I was a big fan of the original "28 Days Later" from 2002, and I also appreciated the sequel "28 Weeks Later" as well. I expected a "28 Months" movie fifteen years ago but it never materialized. So instead, almost 28 years after the original (really only 23) we get a legacy sequel which tries to restore the franchise to life, which is an odd thing considering that many people consider it a zombie film. Regardless of how it is classified, the new film stays relatively true to the preceding movies, with a couple of variations that are bootstrapped in to make the story feel more substantial and original.
An idyllic community has been established on a coastal island, which is only accessible on a bridge that is only accessible during low tide. While there is a threat of infection from the mainland, that possibility is remote. The bigger issues facing the community are limited resources, lost knowledge and in one case, the absence of medical facilities that might be life saving. The community has become a cult of rituals, meant to perpetuate the group and prepare youngsters who were born into this cloistered society, how to deal with the world they live in. The first act of the film is a father-son bonding ritual which involves confronting the outside world, killing some of it, and surviving the terrors that exist on the mainland. Spike, a twelve year old who trusts his father and adores his mother, gets confronted with a confounding situation when his expedition reveals things about his Dad and the world that his mend is not ready to handle.
If there is a weakness in the story, it is not in the action or characters but rather in the short sighted thinking of a kid. His motives are pure but his method is nuts and he should know that. The story becomes a quest for help that lays past the sections of the map that in the old days would be labeled "Here there be dragons". Spike is resourceful, but there are a couple of convenient moments that solve problems that he would have been unable to manage on his own. There is a good deal of tension in this middle section, as the threat of rage-infected humans looms around every corner. he action is intense, and the escapes are narrow, and the complications are interesting.
The third act is mystical and disturbing, and it is almost a polemic on euthanasia. Ralph Fiennes appears as the most interesting character in the story, and his narrative, while a little preachy, does give us some issues to think about. The conclusion of the movie will throw you off, but I understand that if you live in Great Britain, it will make a lot more sense. There are apparently two sequels coming so Aaron Taylor-Johnson, who plays the dad, will probably be back after disappearing from act two and most of act three. Jodie Comer will be missing for an obvious reason, but that should not surprise anyone who makes it into the movie for twenty minutes. By the way, the opening, which is a revisit to the onset of the zombie apocalypse, is smashing. Those sequences in these kinds of films usually are.
Although listed as part of the Summer Classic Film Series, this screening of "When Harry Met Sally" was a combined event with author Katherine Center and one of the city’s most famous couples, Jared and Genevieve Padalecki. As such it required a separate admission from our Premier Passes. We spent an interesting hour as the couple interviewed the author about her summer romance novels and her latest product.
The conversation was filled with warm jokes and shared romantic experiences. It was billed as an evening of romance and I guess you could say that for the fans of the authors work, it was a success. Amanda has the book and when she is done with it I will attempt to read it as well. What really brought me to the event however was the chance to return to one of the perfect Romantic Comedies of the 1980s, and a pairing of actors that was magical.
When I wrote about the film as part of my TCMFF coverage a few years ago, I mentioned that it was the movie that I took my wife to see for our anniversary that year. When we watched the clips of the old married couples, which were dispersed throughout the film, we laughed and imagined the stories we would be telling when we were that age. We made it to 38 years together, but we didn't get a chance to tell the stories like those couples in the film. I will do a little of that here. Unlike Harry and Sally, we met in High School, not at the end of college. Our senior year was full of rivalry flirtations since she went to a different school than I did. Although Harry initially hits on Sally, he is not smitten with her and they part ways. Dee and I went differently, although I was hesitant at first, the more time we spent together, the greater the attraction for both of us. I never mocked her food selections at a restaurant, she was not used to eating out and we split a lot of meals.
The kibitzing between Harry and Sally however, was something we shared with the characters. Both of us were smart-alecks and had fun teasing each other or ragging on others under our breath. Harry has twisted philosophical comments through out the film, and Sally has incisive insights into men and women that reflect Harry's behaviors. They are a great match although they resist the pull of romance for most of the film. We never did that part, we dove full in. Billy Crystal has a deflective way of commenting on everything, and that style of humor turns out to be perfect for the tone of the film. Meg Ryan was at the height of her "cute" stage and she played the insecurity of Sally perfectly. Bruno Kirby and Carrie Fisher practically steal the movie as their best friends who find love in each others arms and wonder what Harry and Sally are doing with all the dance.
