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THE DARK TOWER (Dir: Nicolaj Arcel, 2017).
THE DARK TOWER (Dir: Nicolaj Arcel, 2017).
A kind of sci-fi/western/fantasy mashup based on Stephen King’s popular series of novels.
In alternate universe Mid-World, Gunslinger Roland (Idris Elba) battles bad guy Walter (Matthew McConaughey) for dominance over the Dark Tower, which Walter plans to use for evil means. After stumbling through a portal in abandoned house, troubled New York teenager Jake (Tom Tyler) teams up with the Gunslinger to assist him in his quest.
Read the full review on my blog JINGLE BONES MOVIE TIME! Link below.
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‘TWAS THE NIGHT (Dir: Nick Castle, 2001).
The following review and 100+ more reviews are available on my blog JINGLE BONES MOVIE TIME! Link below.
Made for TV Christmas movies have become inexplicably popular in the last two decades. Seemingly hundreds of them litter the television schedules from September to January every year. This entry in the genre, a Disney Channel Original Movie, has become something of a festival staple on the Disney Channel and can usually be found in their December lineup.
On Christmas Eve, heavily in debt conman Nick Wrigley (Bryan Cranston) escapes his gangland creditors by hiding out in the home of his brother. After mistaking Santa for an intruder he knocks the fat man out cold, ties him up and steals his high-tech sleigh. Taking advantage of his close relationship with nephew Danny (Josh Zuckerman), the pair go on a burglary spree. Unbeknownst to Danny who believes the pair are helping the concussed Santa by delivering Christmas gifts.
There is a certain amount of cynicism mixed in with the inevitable sentiment in ‘Twas the Night, lending the movie a somewhat uneven tone. Its self-centered wise guy characters are a little hard to warm to. Their redemption, when it comes (as is always certain), is neither empathetic or particularly heartwarming, suggesting that the ending is there merely to placate viewers expectations of family Christmas movies.
The visual effects are above the usual TV movie standard, although it never quite overcomes the feel of an extended Disney Channel sitcom. The screenplay by Jim Lincoln, Dan Studley and Jenny Trip has its funny moments, but little in the movie really rings true. It has all the glitz one would expect of a Christmas movie but is oddly lacking in heart.
Bryan Cranston is the standout among the cast. His amiable performance here is the best reason to watch this passably entertaining but unexceptional movie.
While ‘Twas the Night is not exactly unmissable festive fare, it should appeal to tweens and younger teens who feel they are above sentimental Christmas movies. Younger children, meanwhile, may be a little upset seeing Santa hit over the head with a shovel! Not a Christmas classic but you may find its worth a watch if you come across it while flicking through cable.
THE BOSS BABY (Dir: Tom McGrath, 2017).
From DreamWorks Animation, The Boss Baby is loosely based on the picture book by Marla Frazee. Theodore Templeton (Alec Baldwin) is the Boss Baby, a suit and tie wearing, briefcase carrying infant. With his brother Tim, they must infiltrate their parents employer Puppy Co., the CEO of which has an evil plan to replace the babies of the world with puppies.
Read the full review on my blog JINGLE BONES MOVIE TIME! Link below.
ALL QUIET ON THE WESTERN FRONT (Dir: Lewis Milestone, 1930).
A pre-code WWI drama adapted from German author Erich Maria Remarque's 1928 novel, All Quiet on the Western Front follows a group of students as they enlist in the army, detailing their transformation from idealistic boys to war weary soldiers, depicting the squalid living conditions and futility of the loss of young lives with a stark realism.
Told, unusually, from the perspective of German soldiers. At first the broad American accents are a little jarring and take some getting used to. But remember this is so early in the history of sound cinema that it is a miracle they are talking at all. Little else in the picture strikes a wrong note. Nowhere to be found are the static camera shots often associated with early talkies. With its inventive camera angels, practical special effects and hundreds of extras it presents a visual spectacle that more than holds its own against modern CGI aided blockbusters. The film is full of affecting imagery, from the sight of the rapt students stirred up by an impassioned indoctrination on the glory of serving the "Fatherland", to the poetic final frames of a butterfly on the battleground, fading to shot of a cemetery.
With the possible exception of Lewis Ayres, in the lead role of young soldier Paul, much of the cast is unrecognizable to modern audiences. This arguably lends the film more authority, as no preconceptions of star status are allowed to diminish the powerful performances. Director Milestone elicits sensitive, natural performances from the cast which compliments the brutally beautiful images that he and cinematographer Arthur Edeson have created.
