It’s always interesting watching old sci-fi movies and seeing how quickly they imagined we’d balls everything up. George Orwell thought that by 1984 we’d be living under a totalitarian regime, constantly observed. John Carpenter went for 1997 as the year by which New York had become a prison colony. Of course, some of the joy watching them now is knowing they got it wrong.
And unless Donald Trump really cocks things up, The Running Man will join that list of films set in a future time we’ve now lived through. In 1987 they thought we’d really make a hash of things and live in a dystopian hell where the vicious government keeps the populace brainwashed with violence and glamour on telly.
The film is based on a book by Stephen King (writing under the pseudonym Richard Bachman) and with all due respect to King, is far more entertaining, mainly because it was adapted to be a vehicle for Arnold Schwarzenegger who was at the height of his powers. This takes the bleak and grim novel and revamps it as an ’80s action movie.
Arnie plays, Ben Richards, a police pilot framed for the killing of unarmed civilians, despite the fact he was the one who objected and refused to follow his orders. Locked up on a working prison where they convicts are forced to wear exploding collars that stop them from leaving boundaries. I saw this movie as a kid, and the exploding collars are the thing that stuck with me the most.
He engineers an escape with rebellion members Laughlin and Weiss (Yaphet Kotto and Marvin J. McIntyre, respectively). They want to bring down the government and expose the brainwashing, while Richards wants to get the hell out of town and go into hiding. He plans to get his brother to help him but when he gets to his apartment finds that he has been taken for “reeducation” and that a new tenant is living there, musician Amber (Maria Conchita Alonso). Richards uses her to attempt to flee the country, but she blows his cover and he is arrested.
As a result he meets Richard Dawson’s Killian, the smarmy game show host who runs The Running Man, the world’s most popular TV show. Dawson is a fantastic villain, arrogant, scheming and utterly without compassion, all hidden behind a friendly, polished public image. A game show host himself, he captures the faux sincerity and interest, before revealing a stone cold side away from the cameras.
Also, in a brilliant moment he responds to Arnie’s trademark “I’ll be back” line with a simple “Only in a rerun”.
Killian wants Richards for the show in order to boost stagnant ratings. The show involves criminals having to run through a series of challenges, with the promise of a blissful tropical paradise should they succeed. Stopping them are the colourful, flamboyant and vicious Stalkers, who are a combination of ITV’s Gladiators and the OTT wrestling heels of the ’80s.
The Stalkers are good value, each with their own gimmick. There’s Jim Brown wielding a flamethrower as Fireball, an electric shooting opera singer named Dynamo (Erland Van Lidth De Jeude), Sub Zero (Professor Toru Tanaka) who wields an ice hockey stick fitted with blades and chainsaw wielding Buzzsaw (Gus Rethwisch).
Each operates in a different section and attack Richards, Weiss and Laughlin. Amber is also thrown in with them as she starts to realize that the government has lied about things and is busted snooping.
Of course, every Stalker fails and Arnie dispatches them in short order. Each time with a quip ready to go- “Here’s your Sub Zero, now plain zero” and, having cut Buzzsaw in half, “he had to split”.
Killian becomes increasingly frustrated, and the crowd after initial horror begin rooting for Richards. Killian wants to send in Captain Freedom, the retired all time champ played by Jesse “The Body” Ventura, but he refuses.
The action is fast and well orchestrated, with a simple, ’80s bloodiness reliant on practical effects which sees Arnie hack, smash and incinerate his pursuers. Arnie can do this in his sleep, but his odd, unique charisma carries him through and it’s an interesting look at how audiences can be bloodthirsty and fickle.
Arnie’s physical appearance is necessary here, his strength is why he’s chosen as a contender and against better armed enemies it’s ingenuity and brute force that hand him the wins. As a character, Richards isn’t the most developed and we’re expected to just accept him as a hero because he refuses to kill innocents, is fleetingly sad about his brother and tries to protect others, but at the same time he’s rather cold blooded, and physically violent towards Amber when they initially meet. Of course, we root for him because he’s Arnie, which is a clear example of star power.
The ending, where the truth is revealed to the audience suggests things may be about to change. But it’s an ambiguous ending, and while Richards is free and cleared, it seems unlikely that the whole system will come crashing down.
