What We Did on Our Holiday (2014)

Following on from their success with Outnumbered (and Drop the Dead Donkey), writers/directors Andy Hamilton and Guy Jenkin now bring us What We Did on our Holiday; a suitably sad, funny and uplifting film that places the kids at the centre of all the events.

With an ailing father (Billy Connolly), David Tennant takes his family (including estranged wife Rosamund Pike) to Scotland to celebrate his Dad's 75th birthday. Both Tennant and Pike are solid as is Ben Miller - Tennant's brother. Billy Connolly plays Billy Connolly, but that's no bad thing, and as it happens there's probably no one else who could encapsulate this character better.

Of course it's really the kids who are the crucial part of the film, and as such are spot on. They are obviously the primary source of the LOLs early on, including the youngest who has stones and breeze blocks as friends; but as the story progresses, the kids are the driving force behind the unfolding drama. You always hear that you should never work with children or animals when making a movie; but whatever experience Hamilton and Jenkin have with working with kids on Outnumbered, pays off here. They manage to get spontaneous, funny, yet sometimes nuanced performances out of these children

There are some glorious shots of the West coast of Scotland, so much so that it could almost be a visit Scotland advert. The landscape provides a beautiful backdrop for this dysfunctional family's tragedy, as well as a world inhabited by lovely peripheral characters such as Celia Imrie and Annette Crosbie.

The movie is typical in terms of its tragedy, humour and general upliftyness, very much in the style of Waking Ned (1998), The Dish (2000) or The Angels’ Share. But that's no bad thing, and it's certainly that little bit different as the kids are the focus of the movie. But, well, you know, that’s just, like, er, my opinion, man.

The Batman Trilogy (2005 - 2012)

Certainly one of the most celebrated trilogies of recent years, The Dark Knight films are not only some of the best superhero films, they are some of the best films.  Chris Nolan has brought incredible vision, production and outstanding performances to these movies about Gotham's most famous son.

Batman Begins

As far as genesis stories go, I think that this could be my favourite.   I really like Sam Raimi’s Spider-man (2002), but seeing Bruce Wayne overcome his fears and then channelling this fear to terrorise his enemies is magnificent.  Where many stories are desperate to get to the action, Batman Begins really takes its time, and I think it must be almost an hour before we actually see the Batman strut his stuff.  A lot of this superbity is due to excellent writing by David S. Goyer, as well as Chris Nolan’s wonderful interpretation.

Christian Bale is a very good Bruce Wayne, suitably playboy-ish, but able to be grim and violent when necessary.  In fact, everyone is great; Michael Caine, Liam Neeson, Morgan Freeman, Cillian Murphy and Gary Oldman; but then we wouldn't really expect this cast to be anything but excellent.

The slow start takes time to set up both Bruce's background (which we essentially know) showing how disenchanted he's become with Gotham, the justice system as well as his wealth.   It also sets up The League of Shadows; not only crucial for the final third of the film, but also a recurrent theme that reaches a climax in Dark Knight Rises.

The Dark Knight

The second film in a trilogy can often be a tricky one to judge, but The Dark Knight is a stunning sequel to BB, and this can probably be largely attributed to a dazzling display by Heath Ledger as The Joker.  Freed from the yoke of introductory exposition, TDK gets straight down to business; though you could be forgiven for thinking that you were watching Point Break’s Dead Presidents as the opening robbery begins.  Until of course The Joker is revealed, then everything becomes unpredictable.  Alfred tells Bruce “...some men aren’t looking for anything logical, like money.  Some men just want to watch the world burn”, and that’s exactly what The Joker is about, and Heath Ledger owns that role like a boss.

Sequels are always trying to be bigger than the first installment, and TDK is no different.  Filming key sequences in IMAX was one way Nolan upped his game, and (though I haven’t experienced IMAX at all) the amount of effort that went into working with these enormous cameras is incredible.

I always remember George Lucas gushing about the increasing number of digital effects shots in the Star Wars prequels like it was a good thing.  In TDK, Nolan and crew insert much more action than BB, but unlike GL, a lot of the effects they did were in camera.  Incredibly including flipping the massive lorry that the Joker is driving, as well as the helicopter crash; both down actual city streets.  Not to mention of course the hospital explosion.

It is often the case that a sequel is bigger and better than the initial film (Terminator 2, 1991; X-men 2, 2003; Spider-man 2, 2004; Hellboy 2, 2008). What Chris Nolan has done with TDK is produce a sequel that doesn’t feel like a sequel, rather a continuation of the story.  Can he continue that ambience into the final chapter?