Nora Ephron was the queen of the smart romantic comedy and her screenplay here is marvelously witty and not overly sentimental, in spite of the old couples inclusion. Director Rob Reiner was in the middle of one of the greatest runs of fil ms by a director ever, with "The Princess Bride' right behind him, and "Misery" and "A Few Good Men" coming up next. The synergy of the actors and creatives make you want to order whatever they were all having for lunch.
We all hope that Harry and Sally will be our story, where we fall in love with our best friend and find long term happiness. I don't mean to brag, but that is exactly what I did. What a lucky guy.
Let's face it, if Sean Connery is in a movie, I want to see it. Sunday we did two Sean Connery films. Highlander" and "The Untouchables". That is a very satisfying Father's Day. 12 years ago we did a different double feature of Sean Connery films, "Goldfinger" and "Indiana Jones and the Last Crusade. If you would enjoy a little piece of history, below is a vlog post I did for that event.
We went to see the film again this week, almost exactly a year after our last big screen viewing, which you can read about here: Last Crusade 2024.
I don't have a lot of new things to say, I have written about the film many times before, but as I promise in the header, "If I Saw it in a Theater, you will read about it here."
The chemistry between Connery and Harrison Ford is incredible, It's too bad they did not get a chance to work together again, because I could imagine an action film like "The Hunt for Red October" with a cerebral thriller featuring these two great actors. I love the scene between them on the airship where Indy is reminiscing about their strained relationship and Dr. Jones Senior takes him to task for leaving just as he got interesting. The flummoxed look on Harrison Ford's face and the defiant tone in Connery's voice made for a humorous but also personal moment in the film.
Connery also got to ham it up with Denholm Elliot in several scenes and leave us with a much better impression of his character than the stern and cold father that Indy remembers. When in doubt, ALWAYS see "Indiana Jones and the Last Crusade", and always see it on a big screen.
I saw this film with my wife when it first came out and we enjoyed it but frankly, I did not think it was a great film. It is a popcorn picture that looks a little cheaper than it should. They must have spent most of the budget on Sean Connery for his brief time in the story. I enjoyed Christopher Lambert in "Greystoke: The Legend of Tarzan" two years before. He was okay in this film, but it was clear that he was going to get by on physical charisma in his career and not acting chops. Clancy Brown on the other hand, understood the assignment and went full on nuts. He mugs and hams it up, just the way his character should.
Sean Connery, shows up for the second act and plays the part of a mentor to Lambert's Conner MacLeod. Much ridicule has been made over the years of his being cast as an Arab, from Spain, with a Scottish Accent. However, it may not be inconceivable that in the 1200 years he was alive, he picked up some traits from all the places that he's lived. Also, if that is the credibility stretcher for you, you have not been paying attention.
The best element of the movie is the notion that immortality takes it's greatest toll on those that we love and must leave as they die. MacLeod suffers from his loss obviously, but the strain on his Scottish wife was pretty well drawn in the film. Another character from the 20th Century illustrates it as well. I don't want to give the movie too much credit, it is still a cheesy piece of pop fantasy, but it is completely watchable and I enjoyed the revisit.
Local Director and friend of the Paramount, Robert Rodriguez, hosted and scheduled this program. He does a nice job talking about the films and the film makers that he had connections with. He shared his story about this movie in the conversation you can listen to below.
The second film in our double feature is the terrific Brian DePalma movie, "The Untouchables". It is impossible to imagine a better Sean Connery part (with the exception of the film I will be writing about next). Connery plays a put upon beat cop, who has resisted temptation and played straight with the law instead of getting into bed with mobsters. He becomes a mentor to the enthusiastic but as yet untested Elliot Ness, a Treasury agent, in pursuit of Al Capone.
The relationship between Ness and Jimmy Malone (Connery) is funny, fatherly and frustrating at times. Jimmy needs to trust Ness and Ness takes some getting used to because of some tentative characteristics. The team gets substantially enhanced by Andy Garcia as a rookie cop, with deadly shooting skills, who gets drafted into their unit. Garcia is fine in the action scenes but doesn't have as much to say in the rest of the plot. Charles Martin Smith however, as Treasury Accountant and agent Oscar Wallace, is a delight in bringing a spark to the team because of his distinctive background. He is the square peg that they find a way to fit in.
