Displaying items by tag: Peter Malone's Movie Reviews

THE REBEL

UK, 1961, 105 minutes, Colour.

Tony Hancock, George Sanders, Paul Massie, Margit Saad, Gregoire Aslan, Dennis Price, Irene Handl, John Le Mesurier, Liz Fraser, Mervyn Johns, Peter Bull, Nanette Newman, Oliver Reed.

Directed by Robert Day.

British comedian Tony Hancock was extremely popular on radio and television, especially during the 1950s. This was his main feature film – appearing in small roles in a few films during the 1960s. Certainly, alcohol and drug problems, depression, he committed suicide in Sydney in 1968 at the age of 44. However, he is still considered highly in the history of British comedy.

The screenplay was written by the team of Ray Eagleton and Simpson, writers for his radio programs as well as television. And he keeps his own name as his character, I don’t identify with the ups and downs of his experience, the target of satire while creating satiric comment 1960s society – and especially art pretensions (many French existentialist style).

The film begins amusingly with Hancock on a railway station, she did to get a seat on the crowded train with all the men in balls and suits, and newspapers, uniformly going to work and routines office. Comedy with the boss, John the measure. At home, Hancock has a huge sculptor, complains his landlady, I really handle, then his decision to free and go to Paris as an artist.

He listens into a group of artists, especially Paul Massie (and a glimpse of Oliver Reed) in a cafe, is invited to share an apartment, and begins his art. In the meantime, Paul Massie, not confidence in himself, has produced quite a number of paintings. There are a whole lot of Sion meetings, pretentious looking artists (especially a cameo by Dennis Price) and women, looking the same, black hair, white asked. And, they listen to Hancock who has the gift of the gap and who is feted, especially taken up by an aristocratic agent, a typical George Sanders role, who mistakes Paul Massie’s paintings for those of Hancock who does try to intervene but then goes and lives the celebrated life.

So, a lot of situation comedy, especially on the yacht millionaire and his glamorous wife who pursues Hancock.

Ultimately, Hancock sets at the moment of truth, and admitting that the poor work was his own but the good work was that of the artist. Goes back to the landlady and resumes his sculpture.

An example of British comedy in the 1960s, the work of Tony Hancock, still amusing in its satire and his impersonations and gift of the gap, but still rather dated.

CARRY ON CAMPING

UK, 1969, 88 minutes, Colour.

Sid James, Kenneth Williams, Charles Hawtrey, Joan Sims, Terry Scott, Barbara Windsor, Hattie Jacques, Bernard Bresslaw, Julian Holloway, Dilys Laye, Peter Butterworth, Betty Marsden, Trisha Noble.

Directed by Gerald Thomas.

By this time, the Carry On series had been going for over a decade, with small black and white, it is to cover comedies and strong popularity, not only in the UK but overseas – but, not so much in the United States.

A great number of bloggers on the IMDb considered as one of the best of the Carry on series.

For this reviewer, it seemed one of the weakest. It is 1969, the film opens with an extensive coverage of a nudist film, something of a breakthrough for mainstream films in the late 1960s (not a feature of popular comedies from the US). It is take for granted that there will be sex jokes and references, innuendo, objects recycled, obvious is… And that is certainly the case here. However, this to be more of a leering turn their in many of the other films, Sid James being particularly ogling and leering here.

One of the advantages of the film is that so many of the regular cast are present. A very sympathetic presences, especially Joan Sims and Bernard Breslau (always putting his foot in it as since good friend). And, there is the young Barbara Windsor – exactly and inhibited presence on screen. Hattie Jacques is serious, even in a comedy and Kenneth Williams is always himself. Many might find Charles Hawtrey very irritating this time round and there are troubles between Terry Scott Betty Marston as his non-listening falling wife.

It would be interesting to see a feminist review of Carry on Camping and its presentation of the objectification of women, especially young women, this comedy presentation of the male gaze with Sid James’s line: what are the young women always there where I’m staring!

And, with the ending the people gathering for music Festival, remembering that 1969 was the year of Woodstock – although the oldies and regulars from the Carry on films are against the festival and oust everyone.

OPERATION BULLSHINE

UK, 1959, 84 minutes, Colour.

Donald Sinden, Barbara Murray, Carole Leslie, Ronald Shiner, Naunton Wayne, Dora Bryan, John Cairney, Fabia Drake, Joan Rice, Daniel Massey, Barbara Hicks..

Directed by Gilbert Gunn.

