness of its adults. It adds up to an affirmation of life that makes this an enjoyable film. If I have reservations, they are that every issue is dragged in for an airing, however brief and undeveloped (bright girl having to leave school; 'Mulatto' son of French planter unacknowledged; exploitation of workers), and that big events, e.g., deaths, are contrived to occur predictably, and at the 'right' time. Some of the direction, e.g., of the children's scenes, is a bit clunky. These things having been said, this film is a pleasant experience, and one that I recommend.

Come due coccodrilli (1994)

Riveting, but let down

[31 July 2000]

This film is beautifully shot, explores great themes, is exquisitely acted, is very moving, because you really care about the characters. What a pity that in the version I saw, the subtitles (white on white) are illegible so often, and so often inscrutable. For example, in the important scene when Gabriele first encounters 'Milvio', I could not fathom what they were talking about. It is a film that deserves to be seen widely, but it also deserves better subtitling.

For Love of the Game (1999)

Too long, but I loved it

[1 May 2000]

As a complete sucker for baseball movies (the game is so inherently dramatic), I loved this film. It was a real weepie for boys, with no heartstring untugged. It is too long by half an hour, and the structure doesn't help--when you are starting to tire, and you know that the game still has three innings to go, the movie seems longer. Moreover, too many loose ends are tied: the dud fielder has to make the dramatic catch, the dud catcher has to hit the important run, the heroine has to delay her flight--there is this certain grim inevitability in the story. So what a dud flick! And how much I loved it! For positives, Kevin Costner, Kelly Preston and J.C. Reilly perform splendidly; the bit players, like the underutilised Brian Cox are all good; the camera work and especially the sound are great (the loneliness of the long-distance pitcher is cleverly evoked by use of silence); and the film taps into the mythic quality of baseball, with all the history and sentiment that makes grown men cry. I can understand bad reviews for this one, but I am looking forward to seeing it again.

Run Lola Run (1998)

Must-see

[10/10 · 7 December 1999]

This is a must-see film, innovative, fast-paced (no pun), suspenseful, witty, energetic. The stars are charismatic, the locations evocative, the music superb. The central idea (small chance events can have dramatic consequences) has been covered before - most recently in "Sliding Doors" - but this film is so original in execution that it stands apart as one of the great films.

Forbidden Planet (1956)

New world, new reality.

[30 June 1999]

If Forbidden Planet was a modernization of The Tempest, then many of the subsequent sci-fi dramas on film and TV have been modernizations of Forbidden Planet. It is easy to criticize details of the plot, the acting (could that wooden Leslie Nielsen be the same actor as the hilarious singer of the US National Anthem in The Naked Gun?) and the special effects (I think that the monster still stands up pretty well though), but you can't get away from the fact that in this film a new world and a new reality are created, and that's what good sci-fi is all about. It is a must-see.

The Sun Also Rises (1957)

Riveting spectacle

[28 June 1999]

This is a riveting film. The story is a classic, and the acting generally good, with Errol Flynn brilliant. It is also a memorable spectacle, with great use of colour. Tyrone Power's Jake is too old, too stodgy, too obtuse--but this is a minor irritation. On the whole, two hours of great entertainment.

Booty Call (1997)

Hilarious!

[7 June 1999]

At times, the dialogue was hard for an untrained ear to keep up with, but both my wife and I thought this a hoot. There are some flat spots, and ALL of the characters are irritating, but some scenes (the dog under the table, the supermarket scenes, involving the most outrageous Indian sub-continentals since Apu) are as funny as cinema gets. It is pretty broad humour, and not for everyone by any means, but to us it was a pleasant surprise.

Conspiracy Theory (1997)

Dumbed down

[3/10 · 22 March 1999]

This one has a very clever premise cleverly worked through, and good suspense, but it is let down by being soppified down to the market: an unbelievable romance, an unbelievable ending, and too long by 15-20 minutes. Performances are good -- Mel Gibson does this sort of character well -- but they can't save this potentially good movie from turning to mush.

