Quickfire Reviews (Part 3)

It's been a while. Some more films I love or hate:

2001: A Space Odyssey

This is possibly one of the most visually stunning films ever made, which is impressive considering it was made in 1968. It's one of the best interpretations of what life in space might be like, toying cleverly with the concept of zero gravity (one of the rare moments of humour is an astronaut looking perplexed at a long list of instructions on the door of a toilet). However, Kubrick does get a little carried away with his visual prowess. Therefore the plot is sandwiched in the middle of some aimless visual meanderings and seems a bit of an afterthought. For a two and a half hour long film, not a lot happens. The central mysteries are never explained, with an ending that is impossible to decipher. However, the conflict between Dave the astronaut and Hal the evil, omnipresent computer is rather enjoyable, and the screen filling shots of Hal's "eye" are chilling. You're left feeling that 2001 would have been more successful if they let the man vs. machine conflict play out a little longer rather than rely on pretty pictures and booming orchestral music.

Rating: 5/10


A Clockwork Orange

After showing the world a woefully inaccurate picture of what 2001 was going to be like, Kubrick set himself the ambitious task of adapting Anthony Burgess's ground-breaking parable of free will and state control. He does an admirable job, his visual style is still horribly self-indulgent but this time feels less aimless and helps make the film seem "arty". The ultraviolence accompanied by classical music and a fastforwarded rape scene serve to distance us from the violence, giving the impression of a generation corrupted by the media and the overbearing presence of phallic symbols in all aspects of life. A fantastical vision of the future is juxtaposed against dreary urban images, allowing us to lose ourselves in Kubrick's world but ultimately remember that violent youths and tyrannical governments are all too real aspects of the modern age. Malcolm McDowell is brilliant as Alex (your humble narrator), managing to convey utter repulsiveness with an odd sense of charm that Burgess created so memorably in his novel. The rest of the cast brilliantly manage a surreal style of acting which involves the most bizarre facial expressions, helping to keep the film light rather than the miserable bloodbath that it could have been. And just to top it off, there's a healthy sprinkling of nadsat (Burgess's made up language). In short, a fantastic film.

Rating: 8/10


Pan's Labyrinth

I was originally wary of this film as it was Spanish with subtitles, but in fact this didn't detract from it at all. What plays out is a brilliant imaging of a childish fairytale vision of what the world should be like juxtaposed against the brutal reality of the Spanish Civil War. Rarely is it that fairies and torture appear in a film together. Surprisingly the gritty drama of the conflict between the evil Nationalists and Republican rebels is more gripping than the surreal encounters of Ofelia (Ivana Baquero), although the latter greatly adds to the films appeal, and metaphorically represent the impact of the war. You end up utterly sympathising with the nightmare Ofelia and her mother are living through, and thoroughly hating the film's arch villain, the loathsome Vidal (Sergi Lopez). With an ambiguous, bittersweet ending, there's not a lot to fault with this film. The oppressive tone is maintained throughout, countered by Ofelia's occasional trips in to otherworldly realms. You can see why it won 3 Oscars!

Rating: 9/10


Bright Young Things

Stephen Fry's first and only jaunt into the directing profession, Bright Young Things is slick, fast-paced and made with an alluring bend of farce and pathos. Stephen-Campbell Moore is Adam Fenwick-Symes, a toff who's running short of cash after his novel was confiscated by border security. He spends this tale of upper class inter-war antics chasing after some hefty winnings which he left in possession of an absent minded general and trying to compete with a moustache-wielding David Tennant for the love of Nina (Emily Mortimer). Picture The Great Gatsby for British people, but infinitely more silly. Despite the continuous hilarity, there are some serious issues that are discussed, including mental illness, homosexuality and a vacuous existence consumed only by parties. Don't be fooled by the superficial sheen, this is comedy with a bite, almost (but not quite) up to History Boys standards.

Rating: 7/10


Night of the Living Dead

This was essentially the template for modern zombie films, the creation of George A. Romeo in 1968. While most modern zombie films feel like they're constantly covering the same ground (evident when you see how many times people have tried to remake this film), the action of NOTLD seems fresh and seminal. In  my opinion, this is actually scarier than many of the new zombie films. It's refreshing low-key, the dead have been reanimated by an unknown force and a group of terrified survivors have taken shelter in an old farmhouse. The dead stumble along and are just people without the usual hideous rotting flesh. The news of the spreading epidemic is chillingly broadcast over the radio, and when it's announced that they are eating human flesh, you can sense the shock rather than the general complacency about zombie behaviour in more modern films. As the film progresses, it transpires the sheltering humans are more of a danger to themselves than the flesh eating hordes outside. With a truly memorable ending and a focus on the creepy rather than the horrific, this film is possibly still the best zombie film ever made.

Rating: 7/10