Almost a century after its release All Quiet on the Western Front remains probably the most powerful indictment on the horrors of war ever put to celluloid. It was met with immense critical acclaim, receiving the Academy Awards for Best Picture and Best Director in what was only the third year the ceremony was held. The movie is indisputably a landmark in cinema history and more than lives up to 90 years of hype. In short, it is a masterpiece.
A longer, more in-depth review of ALL QUIET ON THE WESTERN FRONT is available my blog JINGLE BONES MOVIE TIME. Link below.
The following is not a movie review, rather it is a note on my mental health:
I have given this some thought and decided it is time I ‘came out’ as a depressive. Just under 5 months ago I had a bit of a meltdown and spent 2 days in tears. The tears were not exactly tears of sadness, I am not an unduly unhappy person and remain an optimist. More accurately, perhaps, they were tears of extreme emotionalism. It is difficult to exactly put into words how it felt. I could liken it to feeling as if you would never again feel the sun on your face, never again hear birdsong and never smell the sweet scent of summer lawns. I felt alien and isolated, despite being surrounded by the most caring and supportive family I could wish for. It felt as if the colour had completely drained out of my world. It felt empty, cold and monochromatic.
I was lucky to receive support from the NHS and Inclusion Thurrock. I am also aware that many suffer far worse than I have. I was never suicidal, thankfully, but acknowledge that I may have been were it not for the support; it is a road anyone of us might travel.
It is quite difficult going public with this. I know the stigma of mental illness and of the many misconceptions surrounding it. Depression isn’t just ‘sadness’, you cannot ‘pull yourself together’. It may be different for others, but for me it was a seemingly eternal descent into a deep despair that I did not think I could ever climb out of. Mental illness is real, but with help and support there is a road back. I don’t expect to never feel depressed or anxious ever again. However, I am gratefully aware that I could feel much worse than I do now and that feeling better is within my grasp. As it is within everybody’s grasp. Day will follow night, spring will follow winter, good times will supplant the bad. The journey is not quite over for me and possibly never will be. However, the knowledge that my (and your) experience is not unique and is nothing to be ashamed of is monumentally important. Hopefully telling of my own experience may help others realise that they are not alone and that there is always hope.
Thank you for listening,
Mike
THE MIRACLE OF THE BELLS (Dir: Irving Pichel, 1948).
The Miracle of the Bells is a sentimental RKO drama with an A list cast.
Via a series of flashbacks, the story of aspiring actress Olga Treskovna (Alida Valli - billed here as simply Valli) is told through voice-over narration by Hollywood press agent Bill Dunnigan (Fred MacMurray). Following her early death, Dunning fulfulls her final wish by returning with the body to the small coal-mining town of her childhood. Here she is to receive a modest burial at the struggling St Michael's church, conducted by Father Paul (Frank Sinatra). We learn of Dunnigan's unrequited love of Olga as he concocts a publicity stunt to secure the release of her only film, a starring role as Joan of Ark, which producer Marcus Harris (Lee J Cobb) has held back, due to her death.
The decision to tell the story in flashback was probably a mistake and does little to help an already weak narrative. Its 120 minutes feels epically long and structuring the movie in this way only serves to delay the inevitable conclusion. When it finally arrives, the treatment of the so called 'miracle' is mawkish in the extreme. Despite its themes of faith and belief, The Miracle of the Bells feels patently fake. Nothing about the movie rings true, from its skewed ideas about the workings of Hollywood to the reaction of the world to the death of the previously unheard of 'star'. Even the miracle of the title is called into question by the St Michael's priest.
Faith can be a tricky subject to pull off on film, but it can be done; festive favourites such as It's a Wonderful Life (Frank Capra, 1946) and The Bishop's Wife (Henry Koster, 1947) are testament to this. Yet where those movies were successful in presenting spiritual themes in engaging, credible manner to a secular audience, The Miracle of the Bells is not. It feels outdated, corny and preachy. But its biggest sin of all is that it is so dull.
With its star-studded cast, The Miracle of the Bells is not entirely unwatchable, but I cannot honestly recommend it. Give it go if you must; it will be a miracle if you make it until the end.
For a longer, more in-depth review of THE MIRACLE OF THE BELLS visit my blog JINGLE BONES MOVIE TIME! Link below.