Hideous Kinky (1998)

Meandering plot

[7/10 · 16 February 1999]

This film can boast superb cinematography, excellent performances by all (the two children in particular), dense atmosphere ... but a meandering plot that had me looking at my watch with 15 minutes to go. Basically there was little suspense because there was no sense of direction in the film. It is a series of episodes rather than a coherent story. As a result the characters lack real lives, and there is little incentive to care much about them.

Fever Pitch (1997)

Insights into obsession

[19 January 1999]

This film explores the life, thoughts and relationships of an obsessive sports fan. It happens to be have been made in England about a particularly dramatic title win (Arsenal's 1989 victory was the stuff of legend), but applies to obsessives everywhere, who pin all of their happiness on some team over which they can exert no control. The writing is insightful, for example "I don't know whether life is s*** because Arsenal are s***, or the other way around" will be recognised by any fan of a sporting (or political) team, and the central character's long-term reaction to the long-sought victory is spot on. The acting and direction are also spot on. The mellifluous Colin Firth leads an excellent ensemble, from which Mark Strong (as Firth's buddy) stands out. Like the best British films (Brassed Off, for example), this one has real situations and real, recognisable characters you care about, spiced with gentle comedy. I recommend this one warmly.

L.A. Confidential (1997)

Should have been great

[15 December 1998]

First, the bad news: the ending is a cop-out, a great disappointment after what had been a hard-edged film; and too much time is spent on the Kim Basinger role. Everything else about the film I admired. The texture is the main thing, the noir feel, captured perfectly. As in the best noir films, there are menace and humour; characters grow and change, and you don't know whom to trust. The story and characters are satisfyingly complex, the film looks right, and the acting is out of this world. As an Aussie, I was justifiably proud of the very versatile Guy Pearce and Russell Crowe (we claim NZ-ers when it suits us), and James Cromwell and Kevin Spacey are excellent as usual. It should have been a great film, but with that ending it has to be regarded as nearly-great.

Dating the Enemy (1996)

Clever switch

[1 December 1998]

Ten minutes into this one, and I had had enough. Half an hour in, my wife and I were in stitches. The joke - it is a one-joke film, and so what - is that somehow, magically, the two estranged lovers exchange bodies. Each has to cope with the other's job and the demands on the opposite sex, and, of course, each develops a new understanding and appreciation of the other. There are predictable situations (his first experience of PMT, her first erection, their first sexual experiences in their new bodies, difficulties with how to treat work colleagues), but they are funny, and exceptionally well acted. Guy Pearce ("LA Confidential") as a woman with a man's body, minces as he did in "Priscilla, Queen of the Desert", and his opposite number, Claudia Karvan, catches assertive male body language beautifully. At times, the joke seems a little over-extended, but it is good-hearted and good fun.

Brideshead Revisited (1981)

Nostalgia that enriches.

[15 November 1998]

A dream cast with a magnificent script (John Mortimer) brings to life Evelyn Waugh's elegiac upon the between-wars years. Golden years and golden people are lost, and the sense of loss is captured in the changes inflicted on the buildings, and in Geoffrey Burgon's heart-wrenching score. Brideshead captures the clash of humanistic values with those of old-time Catholicism, while tracing the decline of an aristocratic (somewhat precious) family, in a series that is part comedy, part romance, part tragedy. It is an enriching experience that no-one should miss.

The Norman Conquests: Living Together (1977) Season 1, Episode 2

Comedy that satisfies

[10/10 · 15 November 1998]

The Norman Conquest trilogy is a most satisfying set of tales, in which the events of one week-end are told three times, set in different rooms through the eyes of different characters, none of whom has the whole picture. The script (Ayckbourne) is witty, the ensemble of actors clicks, and the characters they play are well defined and interesting. Tom Conti, as the pivotal character, exuded the charm and charisma that were subsequently lost in Hollywood; Richard Briers and Penelope Keith were at the top of their "Good Life" form; and David Troughton was marvellously lovelorn as the vet. See the three episodes. You won't regret it.