The bad guys are pretty vivid with Robert DeNiro hamming it up as Capone. Billy Drago is a chilling Frank Nitti and his comeuppance is one of the great satisfactions of the film. DeNiro's scene with a baseball bat in his hand is his big moment on screen. The scene is directed with the usual style of Brian DePalma, it is elegant, and suddenly violent in an ugly way. The two big set pieces of the film are the border raid and the train station shootout. Both of these are strongly enhanced by my favorite Ennio Morricone score.
I have seen this movie dozens of times, and probably a half dozen times on the big screen. My first viewing was at the Cinerama Dome in Hollywood when the movie opened in 1987, it remains another hallmark moment in my Dome history. I am glad I can now pair it with a screening at the beautiful Paramount Theater in Austin.
Frankly, there may not be a more charming film in existence than "Babe". The story of an orphan pig who tries to find his place in the hierarchy of the farm is just too sweet not to love. It charmed the hell out of us back in 1995 when my kids were seven and nine. I took the youngest with me to this screening, she is now thirty-seven and she still loves it. (She will deny it, but I suspect it played a big part in her aversion to pork).
This film won the Academy Awards for effects the year it came out, over the shots of a space launch and rescue mission in "Apollo 13". That win should be an indicator as to how animation and CGI were soon to dominate the film landscape. This was also the same year as "Toy Story" so you can feel the earthquake and aftershocks with those two movies.
James Cromwell received a big boost to his career after this, and we were very sad that we missed him at the TCM Film Festival, talking about this movie, back in April. We did get to see it on the big screen through the "Paramount Summer Classic Film Series" and although it was promoted as a kids matinee, there were plenty of adults there to share in the pleasure of our talking pig hero "Babe". The relationship between Farmer Hoggett and his pig is a complicated one with a couple of grim moments, but Cromwell makes a joyous human who learns to trust his instincts and his porker buddy.
The Greek Chorus of Mice that introduce the various chapters of the story, are still amusing 30 years later, and when the lead sheepdog, swallows his pride to get help for "Babe" from the sheep, we get a few life lessons as well. I do think having a duck do the rooster's duties would be a lot of fun here at the house.
This movie was such a change up from the shark serial killer movie of the previous evening. Maybe all double features should work this was as a one-two punch, start with something hard hitting and then finish with something heartwarming. Two good days at the movies.
It was fifty years ago, this month, that "Jaws" the greatest film of the last eighty years, first dropped into our collective culture. Ever since that day, film makers have been striving to recapture the essence of the film. Some have stuck to the basic horror narrative, using the sharks as a monster to hook us into watching. A few films (especially TV movies) have tried to parody shark films into action comedies with varying degrees of success. Only occasionally, has a shark film created a aura that was reminiscent of the classic, "The Shallows" being the most recent example I can think of. This new film, "Dangerous Animals" tries a different approach and succeeds in getting the tension right, and the horror appropriate. It is not anything close to the quality of film that "Jaws" is, but it has some things going for it that make it my favorite film of the year so far.
If you watch the trailer, you will understand the premise very quickly. We have a serial killer whose method of murder is feeding his live victims to ravenous sharks while the victim is still alive. This is potentially a gruesome horror film that could be classified as exploitation, except for the fact that director, Sean Byrne, has learned his Spielberg lessons well. Instead of extended scenes of sharks dismembering the poor subjects of the killers plans, we see just enough to be terrified, but not enough to be revolted. There is blood in the violence, but it is not the over the top fountains of a horror film like "The Monkey". If ever a horror movie could claim to be in gory good taste, this one is probably it.
The big advantage that this movie has over other exploitation films is that it has two dynamic characters that are really interesting. The main character is Hassie Harrison, as Zephyr, an itinerant American, surfing the coast of Australia. She is emotionally damaged, we can see that, but she is not unreachable as her one night stand with a friendly local explores. She is also not a mere damsel in distress. She is smart, resilient, and relentless in trying to fight back against the antagonist. Zephyr is not simply going to resign herself to a fate that she becomes an eyewitness to, she is going to struggle in any way possible to keep living. She may not be the easiest character to love, but she is clearly one that we are happy to root for, time and time again.