In taking a decent premise but injecting the drama and visuals of wrestling and game shows, the filmmakers take King’s decent idea and transform it into something far more engaging and believable. This seems more like a show people would get sucked into than the idea from the book, where they merely evade capture in the real world.
By upping the cheesiness around the spectacle, they actually make it feel more real. That people will swallow and enjoy blood and mayhem if it’s packaged the right way.
One of Arnie’s best films and hugely entertaining.
Any thoughts? You know what to do. BETEO.
Maybe it’s no surprise that as a cat person a movie dedicated “to dogs everywhere” didn’t really float my boat as a kid. In fact I grew up in a house that had, and loved, cats, so a film where the only felines are villains was unlikely to go down well.
Plot wise it’s pretty simple, fancy uptown dog Lady (Barbara Luddy) is feeling threatened by her owners’ new baby. She also meets Tramp (Larry Roberts), a charming stray from the wrong side of the tracks. They get into a variety of scrapes and Lady learns despite his carefree, roguish reputation Tramp is actually a good dog. After they rescue the baby from a rat Tramp accepts a place within the family and settles down with Lady.
It’s a rather sweet tale and it’s helped by a good supporting cast and some good moments. These include a rather dark sequence at the dog pound which is like a doggy death row and set’s up what for me is the film’s best song, the bluesy “He’s a Tramp” performed by Peggy Lee’s Peg.
Watching it back I realised that the story with Lady and Tramp rescuing the baby only to be blamed for the attack is similar to the Welsh legend of Gelert.
It’s not the strongest Disney movie, but it has a few high points contained within a sweet and charming story.
Disney Score: 7/10.
Any thoughts? You know what to do. BETEO.
Tobey Maguire was a good Peter Parker. Andrew Garfield was a good Spider-Man. Tom Holland is the guy who nails both halves of the character.
For starters, Holland looks closer to an awkward teenager and is just wonderfully charming as he stumbles and bumbles his way through his teenage life. This charm and awkwardness transfers across when he dons the mask, the body language still capturing the gawky youth and attempts to be cool. Also the voice work captures the enthusiastic way Spidey goes into action.
This movie gets one of the things I loved about the character of Spider-Man. He enjoyed being a hero. Sure, there was drama and tension, but when he got up there swinging, he was having a ball. The same is true for large parts of this film, Spider-Man throws himself into crime fighting, even for minor offences with boundless enthusiasm. Even when things get tough there’s still a sense that he wants to be a hero, and that he likes being in the tights. It messes with his day-to-day life, but there’s no stopping him, and there’s no brooding.
There is frustration, having helped out in Civil War Peter hopes to become an Avenger and work closely with Tony Stark (Robert Downey Jr), but finds himself sidelined. Stark tells him to stay close to the ground, and that he’s not ready.
Some criticised the movie for including Stark, but I like it. It makes sense that after recruiting Peter he would keep tabs on him, and Tony’s attempts to mentor him show how the character continues to evolve from the playboy at the start of the first Iron Man movie. RDJ is excellent as ever, and his affection and concern for Peter is pitched just right. There’s a sense that he respects Peter despite his youth and sees his potential to be great, evidenced when he tells Peter that he wants the young hero to be better than him.
Eager to prove himself Peter decides to go it alone aftee discovering someone is selling hi-tech weapons. This leads him against Adrian Toomes AKA the Vulture (Michael Keaton), who turned to crime having been thrown off the salvage contract after the events of The Avengers leaving him in financial difficulties. He and his crew use the alien tech they grabbed to make weapons and to steal more, leading them to cross paths with Spidey, who persists after Iron Man warns him off.
Michael Keaton’s performance and the changes to Vulture’s backstory are fantastic and make what I’ve always viewed as a lacklustre villain more interesting. Not only does his origin tie in with the rest of the MCU and show the fallout of previous events, it makes him a more relatable and believable character. All his crime is driven by his need to provide for his family, and Keaton captures a sense of a man driven to extremes to keep his head above water. Not that he isn’t great at the basic villain stuff, with him giving the character an intimidating steeliness which as the film continues to impress and increase. Not an utter villain, but with a ruthlessness that makes him a decent threat.
The plot unfolds at a cracking pace, the film fizzing along so that the action and laughs flow constantly, but with enough character stuff to mean you genuinely care, largely due to Holland’s work.
