Everything That Dies, Some Day Comes Back

This is an Australian Western set in the late nineteenth century which, as one might expect given that it is written by Nick Cave, combines moments of brutality and rage with more meditative and melancholic interludes. The plot centres around three criminal brothers headed up by psycho Arthur (Danny Huston in fine fettle).  The youngest, Mikey, is what can only be described as simple-minded. Caught between them is relatively sane and likeable Charlie (Guy Pearce).  Ray Winstone is Captain Stanley, who is responsible for law and order.  Having captured Charlie and Mikey he comes up with the imaginative idea (or proposition) that Charlie should bring Arthur to justice within nine days in order to save Mikey from the gallows. It’s a daft idea but perhaps the incessant heat has got to Stanley’s brain. An obvious flaw in Stanley’s cunning plan is that Charlie and Arthur might team up to rescue Mikey, which indeed is what happens eventually.  Before we get to that point th...

This 1952 British comedy film is an adaptation of a 1911 comic novel by Arnold Bennett.  The adaptation was written by Eric Ambler, a surprising choice in that Ambler is best known as a writer of thrillers.  The plot of the film follows that of the novel closely, and it is set in Edwardian England rather than being brought into the present-day. Alec Guiness is rather old for the part but otherwise is perfect as Denry, the upwardly mobile son of a washer woman.  He starts off as a legal clerk but when he is put in charge of sending out invitations to a ball held by the Countess of Chell (Valerie Hobson) he seizes the opportunity presented to invite himself, and not being backward in being forward he dances with the Countess, the start of a friendship which will benefit him later. His dancing teacher, Ruth Earp, is played by Glynis Johns, who gives the outstanding comic performance on view, as someone adept at using her feminine charms to get her way, particularly spending ...

This was to me an obscure film from 1944 made by an obscure director, John M Stahl.  But Scorsese rates it very highly and Gene Tierney, the lead actress, got an Oscar nomination out of it, so I gave it a go. It’s one of those films where the bulk of the story is told in flashback. In this case this is done to set up a mystery (why was Cornel Wilde’s character sentenced to two years in prison?) which helps to keep us interested during the early scenes which are, it’s fair to say, undramatic to the point of being dull. Wilde plays a successful author, Richard, who meets and immediately falls in love with Ellen,   played by Tierney.  Studio boss Darryl F Zanuck is quoted in Wikipedia as saying that she was “unquestionably, the most beautiful woman in movie history“.  No doubt there was a certain amount of self interest in this statement about a star of his studio but when we and Richard first set eyes on her one can see where Zanuck was coming from even if her loo...

This 1982 film is the second outing for Peter Ustinov as Agatha Christie's famous detective, Hercule Poirot, following 'Death On The Nile' in 1978. Although the original 1941 novel is not one of Christie's most celebrated, Poirot is presented with a satisfyingly perplexing problem in that all the possible murderers seem to have a watertight alibi.  Screenwriter Anthony Shaffer (who also adapted 'Death On The Nile') has the good sense not to tinker with Christie's clever solution whilst making a lot of changes around the edges in order to both streamline the novel and to enhance its commercial appeal, for example moving the location from a hotel in Devon to a hotel on a small Mediterranenan island. Shaffer also adds a lot of humour which I am sure is not in the original novel.  Ustinov's portrayal of Poirot is of course very droll, but in addition we get the comedic pleasure of Maggie Smith as the owner of the hotel. James Mason is probably the biggest na...

The title is misleading since it turns out that Warlock is not a person but a town. Well, not even a town since legally it’s not entitled to a marshal, which turns out to be an important plot point. So the town has to make do with a mere deputy sheriff, but unfortunately but in the opening scene the latest holder of this post is run out of town by the McQueen gang, who seem able to terrorise the place whenever it suits them. In desperation the townspeople decide to appoint themselves a marshal (the law be damned) and they have just the right person for the job in mind: Blaisdale (Henry Fonda) who  together with his friend Morgan (Anthony Quinn) go from place to place restoring law and order.   When Blaisdale arrives he predicts what will happen: at first his efforts will be appreciated but then the locals will begin to fear and resent his position of authority over them, at which point it will be time for him and Morgan to move on. Events at Warlock however don’t quite follow ...

As someone who has only watched the first Shrek movie out of the franchise I’m not in a good position to comment on this Puss In Boots sequel, b ut here goes anyway.  I understand that part of the reason for the long gap between the original Puss In Boots film and this one was that the producers wanted to wait until they had a good enough story. That’s a novel approach to sequels which I doubt will catch on. Was the story worth the wait?  The key idea is to have Puss face up to his mortality, having used up eight of his nine lives.  As in ‘The Seventh Seal’ he is literally stalked by Death throughout the film.   This means we get a more subdued and humble Puss, thankfully, since I think I would find a whole film of him doing his 'Look At Me I’m A Legend' shtick rather wearisome, no matter how endearing is Anthony Banderas’ voice work.   Puss has to face up to his shortcomings, especially since Kitty is very happy to throw them in his face at every oppo...