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thedullwoodexperiment

~ Viewing movies in a different light

thedullwoodexperiment

Tag Archives: Africa

Monthly Roundup – October 2016

31 Monday Oct 2016

Posted by dullwood68 in Movies

≈ 1 Comment

Tags

400 Days, Action, Africa, Alexander Skarsgård, Christoph Waltz, Crime, David Yates, Documentary, End of a Gun, Greg Kwedar, Historical drama, John Dower, Johnny Simmons, Keoni Waxman, Louis Theroux, Malin Buska, Margot Robbie, Matt Osterman, Michael Nyqvist, Mika Kaurismäki, Monthly roundup, My Scientology Movie, Queen Kristina of Sweden, Reviews, Samuel L. Jackson, Sarah Gadon, Sci-fi, Steven Seagal, The Girl King, The Legend of Tarzan, Thriller, Transpecos

The Legend of Tarzan / D: David Yates / 110m

Cast: Alexander Skarsgård, Samuel L. Jackson, Margot Robbie, Christoph Waltz, Djimon Hounsou, Jim Broadbent, Simon Russell Beale, Ben Chaplin

the-legend-of-tarzan-movie-review

Rating: 3/10 – “meh”; woeful only just about covers how bad this movie is, from the wooden performances, to the haphazard scripting, to Yates’s casual engagement with the material, and all the way to the creaky use of CGI to simulate the African backgrounds – at no point does The Legend of Tarzan ever feel as if it has any intention of putting any real effort into things.

400 Days (2015) / D: Matt Osterman / 91m

Cast: Brandon Routh, Dane Cook, Caity Lotz, Ben Feldman, Tom Cavanagh, Grant Bowler, Dominic Bogart, Fernanda Romero, Sally Pressman, Mark Steger

400-days-movie-review

Rating: 4/10 – four astronauts are locked inside a chamber designed to simulate the timescale of a planned mission, and the psychological effects of such a journey, but as the simulation nears its finish, the quartet find that things aren’t entirely what they seem; a mystery thriller that doesn’t need its sci-fi trappings (and where the mystery is unengaging), 400 Days plays out like an old Outer Limits episode but without the succinctness that show could provide, all of which leaves the viewer trying hard to make sense of what’s going on, and trying equally hard to decide whether or not they should be bothered about it all.

The Girl King (2015) / D: Mika Kaurismäki / 106m

Cast: Malin Buska, Sarah Gadon, Michael Nyqvist, Lucas Bryant, Laura Birn, Hippolyte Girardot, Peter Lohmeyer, François Arnaud, Patrick Bauchau

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Rating: 5/10 – the story of Queen Kristina of Sweden (Buska), who in the ten years she ruled her country, did her best to bring enlightenment and peace for everyone, and who fought against her advisors’ insistence that she marry and secure her throne for the future; reminiscent of the Euro-pudding movies so prevalent in the late Seventies and throughout the Eighties, The Girl King lacks a coherent shooting style that isn’t helped by Hans Funck’s scattershot approach to the editing, but it does keep things admirably simple (if not too simple at times), and remains unexpectedly watchable thanks to Kaurismäki’s determined effort to convert Kristina’s reign (and her presumed lesbianism) into historical soap opera.

My Scientology Movie (2015) / D: John Dower / 99m

With: Louis Theroux, Marty Rathbun, Marc Headley, Tom De Vocht, Jeff Hawkins, Andrew Perez, Rob Alter

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Rating: 7/10 – Louis Theroux, intrepid (and annoying) documentarian turns his attention onto Scientology, and attempts to understand why the organisation is so litigious and defensive about its practices; Theroux teams up with ex-Scientology bigwig Marty Rathbun to learn about what goes on behind the scenes, but succeeds largely in having childish spats with one of the organisation’s “security” team (very funny indeed), while organising a filmed representation of a meeting where Scientology leader David Miscavage threw a major tantrum, all of which leaves My Scientology Movie feeling arid for long stretches and not quite as illuminating as Theroux might have hoped.

Transpecos (2016) / D: Greg Kwedar / 86m

Cast: Johnny Simmons, Gabriel Luna, Clifton Collins Jr, Julio Oscar Mechoso

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Rating: 5/10 – three Border Patrol guards find themselves in trouble with a Mexican cartel when they stop the wrong car at a checkpoint, and learn that one of them is in even deeper trouble than anyone knew; Transpecos makes good use of its New Mexico locations, and the opening twenty minutes point towards the movie being a tense, tightly constructed thriller, but sadly it soon degenerates into an unconvincing, meandering collection of scenes that are often dramatically inert, and which stretch the narrative in a variety of ineffective ways that it can’t recover from.