While there are some MCU similarities this film has its own tone, being closer in tone to a teen comedy at times, just with superheroics thrown in, there’s a nod to Ferris Bueller’s Day Off and that’s kind of the vibe here. It helps that the dialogue is genuinely funny and some of Peter’s schoolmates are wonderful.
Best friend Ned (Jacob Batalon) is a scene stealing character, a geeky fanboy who is overjoyed at discovering his best friend is a superhero and who pesters Peter with questions. It’s a charming and funny performance, and Ned provides a lot of humour as well as providing Peter with a confidante.
Also worth mentions are Jon Favreau returning as Happy Hogan, Marisa Tomei as Aunt May and a delightful performance from Zendaya as Michelle, Peter’s sarcastic, offbeat classmate.
The whole movie clicked for me, managing to balance peril and humour. It felt like the closest to the Spider-Man from the books and fits well with the MCU by adding a slightly smaller scale. Peter is the friendly neighbourhood Spider-Man, and the bigger more cosmic threats can be left to the other characters.
I was won over by Holland in his brief appearance in Civil War and this builds on this. For me this is up there with the best of the MCU movies and I hope Sony continue their deal with Marvel because this is how to do Spidey.
Verdict: An entertaining ride from start to finish this has bags of charm and action. Simply magnificent. Holland IS the character. 9/10.
Any thoughts? You know what to do. BETEO.
I don’t know why but this wasn’t one of the Disney flicks that I liked a lot as a kid, which doesn’t make sense as it has pirates, Native Americans, sword fights and flying, all of which would have won me over.
I think the problem is that even as a kid the main character kinda annoyed me. Peter’s a self centred braggart and for me the idea of never growing up held no appeal. As a kid you can’t do a bunch of stuff which adults can, I wanted to be a grown up. It was only years later that I find myself wishing I could stay away from adult responsibility. I must have seen it as a kid but it never wowed me.
Watching it as an adult, Peter (Bobby Driscoll) still irritates me, but I think that might be the point? That growing up is kinda important and staying as a child would be daft?
There’s another aspect of this that I don’t think I picked up with, in that I actually feel sorry for Captain Hook (Hans Conried). I mean, sure, he’s a villain and he tries to make them walk the plank, but the poor dude lost his hand and is now a frazzled mess, reduced to a jibbering wreck whenever the crocodile that swallowed his hand is nearby.
Incidentally, this is one of my favourite parts of the film, the way the ticking arrives and the croc’s eyes move with each sound. It’s wonderfully done, and the croc is shown to be quite a malicious beastie, gleefully awaiting Hook to fall into his jaws.
Back to Hook, he’s actually quite a good villain, with a clear motivation and some smart plans (he plays Tinkerbell like a fiddle), and there’s quite a lot of humour from the inept crew he is surrounded by.
This film actually made me laugh quite a few times, and there are some very funny moments and the action is quite good too. The plot moves along at a decent pace that just about covers up the flaws.
The flaws are numerous, with Peter’s obnoxious nature being just one- almost all the female characters are shown at varying times to be either stupid, jealous or vindictive. Wendy, Tinkerbell and the mermaids all seem besotted with Pete, and react badly when he shows interest in someone else.
And the representation of the Indians on the island is horrible to watch. All the braves have giant noses and deep red skins, talking like cliches. You may say it was a different time, but watching it in this time it’s not pleasant.
One thing I had forgotten was just how angry and sassy Tinkerbell was. In the more recent films featuring the character she’s shown as a heroic, nice character but here she’s quite nasty. She’s madly jealous of Wendy and Peter’s interest in her, to the extent that she tries to kill the poor girl and rats out the Lost Boys’ hideout to Hook. I have to say she’s one of the more memorable characters thanks in part to the great animation which captures her mannerisms and quickly shifting moods.
When it works, this is great fun, and the times it stumbles are fairly brief, and you can ignore most of them if you go with the movie.
It’s a fun adventure story but the ending baffles me. Was it all a dream? If yes, then how did Wendy’s dad have the same dream? If it wasn’t a dream does that mean he was a Lost Boy who chose to leave? It makes no sense!
Disney Score: 6/10.
Any thoughts? You know what to. BETEO.