One of the faults of some thrillers is the good luck that the victims sometimes run into, which allow them to escape and give us unearned hope. This movie turns that trope on it's head. It is the killer who ends up with all the good luck on his side as he repeatedly thwarts Zephyr in her escape plans. Jai Courtney is Tucker, the deranged serial killer who can mask his evil with an avuncular round of "Baby Shark" one moment, and then a knife in the throat the next. I have seen in in half a dozen other movies over the last few years and he always seemed to me to be a guy who was just missing it. An actor who would have occasional moments but never enough to be memorable. He was bland as you could get. This film however, gives him a part that is screaming for some charisma, and he delivers. Courtney has the glint in his eye of a maniac, and the physical form of a damaged brute. It is impossible to take your eyes off him when he is on screen and that says something because his counterpart is attractive as heck and in a bathing suit for most of the film.
The script allows us to believe a few things that are unbelievable. The brief fling that Zephyr has with local Moses, becomes for him an obsession, only in a good way. The fact that Moses and Zephyr are surfers and they are connected by a particular beachfront spot, becomes a key point in building up a chance that Tucker could somehow be derailed. Zephyr knows what is coming because she also meets Heather, a fellow pawn in Tucker's twisted game. If there is any heart in the film outside of the truncated love story, it is in the few minutes that Heather and Zephyr share as they await their fate.
Sharks are in the film, but first time screenwriter Nick Lepard and director Byrne, seem to know that the fish are the least dangerous animals in the food chain of this thriller. Their role is kept to a supporting part, which makes them all the more effective when they do come into play. For some reason, this film is not getting many screens or much publicity, which is really unfortunate because, like the mother of all shark films, it is really not a horror film as much as it is a thriller. I know it is produced in partnership with Shudder, which is a horror outlet, but you are selling the movie short if you keep it in that box. This is a great twist on the great white, and in spite of the fact that it is being promoted as from the producers of the excretable "Longlegs" you should seek it out.
[Just a clip from the film, because the official Trailer gives away too much]
I want to be careful not to classify this as an Indian film because I believe it comes from Pakistani filmmakers. Still it is set in London, so it is in English and takes place for the most part in a western environment. This movie caught me completely off guard, I really had no idea what it was about, I just know that Amanda and I had talked about seeing it a year or two ago and we never got around to it.
The fact that it was playing at the Paramount for the Summer Classic Movie Series was just serendipity. As it turns out the movie is largely a martial arts fantasy featuring two sisters of Pakistani heritage, struggling to find their place in the world, and not getting much assistance from anybody else. I was a little worried at first that I would not be able to distinguish the two actresses because they have similar appearances, but that thought disappeared after just a couple of minutes. Both actresses are young and quite lively and lovely.
Although it is a martial arts film it did remind me a little bit of “Bend It Like Beckham", where a girl who is an outsider because of her heritage, struggles with friendships with her Western counterparts.” Polite Society” however goes over the top in creating what is almost a James Bond type of Adventure, based on some strange motivations that when they are revealed are quite hysterical. The performances at first are deliberately exaggerated, but the writers and the director clearly have an affinity for the characters, in particular our lead actress Priya Kansara. She plays Ria, a high school student who wants to be a stunt woman, that's her goal in life and nobody seems to feel like she's really thinking very practically. Ria does get reluctant support from her sister Lena played by Ritu Arya, but her sister has her own problems.
There's a lot of cross-cultural humor, particularly in regard to the courtship of the older sister and a handsome biomedical researcher from a wealthy family. The passions of the younger sister can simply not be contained and they spill over in a lot of hilarious ways. Frequently her frustration is manifested by her attempts to engage in some of the acrobatic martial arts practice by her stunt woman idol.
There's plenty of music in the film, a mix of Rock and more traditional Eastern Tunes. There are needle drops for everybody. There's also some clever camera work and the cinematography which does a nice job conveying different locations and moods. The music and cinematography are hilariously used to create a mood around the potential villain of the piece. If you see the film you'll know what I'm talking about. It's the filmmaking style that creates a caricature of the preening and domineering woman who may be a threat.
There's also a dance number, that I know is not a Bollywood Style, but the mood that it sets is very similar to those that you might have seen in a movie Made in India, although the music and the dance are certainly not repetitive of those Indian styles.
The story takes a couple of interesting turns, and just when you're set to believe that we're looking at some woman's fantasy and overreaction, her paranoia is revealed to be justified. The conflict between creating Trust with her family, after the way she has been behaving, creates a lot of the humor in the last part of the film. Ultimately however the movie is familial friendly.
I laughed on a regular basis, prizes that came with this creative variation of a romantic comedy mashed up with a James Bond Thriller. “The gods whispered to the warrior, 'You will not withstand the fury.' The warrior whispers back, 'I am the fury!' Have fun.