End of a Gun (2016) / D: Keoni Waxman / 87m

Cast: Steven Seagal, Florin Piersic Jr, Jade Ewen, Ovidiu Nicolescu, Jonathan Rosenthal, Alexandre Nguyen, Claudiu Bleont

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Rating: 4/10 – retired DEA agent-cum-“ghost” Michael Decker (Seagal) rescues a stripper (Ewen) from her abusive boyfriend (by killing him) and finds himself helping her steal €2m of the man’s money – which doesn’t go down well with his drug czar boss; another Romanian-shot quickie from Seagal that keeps his stunt double, his running double, and his walking double in gainful employment, End of a Gun is made bearable thanks to a good performance from Piersic Jr, and Waxman’s ingenuity when shooting low-budget shootouts, but otherwise it’s business as usual, which is to say, pretty awful (and the less said about ex-Sugababes member Ewen, the better).

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Blended (2014)

03 Wednesday Sep 2014

Posted by dullwood68 in Movies

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Tags

Adam Sandler, Africa, Comedy, Divorcee, Drew Barrymore, Frank Coraci, Holiday, Review, Romance, Widower

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D: Frank Coraci / 117m

Cast: Adam Sandler, Drew Barrymore, Kevin Nealon, Terry Crews, Wendi McLendon-Covey, Emma Fuhrmann, Bella Thorne, Braxton Beckham, Alyvia Alyn Lind, Joel McHale, Abdoulaye NGom, Kyle Red Silverstein, Zak Henri, Jessica Lowe

Widower Jim (Sandler) and divorcee Lauren (Barrymore) meet on a blind date that goes from bad to worse to disaster and leaves both of them never wanting to see each other again.  The holidays are coming up and both of them are looking to take their kids – Jim has three daughters: teenager Hilary (Thorne), Espn (Fuhrmann), and Lou (Lind), Lauren has two boys: Brendan (Beckham) and Tyler (Silverstein) – away, but neither set of children is looking forward to where they’re going.  When Jim and Lauren bump into each other at the store, their credit cards get mixed up.  Jim realises first and goes to Lauren’s house where Lauren’s friend Jen (McLendon-Covey) is freaking out because her boyfriend, Dick, wanted her to meet his children on a planned trip to Africa.  Having broken up with Dick because of this, the holiday is now available.  Lauren asks Jen if she can go in Jen’s place and take her boys, while Jim discovers Dick is his boss, and he asks Dick to sell the holiday to him.

When they all arrive at the resort in Africa, Jim and Lauren find they’re on a “blended familymoon”, and are surrounded by couples where one of the partners is a step-parent and the idea is to develop stronger ties with their step-children.  They meet Eddy (Nealon) and Ginger (Lowe), and Eddy’s teenage son, Jake (Henri).  Hilary has an instant crush on Jake, but because she looks like a boy she doesn’t think he’ll notice her.  The two families take part in the arranged activities and the children all learn to get on while Jim and Lauren continue to spar and bicker (even though they are clearly starting to like each other).  Lauren arranges for Hilary to have a makeover, and now Jake really does notice her.  With the holiday coming to an end, and with both Jim and Lauren having bonded with each other’s kids, Jim takes Lauren out for a romantic dinner but when they go to kiss, he backs off, unable to commit.

They all return home, and Jim begins to realise his mistake in not kissing Lauren.  He goes to see her but Lauren’s ex-husband, Mark (McHale), answers the door and makes it sound as if he and Lauren are getting back together.  Disheartened, Jim leaves, while Mark tries to persuade Lauren to have him back.  She won’t, but she tells him if he wants to make a good impression with his kids he should turn up for Tyler’s Little League baseball game at the weekend.  But on the day, it’s not Mark who turns up…

Blended - scene

Going by the assumption, “If it ain’t broke, don’t fix it”, Blended is the obvious follow-on from Just Go With It (2011), swapping Hawaii for Africa, and Jennifer Aniston’s dental assistant for Drew Barrymore’s divorced closet organiser, but without the added (and unexpected) star power of Nicole Kidman.  It’s a safe move, and an even safer movie, with Sandler injecting just enough of his loud man-child persona, as well as the standard amount of risqué gags, to ensure Blended is a few steps away from the kind of bland family fare that Disney pumps out with frightening regularity.  It almost feels like a movie made by committee, comfortably ticking off the boxes on its way to the expected happy ending: couple who initially detest each other – check; kids with various problems that will be addressed and dealt with by the end – check; supporting characters who provide most of the goofy humour – check; family values firmly reinforced in time-honoured Brady Bunch fashion – check; and so on.

Love him or loathe him, Sandler has a loyal fan base, and his movies regularly make their money back at the box office – just don’t mention the dreadful That’s My Boy (2012) which couldn’t recoup its $70 million budget even with international sales – so he must be doing something right.  As here, he appears to make little effort in terms of acting, and he’s becoming less and less of a physical performer, but he generally makes good choices in terms of the movies he makes, as well as the people he surrounds himself with.  But it’s with movies like Blended that it really springs to mind he’s just coasting until the next, more interesting project (and 2015’s Pixels may just be that project).