So far the DC extended universe (DCEU) has been playing catch up with Marvel who have built up their shared universe since 2008’s Iron Man. It’s easy to see why DC want to get in on the same kind of thing but unfortunately it’s all felt rather rushed. The first film worked on it’s own, but Man of Steel still had some flaws and the follow up, Batman vs Superman: Dawn of Justice was hit and miss, and saw Gal Gadot’s Wonder Woman thrown in the mix in a way which seemed a bit rushed. The less said about Suicide Squad the better.
So, having already met Wonder Woman what we have here is a flashback, an origin movie which takes us back to the First World War. Not that the war has had any impact on Themyscria, the idyllic, hidden island of the Amazons. Here, Princess Diana learns of the Amazons’ purpose, to guide mankind to peace and oppose the corrupting force of Ares, the God of War.
Diana wants to learn to fight, but her mother, Queen Hippolyta (Connie Nielsen) opposes this, as Ares is seemingly defeated and she has fears that Diana’s training and increasing strength will draw the attention of the war god if he is still out there. But Diana’s aunt, General Antiope (Robin Wright) is more cautious and secretly trains her niece, who becomes a skilled fighter but appears to have odd powers and enhanced strength.
After years of isolation the first man visits the island as Steve Trevor (Chris Pine) crash lands in the sea off the island attempting to flee with stolen plans of a new deadly German weapon. Diana rescues him but the Germans arrive and there is a short battle which leaves all the Germans and a few of the Amazons dead. Steve is taken prisoner and bound with the lasso of truth reveals his misssion, Diana believing that the villainous General Ludendorff (Danny Huston) is Ares in an attempt to continue the war.
In defiance of her mother’s wishes, Diana steals the godkiller sword and she leaves with Steve to the world of man. There they deliver the plans and are forbidden to attack Ludendorff as it may damage the delicate armistice talks.
Diana is outraged when Steve agrees not to get involved, accusing him of lying to her, but he reveals he plans a secret mission, gathering old allies and receiving assistance from Sir Patrick Morgan (David Thewlis), a politician attempting to sort out a peace but determined not to lose more lives or allow Ludendorff to find a weapon to extend the war.
Can Diana stop Ludendorff? Is he actually Ares? What will she think of man’s world and is she ready for the horrors of the front?
This movie’s major strength is Gadot, who not only looks the part as a strong warrior woman but who also captures the character’s journey very well. She excels in the action sequences and shows Diana’s steely determination throughout, while also doing well with the script’s more humourous aspects. She also shows Diana’s confusion and wonder at the things she encounters and the “fish out of water” vibe works well.
As Diana progresses she becomes disillusioned with mankind and the war, and the film is clever in avoiding merely blaming Ares for mankind’s conflict. When Ares faces Diana he talks about how the darkness was inside man and he just guides them to better weapons, hoping to destroy them and have the world return to the paradise it once was.
The war is hell aspect of the film is decent and a good angle, but the handling is poor. The horrors of war are shown in an oddly bloodless way, and while there are hints that both sides do wrong this does paint the Germans as the bad guys in a way which simplifies the complex reasons for WWI and the fact that neither side really held a moral highground.
Also, it’s hard to say that war is bad when the film delights in the Amazons’ fighting. The battle on the beach between Amazons and Germans is filled with slow motion, which is overused throughout. The Amazons’ skills are presented as cool and admirable, but it’s still basically war. And it feels odd that we get a sombre moment of a dying Amazon as though this is some great tragedy, when they have literally just killed half a dozen soldiers with arrows. It feels fumbled and half done.
That being said, the action sequences are, slow mo aside, quite well done, especially a sequence where Diana charges across no man’s land under heavy fire to save civilians. It’s a solid sequence and visually striking.
But in a way the problem here is that Diana is too strong, too powerful. There are only one and a half characters who can really go toe-to-toe with her and aside from these fights the rest of the battles feel one sided and lacking peril. It’s a similar issue that DC face with Superman, their heroes being too pumped up and often without decent foes.
But for the most part the movie works, landing more hits than misses and entertaining throughout. It’s definitely the funniest of the DCEU movies and a good background for the charcter, even if it doesn’t move anything forward. In fact it adds more questions, like what the hell has Diana been doing between 1918 and throwing down in BvS: DoJ?
Special mention should also go to Chris Pine who does good work here. He shares good chemistry with Gadot, and his Steve Trevor is a likeable character. Heroic without being too clean cut, Steve is a good counterpoint to Diana. Both see the horrors but Diana’s fresh eyes make her willing to deviate from their mission in a way his more jaded view is less inclined to do. And he acknowledges that people can be bad, whereas it takes a while for Diana to dismiss the idea that it is all down to Ares.
