Fatal Attraction (1987) (Adrian Lyne)
Nominated for 6 Oscars. Gone Girl for the 80s. Also with shades of 70s horror Black Christmas, the phone calls are ominous. The eerie, minimal score adds to the sense of dread. Without any need for bells and whistles, the straightforward story grabbed me, and though a few events are easy to predict, it’s an effective thriller.
My only issue is the film could make audiences more afraid of mental illness, Glenn Close’s character is one in a thousand and not the norm.
Fast Times at Ridgemont High (1982) (Amy Heckerling)
A film that held my attention throughout, there was never a dull moment. Probably one of the most entertaining and realistic high school movies I’ve seen.
The awkward teenage situations have aged well despite the film released 35 years ago. Also quite hilarious in places, such as Led Zeppelin in the car, and the small people sitting in restaurant with big menus. Many future stars can be seen in supporting roles, Sean Penn has some of the most quotable lines.
Highlights on the soundtrack include We Got The Beat by The Go-Go’s (from the opening), Sleeping Angel by Stevie Nicks played when they are trying to solve a problem that arises, and Moving in Stereo by the Cars when Brad (Judge Reinhold) is fantasizing about Linda (Phoebe Cates) in the red swimsuit.
Ghost in the Shell (1995) (Mamoru Oshii)
Based on a manga, the story follows cyber-cop Major Motoko Kusanagi (Scarlett Johansson in the 2017 remake) as she tracks down the mysterious Puppet Master. Kusanagi struggles to deal with her part-human, part-machine identity.
Set in 2029, an interesting futuristic premise about the advancement in technology, cyberspace expanding into human reality. A brain-computer interface, our “ghost” able to travel, relaying thoughts to other networked brains, a new tool for government surveillance and control. A hi-tech society when one or more body parts have been replaced by robotics, and they face issues such as brain hacking, maintenance of self, false memories, invisibility, and the evolution of the human body.
The film is ambitious, unsettling and influential, having inspired The Wachowski’s The Matrix. Visually impressive in its detail of the city, sometimes I found myself forgetting I was watching animation. Her jump from the top of a building is iconic and was recreated in the remake.
Split (2016) (M. Night Shyamalan)
Not as good as M. Night Shyamalan’s best films. A minor horror/thriller that is too eager to reveal what is wrong with James McAvoy’s character, those revelations in the first half kill some of the tension. But there are sporadically thrilling moments concerning the girls and does capture a sense of claustrophobia. McAvoy’s performance is noteworthy, though the film is overlong, and I often found my mind wandering due to boredom. SPOILER WARNING: The last 10-15 mins are surprising, but tonally completely different to what the story is about. Or maybe the ending does make sense on a certain level, could it be a commentary on not being able to get rid of him (from your mind), no matter how hard you try.
On a side note, Natascha Kampusch’s powerful autobiography 3096 Days goes deeper into the psychology of victim and perpetrator.
T2 Trainspotting (2017) (Danny Boyle)
What made the original stand out were the inventive visuals and soundtrack. Neither of these aspects are as impactful or unique in the sequel, although I do like the new songs by High Contrast and Wolf Alice.
What we get are a number of homages, reunions, and watching 40 somethings misbehaving. Begbie (Robert Carlyle) is as funny and crazy as he was in the 90s, even when he isn’t aware of it. There are reminders the group are getting older, such as a decline in physical health and family obligations. I mostly felt pity for them.
Especially the improvised song and the chase in the multi-storey car park stood out. The updated choose life speech has depth, but the scene feels scripted and unnatural in its presentation. T2 has glimpses of urgency, but lacks the unrelenting energy that kept me glued to the screen of Trainspotting. I agree with another reviewer who says it “wallows a little too much in cinematic nostalgia for the 1996 original.”
Happy Gilmore (1996) (Dennis Dugan)
A quotable comedy, which popularized the ‘Happy Gilmore’ hockey/golf swing. Funny moments such as the alligator and the ball “go home” scenes, though the punch lines often are offensive by centering around violence. Not many women would date Happy, having witnessed his short fuse and anger management problems. The love interest aspects had warmth, but are not totally realistic. Happy (Adam Sandler) is only mildly likeable, because he is up against arrogant Shooter McGavin (Christopher McDonald).
Mask (1985) (Peter Bogdanovich)
Based on the life of Roy L. “Rocky” Dennis, strong acting and a number of sweet moments. I remember watching parts of the film years ago and was freaked out by the main character’s deformed face. Now, I can see past that and appreciate the story. A coming of age drama about struggling to fit in due to being different, and also focuses on the relationships he has to family/friends.
What made the 80s different to today’s cinema were the life lessons sprinkled into the screenplays, and there are a few of those here. Like John Hurt in 1980’s The Elephant Man, Eric Stoltz is unrecognizable in the lead role. These type of films sometimes depict the deformed character as an angel, but I think it works here by juxtapositioning the teenage son with his troubled mother (Cher). I cared about these people and it’s one of those films that stays with you.
The Towering Inferno (1974) (John Guillermin)
Wrote about the film here. Watched because of recent Grenfell Tower disaster and an inner sense of duty to find solutions to high-rise fires.
Twin Peaks: The Return (2017) (Review of Season 3, Episodes 5-8) (David Lynch)
So far, season 3 lacks the sense of community of the classic original. But instead of yearning for what Twin Peaks used to be, I’m trying to take the revival for what it is. Dougie and his family I feel a connection to because they keep returning, and is some of the funniest stuff Lynch has ever done. Kyle MacLachlan delivers maybe a career best performance.
The scope of S3 is ambitious, but feels choppy when jumping from one location to the next. It’s intriguing, imaginative, often weird, though I will say many characters are not given enough screen time for us to care.
Short summaries of Episode 5-8 (spoilers):
Episode 5: Set-up, presenting a number of threads and details. The Kyle MacLachlan scenes are the most entertaining and amusing, craving coffee in the elevator, desperate for the toilet, the phone call that causes a disturbance. There’s also some violence at the casino.
Episode 6: Again, the Dougie scenes I liked most, him standing in front of a staircase is a laugh out loud moment, and sitting with his son has warmth. There’s a surprising event in Twin Peaks involving a mother and son which is powerful, yet I can’t see how it has any relevance to the series. There’s also the most bizarre coin-toss I’ve ever witnessed. Diane (who Dale Cooper recorded audio messages for in the original) is revealed in a brief cameo. Naomi Watts is given a moment to shine as the Tough Dame in the delivery scene.
Episode 7: Diane meets evil Cooper and thinks something is off with him. There’s a noise in the walls at Twin Peaks hotel. A mysterious man covered in black oil walks the hall way. Dougie Cooper’s car was stolen and the police confirm this. The dwarf tries to murder Dougie Cooper. Evil Cooper convinces the prison to let him go in exchange for information.
Episode 8: Filmed in black and white, and set in the past. The strangest episode so far, almost wordless visual storytelling. An impressive atomic bomb sequence that would look good on the big screen. A silent horror of sorts, the “gotta light” character is creepy, his scenes are not suitable for kids. We are not given much context so have to piece it together ourselves.
What do you think? As always, comments are welcome