With its predictable plotting, tiresome running gags, and by-the-numbers characterisations, Blended could almost be the cure for insomnia, but it does have some good one-liners – “I naturally assumed your husband shot himself” – and the South African locations are suitably impressive, but the direction is too pedestrian for the movie to take off as effectively as Barrymore does in the parascending scene, and the script takes no chances with the material, leaving the audience amused for the most part but with little that’s truly memorable to take away with them.  It’s also a movie with a good deal of padding, its near two-hour running time stretched out largely because of the unnecessary third act set back in the US.

On the performance side, the various child actors are all appropriately adorable, cute, winsome etc., while the adults, Sandler and Barrymore aside, all blend in with the scenery and make little impression.  Unusually, there aren’t the expected cameos from some of Sandler’s off-screen pals, which may have provided a much-needed distraction, but all in all the performances are perfunctory enough and match the spirit of the script and the direction.

Rating: 5/10 – lacklustre and only sporadically entertaining, Blended is Sandler and co. ably treading on water but to no discernible effect; something to pass the time if you need to, otherwise there are other, better Adam Sandler movies you could be watching.

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Slave Girls (1967)

24 Sunday Nov 2013

Posted by dullwood68 in Movies

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Tags

Africa, Cave girls, Drama, Edina Ronay, Fantasy, Hammer Films, Kanuka tribe, Martine Beswick, Michael Carreras, Michael Latimer, Queen Kari, Review, White rhinoceros

Slave Girls

aka Prehistoric Women

D: Michael Carreras / 90m

Cast: Martine Beswick, Edina Ronay, Michael Latimer, Stephanie Randall, Carol White, Alexandra Stevenson, Sydney Bromley, Robert Raglan

The second of Hammer’s “cave girls” movies, Slave Girls begins with stock footage shot in Africa, then moves to a set bound hunting expedition led by David Marchand (Latimer). Tracking a wounded leopard, he ventures into the lands of the Kanuka tribe, where he is captured. Taken before their leader, he is told of their god, the white rhinoceros, and the legend surrounding it, that all trespassers on their lands will be executed until either the white rhinoceros (now extinct) returns, or the large white rhinoceros statue they worship is destroyed. At the point of his being executed, David reaches out to touch the statue. There is a flash of lightning, the tribesmen are frozen in time, and the rock wall behind the statue opens to reveal another part of the jungle.

David explores this new area and encounters a girl, Saria (Ronay).  She attacks him but he knocks her unconscious. Immediately, he is surrounded by other women brandishing spears and taken prisoner. The women are part of a tribe led by the malicious Queen Kari (Beswick). It soon becomes clear there is a hierarchy here where brunette women have the power and blonde women are used as slaves. The men are all imprisoned in a cave. Asked by Kari to reign by her side, David refuses, and is imprisoned as well. Meanwhile, the blonde women plot to rebel against Kari and regain their freedom.

Slave Girls - scene

Watching Slave Girls over forty-five years on from its release, the first thing that strikes you isn’t the overtly sexist approach taken by writer/director Michael Carreras, or even the dreadful, convoluted storyline. Instead it’s the sense of déjà vu: isn’t this all terribly familiar? Well, yes it is, because the viewer is looking at the same sets and costumes that were used for Hammer’s first foray into the cave girl mini-genre One Million Years B.C. (1966). Full marks for economising then, but it’s subtly distracting. Once you get past that though, the full awfulness of the movie hits you full in the face, from the pallid direction to the atrocious dialogue to the contra-feminist approach to the material to the dreadful acting (some of the blondes don’t do themselves any favours in this regard), to the tribal dance routines designed to pad out the movie’s running time to the men all seemingly borrowed from a ratty beard and hair club.

And yet, as so often with Hammer’s movies from the mid- to late Sixties, Slave Girls retains a kind of quirky likeability. Despite its glaring faults (some as large as the white rhinoceros statue itself), the movie holds the attention throughout, is well-paced thanks to editor Roy Hyde, and offsets the limitations of the budget by providing some decent special effects in amongst the painted backdrops and cardboard-looking sets. The campy feel that would detract from several later Hammer movies is kept to a minimum, and Beswick is suitably cruel and manipulative as Queen Kari, while Latimer, all brooding stares and rampant masculinity, overcomes some awkwardness in his early scenes to gain increasing confidence in his role. As David’s love interest, Saria, Ronay proves surprisingly good, providing a strong counterpoint to Beswick. (Look out too for a brief appearance at the end by Steven Berkoff in his first, credited, screen performance.)

Made quickly as a response to the success of One Million Years B.C., Slave Girls fails to match that movie’s quality but does manage to be entertaining enough for all that. Hammer would go on to make two more cave girl movies, 1970’s When Dinosaurs Ruled the Earth, and 1971’s Creatures the World Forgot (also scripted by Carreras). Both films traded heavily on even more scantily clad women as part of their attraction, but neither were as barmy in terms of its script as Slave Girls.

Rating: 5/10 – saved by strong performances and Robert Jones’ art direction, Slave Girls holds a fascination that makes up for its many mistakes; a bit of a cult movie now and well worth watching on that basis.

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