The Dark Knight Rises

Truly a fitting finale to the trilogy, and once again Chris Nolan ups his game.  With an amazing cast and literally hundreds of extras, the scope of TDKR is enormous.  There are so many reasons why this is so good a film, but here are just a few.

We didn't think we'd see another tremendous performance like Heath Ledger's Joker; but in Bane, Nolan created another memorable villain, and casting the brilliant Tom Hardy was inspired.  Tom would have had the ability to create a phenomenal presence anyway, but the physical size of him makes him even more dominant.  The scene where he beats up Batman in the sewer is so excellent, both Tom and Christian are fantastic (actually them fighting), and the harsh down-lighting created by Wally Pfister enhances the brutality of this key scene.

In Anne Hathaway we have Nolan’s interpretation of Catwoman, though she is never referred to as such.  Selina is an accomplished thief trying to survive in a post Dent-act society. Her story arc is fairly predictable, but it is done well; especially the way she is initially unopposed to what Bane is doing but then is distraught by the amount of chaos he has actually created.

The only problem I have with TDKR is the music.  In itself it is another great score from Hans Zimmer, but it's mixed wrong and is far too loud at times.  There is one scene in particular (there are actually several) where Commissioner Gordon is meeting some resistance support in a basement and the music is loud and tense when it doesn't need to be.  So loud that I struggle to hear what Gary Oldman is saying.  There are several other instances of not hearing Commsr Gordon, Bane sometimes too, which is a pity as it slightly spoils what might otherwise be a perfect film.

Final Thoughts

Having recently become quite a fan of some of the Batman graphic novels, it was nice to see some referential moments.  There’s a lovely moment when two cops in a car are chasing Bane et al.; then when Batman reappears, they slow down and one says “You’re about to see something real special”. Straight out of Frank Miller’s The Dark Knight Returns.  Also the randoms dressed as Batman at the beginning of The Dark Knight are a nod to the Sons of Batman.  David S Goyer did read a lot of graphic novels while planning Batman Begins, so it’s not too surprising that there are these moments in the films.

The plot throughout the trilogy is a classic genesis, fall and rise story with each film addressing different themes.  There is really very little to fault in these films at all, they are all superbly crafted, with incredible attention to detail and amazing practical effects.  Chris Nolan has proved he can direct and produce enormous films without dumbing down to the lowest common denominator. I am very excited about the films he will make in the future.

Brighton Rock (1947)

I was very sad to hear the news of Richard Attenborough's death, and at the same time slightly unnerved that LoveFilm had delivered Brighton Rock not long before.  Hopefully it wasn't some strange premonition by the Amazon company; anyway I felt that watching the movie would be a fitting tribute.  Based on the novel by Graham Greene and directed by John Boulting, Brighton Rock is the story of Pinkie Brown (Attenborough) a small-time gangster in Brighton who has just become the new leader of a small-scale mob gang.

Make sure you're paying attention from the start, if you're still making a cup of tea/pouring a pint you'll miss the lightning pace exposition.  However, once the intro is over it slows right down, as Pinkie and his gang follow their primary target, charting his every move around town before disposing of him in Dante's Inferno (a ghost train ride!).  It's a beautifully choreographed scene, and you might be forgiven for thinking that nothing goes unnoticed in Brighton by Pinkie's gang.  The film settles down when Pinkie meets Rose (Carol Marsh), though the relationship is driven by Pinkie's need to suppress any evidence Rose can give against him.

I admit that the only time I've seen Richard Attenborough in front of the camera before is as Richard Hammond or Big X in The Great Escape.  So to see him as a devious gangster takes some getting used to; this is helped by the fact that he's so great.  Sometimes he may not say much, but his thoughts are conveyed via the medium of shifty eyes!  He often reminds me of Al Pacino in The Godfather.

Pinkie never really seems in control but Dickie's brain is always working behind those shifty eyes, looking to exploit a situation or looking out for anyone that may cross him.  At the start of the film it is actually a while until Pinkie finally speaks, and then he suddenly explodes, all the stress of suddenly being de facto leader boils over.

Surrounding him are characters that trust Pinkie as much as Muldoon trusts a Velociraptor, who are all played by an accomplished but unknown to me cast (apart from a pre-Dr Who William Hartnell).  Carol Marsh is pitch perfect as Pinkie's naive and scared girlfriend; always jittery, but drawn to the sharp-dressed bad-boy image.  Hermione Baddeley seems to have got lost on the way to a Carry On film, but she is functional enough in her sleuth role.