I’m definitely interested in seeing more of the character and it bodes well for the DCEU going forward as this is definitely the strongest entry since Man of Steel and left me excited for Justice League.
Verdict: Has it’s flaws but generally works quite well. Gadot is good as the lead and the script manages a decent balance in tone. Stumbles in places but manages to stride out with pride. 7.5/10.
Any thoughts? You know what to do. BETEO.
I’m going to be upfront with you, I’ve never been overly fussed with Lewis Carroll’s creation and none of the versions I’ve seen have won me over. I think it’s because there’s a sense of self conscious, deliberate, quirky weirdness to the whole thing. It’s clearly a matter of taste as this is one of MWF’s favourite Disney movies, whereas in the Page house it was one of the ones which got taken off the shelf less often.
For the unfamiliar, the story follows a young girl named Alice (Kathryn Beaumont) who winds up in a weird place called wonderland filled with unusual characters and creatures, where the rules of logic and sense don’t apply. The plot is kinda hard to nail down as it’s less of an overall story and more just a series of episodes as Alice goes along bumping into different characters.
It’s not without any charm and some of the visuals are quite striking and interesting in their psychedelic weirdness. There are some nice little touches along the way such as how the different flowers are portrayed and the whole size-shifting aspect is used rather well. I also like the croquet sequence with the Queen of Hearts, who falls somewhere between unpredictably scary and ridiculous, which seems the best way to approach the character.
The “Very Merry Unbirthday” song is quite catchy, and the weirdness plays better in animated form, because at least you can’t see the actors trying their damndest to be “mad” (yes, I am talking to you, Mr. Depp). But some of it still feels like it’s trying to hard and some aspects like the Dodo don’t work for me. It feels like too many ideas were being thrown around and a lot more could have been dumped to make the film flow better.
It’s not a terrible movie at any rate, but with Alice being a bit annoying and it all feeling rather fragmented, it’s not the most satisfying either. I mean, it uses the “it was all a dream” ending that we were told to avoid at GCSE!
That being said, it’s probably my favourite film version of the story.
Disney Score: 5/10.
Any thoughts? You know what to do. BETEO.
Years ago a friend of mine recommended I check out Brian Lee O’Malley’s Scott Pilgrim comics. I was told they were fun and essentially about a Canadian version of me. I read the series and loved it, although I realised that being compared to Scott wasn’t a compliment. When Edgar Wright (Spaced, Shaun of the Dead, Hot Fuzz) was announced to direct a big screen version I was pretty stoked.
Luckily the movie turned out to be a belter, not least because it bravely decided to keep the title character, played by Michael Cera, a bit of a douchebag. He’s dim, self absorbed and sort of obnoxious. It’s a nice change for Cera who while still in his geeky comfort zone at least branches out from the essentially nice guys he normally plays.
The plot sees Scott fall for mysterious new girl in town Ramona Flowers (Mary Elizabeth Winstead) despite already dating Knives Chau (Ellen Wong). Ramona turns out to have seven evil exes, and in order to claim her hand he must defeat them. This is because despite being a geeky bass player, Scott has some mad fighting skills which helps him in the OTT, video game inspired fight sequences.
Wright shoots it brilliantly with a fast, fun pacing and visual flair, there are nods to computer games, on screen sound effects in the style of the ’66 Batman series (RIP Adam West) and a plethora of sight gags and quality one liners.
The supporting cast is brilliant across the board, particularly Chris Evans and Brandon Routh who play two of the exes. Routh plays the douchey guy who stole Scott’s ex and boasts psychic powers due to his veganism, one of many delightfully daft touches in a movie which is seriously fun.
There are also minor roles for Audrey Plaza, Anna Kendrick and Kieran Culkin.
Cera is fantastic, with the self absorbed Scott slowly realising where he’s gone wrong and finally standing up to the final ex, Gideon (Jason Schwartzman). The fight scene sees him lose, but in a nice touch he can cash in the “extra life” he picked up earlier in the movie, and allows him another attempt, where he realises he isn’t fighting for love but his own self respect.
And in the end he realises that he has to make amends for all the stupid, selfish things he did and become a better person.