Watching this British comedy in the late 1950s, emerging in the same time as the Carry on series, including Carry on Sergeant in a similar vein, it is surprising to see how sexist this film is. Most of the man are ogling and drooling over the women. There are implications that women shouldn’t be involved in Army training manoeuvres. And there are all kinds of sex-farce complications about marriage and affairs.

One notices that many bloggers refer to the film as “witless”, as regards its themes and as regards the type of farce comedy on display. (The theme song throughout the film is Girls in Arms. Girls at Sea was released the year before, both films directed by Gilbert Gunn.

There are some surprises in the cast, especially Donald Sinden, a popular leading man of the 1950s as well as comedian, Naunton Wayne, best known for his comedy routines with Basil Dearden, especially 20 years earlier in The Lady Vanishes. There were comedians of the time like Ronald Shiner who appeared in both films as did Fabia Drake and Daniel Massey, Massey at the beginning of his career. The main member of the cast who gets into the spirit of things and gets away with a lot of the comedy as well as vigorous dancing is Dora Bryan.

While the film be seen as indicative of British comedy of the 1950s – and its themes developing during the 1960s with greater permissiveness, it does not offer a great deal of entertainment value.

THE STRANGERS – CHAPTER 3

US, 2026, 91 minutes, Colour.

Madelaine Petsch, Gabriel Basso, Emma Horvath, Richard Brake, Hannah Galway, Rachel Shenton, George Young, Pedro Leandro.

Directed by Renny Harlin.

The Strangers, Chapter 3 continues the narrative from the first two chapters but also has some explanations from the past.

There is a prologue set three years earlier than the present, a young woman coming to the motel, given a fatal room, the three killers with their masks coming to her room, abducting her, killing her.

Meanwhile, in the present Maya continues her attempts at escape from the masked killers. Once again she is very resourceful but becomes the victim, not only of the sheriff, but also of the masked Gregory, get caught up in the sinister events, take refuge in a caravan which is attacked, the husband killed, the sister abducted and killed in front of Maya.

There are further complications when Maya is taken and an innocent couple in the motel room are confronted with the trio, but Maya able to stand one of the killers. Gregory, putting her mask on Maya, Maya to stand in for the young woman.

There is also a sequence when Maya, mourning the death of Shelley, unmasked.

In the second part, there was some explanation of Gregory and his partner, flashbacks to school days. This time there are more explicit flashbacks, a young Gregory killing, partnering with Shelley, his father the sheriff covering up with the guarantee that nobody local was killed. There is also a scene where Gregory and his associate invade a hotel room, intending to kill a couple, only to find that the woman has killed her flirting boyfriend. She dons a mask and becomes one of the group.

There is a buildup to the finale, Maya entering the tunnels and finding the sheriff, who has stabbed his deputy who has worked out what is happening, sitting in his cabin, listening to religious broadcasts. Maya advances through the tunnels, into Gregory’s shrine, building up to a final confrontation, Gregory and now Maya pretending she loves him and then killing him.

CRIME 101

US, 2026, 139 minutes, Colour.

Chris Hemsworth, Mark Ruffalo, Halle Berry, Barry Keoghan, Corey Hawkins, Monica Barbaro, Nick Nolte, Devon Bostick, Jennifer Jason Leigh, Taie Donovan.

Directed by Bart Layton.

The 101 of the title is actually the highway through Los Angeles. However, Crime 101 sounds like the title of the basic university course. And, those interested in high-class and well-planned heists are provided with what might be called plentiful tutorial material for their hoped-for careers. But ministers will sit back and enjoy it all.

Writer-director, Bart Layton, has adapted a novel by Daniel Winslow and has intended to make a big budget, strong cast, highly colourful Los Angeles drama. Which he does. Immediately we are introduced to Mike, Chris Hemsworth at his charming best, a gentleman thief, meticulous planning, no hurting anyone, but getting away with jewels. We get a glimpse of his patron, sounding more gravellyy-voice than ever, Nick Nolte.

Then we are introduced to the other key characters, Sharon, Halle Berry, 11 years with a high-class insurance firm, discussing with millionaires policies and planning for a society wedding; Mark Ruffalo as Lou, a veteran LA detective, dishevilled, expert profiling criminals but tending to be looked down on by the smarter professionals. Then, an entirely different character, Orman, Barry Keoghan (in so many films these years), a petty, very petty thug with some-confident violent attitudes, who has to follow Mike and report back on his plans – although he too sets up a rather messy bank robbery to build up his credibility.

There is something not quite right in the lives of each of the main characters and, gradually, they are brought together, Sharon and Lou  through self-help and yoga classes, Mike and Sharon because he investigates her being passed over, humiliated at her company.