The first time I watched Brighton Rock I enjoyed it, though I was very sleepy.  I watched it a second time yesterday and loved it.  Richard Attenborough is fantastic, I was able to follow the exposition better, and everything flows smoothly.  Some may find the final scene a little cheesy, but for me it works perfectly.  But, well, you know, that’s just, like, er, my opinion, man.

Quatermass and the Pit (1967)

Making my way through my Hammer boxed set, I’ve discovered some real gems (Plague of the Zombies, The Nanny), but also some fairly forgettable productions (The Reptile, She).  Oops, I’ve said this before!  I really shouldn’t repeat myself.  Oops, I’ve said this before!  I really shouldn’t repeat myself.  Quatermass and the Pit definitely falls into the second of these categories.  Other than the novelty of seeing a very young Grand Maester Pycelle, there is nothing that really stands out.

The eponymous Professor Quatermass (Andrew Kier) has been tasked to help Colonel Breen (Julian Glover) with the development a new rocket programme.  Their first collaboration is interrupted when they call by to check on an incident in Hobb’s End underground station.  They soon unearth an alien spacecraft; a craft that has been there a very long time.

Director Roy Ward Baker (A Night to Remember, 1958), is a steady pair of hands which are never-the-less tied by a forgettable story and wandering plot.  There is the interesting idea that the human race is a result of experiments carried out on our ancestors by the insectoid Martians 5 million years ago (a theme also explored the following year in 2001: A Space Odyssey), but the concept of the race memory is a step too far.

Sure, I like the way that the opinion of the scientists are trusted, and the fact that we see some lab research (spurious science notwithstanding).  But nothing memorable happens, apart from a very rushed ending involving a floaty psychic alien (ghost?) thing which is destroyed by crashing a crane into it!  Perhaps not exactly a Deus ex machina, the resolution only occurs to Quatermass in the final few minutes of the film.

I realise that in terms of special effects, a Hammer production can’t really compete with those of Planet of the Apes or 2001: A Space Odyssey (both of which were released the following year), but I feel those in Frankenstein Created Woman (1967) or even The Plague of Zombies from the the previous year are better than the cardboard insects on offer here.

Generic thriller sci-fi with little to recommend it, or indeed little to remember.  Competently directed with a good cast and some nice ideas in the story, let down by some more ridiculous ideas and some spectacularly bad special effects.  In fact the most interesting thing could be this line from the parents guide in IMDB: “The giant locusts could be frightening to some viewers even though they are dead”.  Locusts or viewers?  Says it all.  But, well, you know, that’s just, like, er, my opinion, man.

First Blood (1982)

OK, so I'm 37 and I've never seen a Rambo film until now.  Does that make me a bad movie nerd?  I've seen Son of Rambow which is brilliant, but I don't think that really counts.  The whole premise of First Blood, that a Vietnam vet is treated badly by the Sheriff's Office of some small town so he runs into the woods and takes revenge, is fairly ridiculous; but it is a testament to the direction by Ted Kotcheff that the film is so much fun.  It's all a bit A-Team as I don't remember many people dying despite all the explosions and violence, but it doesn't suffer because of it.

Probably one of the reasons I've never made an effort to see a Rambo film is that I've never been a fan of Stallone.  If I'm honest, I've always preferred Arnie; he seems to feature in more films I'm interested in (I hate boxing, so Rocky is wasted on me), and even if Schwarzenegger isn't a great actor, at least I can understand him when he speaks!

Having said all that, Stallone was perfectly watchable as John Rambo; and though he isn't the most eloquent, the fact that I really routed for his character helped a lot.  It does feel like the first part in a series, and I've no idea whether First Blood Part II was already planned, but as First Blood works great as a stand alone film, it really doesn't matter.

The only other main player of any real note is Brian Dennehy, who is great as Sheriff Will Teasle, the guy who arrests John for being a bum; even when he realises he's bitten off more than he can chew he belligerently goes after Rambo.  All the other cops are fairly incidental; Richard Crenna plays Rambo's previous senior officer when in 'nam, but really only turns up at the end as more of a link to the next film

First Blood doesn't do anything particularly special, other than cement Stallone as a bona fide action star and convince me that he isn't all that bad. Well paced, and some brutal action, First Blood is very enjoyable. But, well, you know, that’s just, like, er, my opinion, man.