The movie is a geeky delight, and full of charm. It also cements Wright as a seriously talented director making me regret that we never got his version of Ant Man, and looking forward to Baby Driver.
A fun filled, fast flowing film which captivates me on every rewatch.
Any thoughts? You know what to do. BETEO.
I wasn’t happy to be going to see this yesterday because I really wanted to see Wonder Woman but MWF was in the mood for a comedy, and as she was paying she got the final say. Now, I love The Rock and have been impressed by Zac Efron over the years, but I didn’t like the look of this movie. It looked, well, dumb.
And it was. But in the best way.
Carrying a lot of the weight is Dwayne Johnson, taking over from the Hoff as Mitch Buchanan, head of the lifeguards. His easy, charming on screen presence anchors the film and he shows off some decent comedy chops, although this won’t surprise anyone who remembers his skill on the mic at the WWE.
In Efron he has a good partner, with Efron’s selfish, stupid jock clashing with no nonsense Mitch from the jump. Efron’s character, a disgraced Olympic swimmer is at times the audience’s perspective, wondering what a drug smuggling ring has to do with their role as lifeguards. This plot and it’s ridiculousness is played for laughs and this is a solid action comedy.
The action is overblown and well staged, with a particularly entertaining fight between Johnson and a goon taking place in a child’s bedroom, various toys being used as weapons.
There are a few pops at the old show, but it seems affectionate ribbing, highlighting the far fetched stories and stylistic choices. Pamela Anderson’s replacement as CJ Parker, Kelly Rohrbach is shot in slow mo repeatedly, which other characters comment on and it’s nice that when Pam shows up for her (disappointingly brief) cameo she appears in super slow mo.
The jokes come at a quick and steady pace, mixing slapstick, gross out and some decent one liners. It’s not a classic but entertaining enough and similar in tone to the Jump Street flicks.
Kudos should be paid to the supporting cast who all handle their roles well and get the tone right. A special stand out is Jon Bass who plays nerdy Ronnie, hopefully smitten with CJ. He steals a couple of scenes and is extremely funny.
It also means that David Hasselhoff has two entertaining movies under his belt this year, which is pretty surprising. And awesome. Although it does mean this has a confused relationship with the show. Two Mitch Buchanans? Two CJs? Huh?
Verdict: Johnson and Efron are charismatic leads and work well as a duo. Incredibly daft but amusing enough. Keeps the laughs coming. 7/10.
Any thoughts? You know what to do. BETEO.
Finally, Disney get their groove back returning to familiar territory with a feature length single story fairytale. The film introduces the second of the Disney Princesses and is a delightful movie.
The story should be familiar but a quick recap- after the death of her father Cinderella (Helene Stanley) has to live with her evil stepmother Lady Tremaine (Eleanor Audley) and her two ugly stepsisters Drizella and Anastasia. They treat Cinderella as a servant, making her do all the work and living in a tiny attic while they spend all of her dad’s cash.
But one day the King (Luis Van Rooten), eager to marry off his son arranges a ball, to which all the women of the country are invited. Lady Tremaine says that Cinderella can go but only if she completes her chores and finds an appropriate dress. Too busy to mend a gown that belonged to her mother Cinderella is aided by her animal friends and shall go to the ball. But Lady Tremaine and the sisters realise she has used stuff they rejected. They tear the dress to shreds in a scene which is genuinely upsetting. It’s just so bloody mean, those jerks!
Luckily, Cinderella’s fairy godmother arrives and magics her a fancy dress. She also makes a carriage for her from a pumpkin and footmen and horses from the animals around. The catch? At midnight it all goes back to normal.
Cinders hits the ball and dances with the Prince who is smitten with her. Unfortunately it reaches midnight and she has to make a run for it, on the way losing one of her glass slippers.
The King sends out a Grand Duke (voiced by the same actor as the King) to see who fits the shoe. Lady Tremaine wants one of her daughters to win the prince, and realising that it was Cinderella at the ball locks her in the attic. Fortunately, her animal friends manage to slip her a key and she proves she was the mysterious girl. She marries the Prince and they live happily ever after.
I’m not getting into a discussion of the story’s attitude towards gender roles or how it altered the traditional story, arguments which have been flogged to death. Instead let’s just have a look how this holds up as a film.
And it works. The music is solid, especially “A Dream is a Wish Your Heart Makes” which is insanely catchy, seriously, it’ll rattle around in your head for a good while after the credits roll. The art style is a little dated, but in places genuinely gorgeous and the character work is superb.