This is all moving towards a buildup for the heist in the luxury Beverly Wilshire hotel, the millionaire and his fiancee, a safe full of cash, jewelry, a security expert coming from Europe – and some substitutions, to catch a thief, an intrusion from the violence Orman.

Bart Layton achieves what he set out to do, nothing more, nothing less – a Los Angeles crime action adventure, heists, investigations, car chases, identity switches, and entertainment.

1. The title, like a college course title, but along freeway 101?
2. All film traditions of crime set in Los Angeles? The classic traditions? 21^st-century version?
3. The Los Angeles settings, the opening credits, upside down, angles, the city, the highways, the lights, buildings…? Atmosphere? The streets and the poor sections? The contrast with the Beverly Wilshire, luxury hotels, insurance offices, police precincts, jewelry shops, yoga classes…, The musical score?
4. The background of the voice-over, self-improvement, the background from Mike, Sharon listening, the yoga classes, Lou present and learning, so it is and motivation for the characters?
5. The morning, the characters getting up, Mike, person, dress, driving, the car and the man in the boot, the shop, the owner, the jewels, the couriers, the fakes, the real jewels of the ankle, the gun, the pursuit, the confrontation, the robbery, the career shooting and a drop of blood in the car for later detection? Letting the man out of the boot? Mike and his robberies, never injuring anyone? Chris Hemsworth, screen presence, the building of a character and personality? The mystery?
6. Lou, status in the police force, old-style, theories, the network of authorities, looking down on him, work with his partner, his partner to bring with him, wanting to work with him? At the site of the various crimes? Lou and his theory, the 101? The man, eliminating various criteria and the remnant of crimes along the 101? Lou profiling the criminal? Lou, at home, his wife, intrusion, the later meeting, the anchor, his walking out, the apartment by the ocean? Going to yoga, the encounter with Charlotte?
7. Sharon, insurance, see her in action, with Munro and mistaking his wife or girlfriend, the wealth, the discussions about the insurance, the forthcoming wedding? Her age, early years, the promise of promotion, following her off, the men on the staff, the new associate, Fabio, taking Sharon’s job, the achievement and praise, Sharon later telling her the truth in front of the executive? Sharon listening to the tapes, the yoga? Living alone, sleep and its limitations? Upset?
8. Money, his age, and Nick Nolte character, raspy voice, the interview with Mike, controlling him? Mike and his rebellion? Wanting to keep his methods, get money, retire? Money and his son summoning All men, knowing Allman’s father, a different kind of criminal, tough, age, look, motorbike, following Mike, Mike observing him, removing the tracer on the car? Observing, Mike’s contact with the IT man, information about peoples access? All finally attacking him, brutally? The scene of the robbery in Santa Barbara, tough, the baby, the locked door, his anger, the victims, the robbery and his escape?
9. Mike, the car crash, discussions with Meyer, the date, the discussions, with high class, the mystery of his background? His reticence? The affair, continued seeing each other?
10. The information about Sharon, encountering her and was discussion about cars, at the Gallery, his arranging the meeting, his discussions with her, knowing all about her, her resentments, the standing for firm and integrity? The scenes of the office, passed over again, her contacting Mike, the explanation of the situation, the methods, the wedding, the insurance, the protection from Europe?
11. The conscience, going to Lou, giving him the information, Lou and the setup outside the jewelry shop, the boy, the shooting, the cover up, his being sacked? The reaction?
12. With, the plan, Mike and his taking the place of the security guard, the flight from Europe, the transition, Mike waiting, Lou taking the place of the guard, the conversation about Steve McQueen, bulletin chases, The Thomas Crown Affair and a gentleman thief?
13. All in, getting the job at the hotel, getting the number of the room, preparing to ?
14. The situation in the room, Mike, the emptying of the safe, the jewels, the gun? Lou pulling the gun, the confrontation, all in, the three games, the woman in fear, the shooting, the wording Munro, the death of Allman? The deals, Lou and his letting Mike go, his previous tracking down Mike’s family, the discussions with his mother?
15. The aftermath, Mike and the car, leaving, sending the photo, Maher and the photo of the family? Lou giving the the jeweller diamonds to show? At the yoga?
16. The gentleman thief, some integrity, writing background, the crime thriller, detection, the resolution?

ELLERY QUEEN, MASTER DETECTIVE

US, 1940, 69 minutes, Black-and-white.

Ralph Bellamy, Margaret Lindsay, Charley Grapewin, James Burke, Michael Whalen, Marsha Hunt, Fred Niblo, Charles Lane, Anne Shoemaker.

Directed by Kurt Neumann.

The first of seven films, 1940-1942, supporting features at Columbia Studios, featuring stories by Ellery Queen and featuring the writer and his detection. Ralph Bellamy appeared in four of these to be followed by William Gargan for three. But, Margaret Lindsay was present in all seven as Nikki Porter, eventually Ellery Queen’s secretary, Charley Grapewin as Inspector Queen, Ellery’s father, and James Burke as his assistant, providing a lot of the comedy and even some slapstick.

Each film involved a murder, or more, the police investigation, Elleru either called in or joining in, and Nikki Porter becoming involved. In fact, in this film, she had not met Ellery Queen but has been writing novels, rejected considered not in the league of the Queen stories (though she has all his books). The basic situation is that a celebrity body builder/health expert (played by veteran director, Fred Niblo, who directed the 1925 Ben Hur) is found dead. The doctor assisting him is a with his daughter. He is also concerned that the health expert is dying of cancer, experts called in, examination of x-rays – and then the man is dead.

The doctor and his fiancee are very friendly with Nikki Porter and go to her for help. She goes to investigate at the family home but is detained after finding the body and she becomes a suspect. And, with Inspector Queen involved, that is how she meets Ellery Queen who decides to help her, taking her home, some complications with his father and meals so that he has to set her up as the cook! Soup put of vans and burning the steaks and pouring water over to quench the fire!

Many complications, suspicions about the health expert’s associates and their previous work, but, they are not the murderers and, as always, it is someone that we had not suspected.

At the end, Ellery hires Nikki Porter as his secretary… And the series goes on.

CHRIS & DON: A LOVE STORY

US, 2007, 90 minutes, Colour.

Don Bachardy.

Directed by Guido Santi, Tina Mascara.

The Chris and Don of the title are British writer, Christopher Isherwood, and Californian artist, Don Bachardy. Isherwood achieved some fame with his writings, especially his Berlin stories and his time there in the 1930s, adapted for the theatre and for the screen as Cabaret.

For audiences interested in Christopher Isherwood, this is a portrait, something of his history, moving from England to Europe, to Germany, and then finding a long-time home in California. It is not, as some bloggers complained and wanted, a study of Isherwood as an author. However, in fact, the audience does learn quite a bit about Isherwood himself, his talent, his writings, fiction, and for many years, his attention to his diaries (quotations read throughout the documentary by Michael York, star of Cabaret).

Isherwood died in 1986 but appears in many home movie sequences as well as interviews and his meeting with literary celebrities. Christopher Isherwood was a gay man, not troubled in being out in society, and linked, as here in photos, with significant gay authors of the 20^th century, E. M. Forster, Tennessee Williams, Truman Capote.

But, in fact, this film belongs to Donald Bachardy. He had encountered Christopher Isherwood when he was in his teens, at a gay beach. Some comment about Bachardy being young but the sharing the relationship for 34 years. The film is very much about that relationship, quotations from Isherwood, Bachardy being at the centre of this film, 22 years after Isherwood’s death, Bachardy in his 70s.

He appears in a lot of home movie/ video material, but now explaining to camera the situations of those times and his feelings, the relationship and the development. Isherwood was something also of a father figure, encouraging Bachardy in his art studies. As an artist, Bachardy has great skill in his sketches-portraits – and, in Isherwood’s final days, sketching him even up to 9 times a day, showing so many of these portraits to camera.

There are a number of interviews, especially in connection with the Isherwood’s interest in film, he and Bachardy writing the screenplay for the Frankenstein film which starred Michael Sarrazin. British director, John Boorman, has studied Isherwood’s writings and diaries and makes comments. There are several appearances by Leslie Caron, a friend of the couple.

Throughout the film there are animated sketches illustrating the relationship between the couple, the relationship between a cat and a horse.

There is always the question of Christopher Isherwood’s his talent, his status in the literary world. However, his relationship with Dan Bachardy over so many years is significant in the history of society’s awareness of, acceptance of, homosexuality and gay relationships.

KILLER WHALE

Australia/US, 2026, 89 minutes, Our colour.

Virginia Gardner, Mel Jarnson, Mitchell Hope, Ron Smyck..

Directed by Jo-Anne Brechin.

With its very straightforward title, there are comparatively few surprises as we watch this brief action adventure.

Killer Whale was filmed in Brisbane, with an initial setting in a city which could have been American or Australian (and co-stars Virginia Gardner, American, sounding Australian while Mel Jsrnson, Thai-Australian, has an American accent). But the main action takes place in Thailand, the Andaman Sea islands, an enclosed lagoon but broad, craggy outcrops and the beach.