Cinderella has a simple, elegant beauty and the stepsisters are ugly without it being overdone. The King is a Disney staple- short, rotund, bearded and bald, and the Prince is rather dull. The success comes in Lady Tremaine, voiced by the same actress who would go on to voice Maleficent, is superb. A detestable villain who is petty and cruel to her stepdaughter.
The most charming characters are the animals, particularly the chubby, dimwitted mouse Gus and the more courageous Jaq. They provide comic relief and help Cinderella out along the way, and are rather entertaining.
Also stealing the show is Lady Tremaine’s cat Lucifer. Proving that nominative determinism exists, he is properly evil, tormenting the mice and going out of his way to make life difficult for the heroine. The scenes with him and the mice, pad out the rather simple story and provide some action along the way.
The whole thing is very simply done and sweet, with the familiar story retold in a charming manner. It might have dated in the style or the way a female heroine is portrayed (Cinderella is never really mistress of her own destiny), but it’s a gem of a movie and easy to see why it still captivates young audiences to this day.
Following the underwhelming run they had delivered before this is a major return to form for Disney and a film which still stands up. I thoroughly enjoyed it and am glad to be out of the wilderness and into Disney’s Silver Age.
Disney Score: 7/10.
Any thoughts? You know what to do. BETEO.
Last month saw the passing of Sir Roger Moore. I was really saddened by this news because he always seemed like a decent bloke and due to his time as James Bond was a familiar face and part of the pop culture landscape I grew up with. I’m not getting into which actor has been the best Bond, but for Moore was my first Bond, and probably my favourite. And this, his final outing as 007 is possibly my favourite in the series.
I love Moore’s Bond because of his easy, debonair charm and the tongue in cheek nature of the films. Moore had warmth that contrasted with Connery’s cool. He might not be in line with Fleming’s character from the books, but the movies are still extremely entertaining.
For me, the key ingredients for a good Bond movie, which all the best share are simple- good song, decent villain, good straightforward plot and ideally a menacing henchman. A View to a Kill ticks all these boxes starting with the decidedly ’80s and catchy Duran Duran themesong.
The plot sees Bond investigating Max Zorin played by Christopher Walken with his usual weird charisma. Zorin is an ex-KGB agent who may have been part of a Nazi breeding programme. Walken is brilliant here as right from the get go with his blonde hair he looks dodgy and it turns out the billionaire is up to no good, planning to flood Silicon Valley in order to monopolise the microchip industry. It’s a pretty smart plan.
Walken is immensely watchable and this is an early example of him quite clearly enjoying himself and hamming it up a bit. He’s menacing and cold, but handles the bantering exchanges well and makes a good enemy for Bond.
He’s also backed up by his henchwoman May Day played by the statuesque and intimidating Grace Jones. I remember being amazed by May Day as a kid, this tall, powerhouse of a woman who is physically more than a match for Bond. What makes her work as a character is that at the end she realises that Zorin is a wrong ‘un and doesn’t care about her and so helps Bond, getting a heroic death in the process.
This all sets up a fantastically OTT finale where Bond finds himself atop the Golden Gate Bridge as Zorin attacks from a blimp. It’s daft and ridiculous, but isn’t that the way of Bond movies?
I love this movie because the villains are interesting and the tone is just right, there’s enough peril to keep you hooked but it’s carried off with a sense of humour. The supporting cast are quite good especially Patrick Macnee who plays Bond’s aristocratic ally and who shares an easy chemistry with Moore.
This is the perfect film for a Sunday afternoon or Bank Holiday, the sort of thing that feels familiar and safe. An old tradition, to put up your feet and watch Bond quip his way through an adventure, seducing women and using gadgets and wits to win the day.
Moore was perfect for this, bringing his posh charms and humour to the role. Always cool in a crisis, ready with a quip or arched eyebrow.
Roger Moore is tied up with all those lazy afternoons I watched the Bond films, captivated by the stunts and adventure, amused by the one-liners. The seven films he made as 007 meaning that he looms large in the public consciousness, and will live on in audience’s hearts for years to come. And he’ll always have a special place for mine, having starred in a movie I’ve watched countless times and continue to love to this day.
RIP Roger Moore.
Any thoughts? You know what to do. BETEO.