There is initial interest in Orcas, in captivity, not killers in captivity, but the presentation of an orca held for entertainment. It appears, then, that it has escaped but is trapped in the lagoon, someone then saying that it still feels entrapment even though it is now free in the sea.

For a while, the film focus is on the relationship between cello student working in a takeaway, Maddie, and her supportive boyfriend. Then there is a robbery at the takeaway, fight, the thief fleeing, the boyfriend reassuring Maddie then struck by a car. A year later, she is still grieving and has given up the cello.

Then her best friend from long ago, Trish, persuades her to go on a holiday to Thailand, meeting an Australian-sounding man at a refreshment stall, and their going out swimming. Enter the orca.

It seems that the men are disposable and disappear from the action. For the most part of the film, the two young women are trapped on an outcrop, trying to save themselves, calling for help, getting some water, a attempt for some food. However, there is also unexpected drama in the revelations that the initial robbery had been set up by Trish in need of cash for her course!

Maddie upset, Trish trying to make amends, swimming to the shore, trying to enable Maddie to come to safety…

In fact, there have been many of this kind of film with two young women stranded on islands, underwater, on the top of cliffs, action shows which are rather undiscriminating in their style, designed and written for a popular audience all over the world.

IRON LUNG

US, 2026, 127 minutes, Colour.

Mark Fischbach, Caroline Kaplan, Troy Baker, Elsie Lovelock, David Pettitt, David Szymanski.

Directed by Mark Fischbach.

Iron Lung will be well known to gamers, but unfamiliar to those who do not playing computer games. The Wikipedia entry for Iron Lung provides significant background information:

Development on an Iron Lung film adaptation began in April 2023, when Mark Fischbach, better known as Markiplier on YouTube, announced he would be adapting the game into film. Markiplier, who had previously played Iron Lung on his YouTube channel, stated it would be self-written, self-financed, and star himself alongside Kaplan. Szymanski had been involved with it since pre-production, assisting with its screenplay and being on set during filming, and that he would have a small cameo. Markiplier also co-produced alongside Will Hyde and Jeff Guerrero.

The location is intergalactic. And, there has been devastating collective experience, a Rapture which destroys planets and eliminates human beings. The basic plot concerns Simon, a prisoner, commission to take his submarine through a sea of blood in one of the planets. The cinematography in the planet is generally dark, as is the mood of the whole film.

The atmosphere in the Iron Lung is claustrophobic, for Simon and for the audience, some technical equipment, but much of the technology old Limited, some communication through radio and voices. There are many complications, derived from the game, Simon surfacing, sent down again, a skeleton on the ocean bed, radiation of the outside crew…

The film is certainly not lacking in plot, the character of Simon, his background, appearances a boy, relationship with his father. There are various complications on the voyage, the orders to find a sample of a creature, injuries to Simon, more radio contact…

Which means that for the ordinary audience, it is quite a challenge to follow what is going on, to understand and emphasise empathise with Simon, the intricacy of the plot development.

But, with fans, the film has been commercially successful around the world.

THE PHANTOM OF 42nd STREET

US, 1945, 61 minutes, Black-and-white.

Dave O'Brien, Alan Mowbray, Kay Aldridge, Frank Jenks, Edythe Elliott, Jack Mulhall.

Directed by Albert Herman.

A very brief supporting feature, a murder mystery, three murders, in fact.

It is set in the theatre district of Broadway, a focus on a critic, played by Dave O’Brien (very familiar to older audiences from the MGM shorts, Pete Smith Specialties, and as later writer for the Red Skeleton Show). He reviews a play with a renowned actor, Alan Mowbray, and interviews his daughter, Kate Eldridge. He is busy reviewing the play but his editor wants him to investigate the murders.

The theatre critic relies on his taxi driver, Frank Jenks, so often a comic sidekick in this kind of film.

A lot of time is spent in the theatre, the critic becoming more involved, attracted to the daughter, interviewing the father, suspecting some kind of revenge because each body was found with a threatening note and a Shakespearian quote.

The critic also looks at a past program, discovers a leading lady who now owns a boarding house, interviews her, she goes to the theatre, identifies some of the staff there from the old days, the revelation that she was in a relationship with the actor and the actress is her daughter!

Instead of a gathering of all the suspects in an Agatha Christie style, there is a re-enactment of the death of Julius Caesar in Shakespeare’s play, hoping to lure out the murderer to stab the actor. The critic is right, it is a revenge story, an actor from the past was jealous, in love with the landlady, and he disappeared…

An enjoyable time-passing revisiting of this kind of supporting feature.