Dune (2021)

 ☆ ☆ ☆ ½

Dune (2021) – D. Villeneuve

Perhaps coincidentally, I had just finished reading Frank Herbert’s Dune (1965) a couple of years ago when Denis Villeneuve’s filmed version was first announced.  I had seen David Lynch’s 1984 film version in high school but didn’t understand it; I watched it again recently after reading the book and found it a weirdly abbreviated rendition of the novel.  So, Villeneuve probably made the right choice in deciding to film Dune’s sprawling narrative across two separate films. This first film takes us from the moment when the members of House Atreides, ruled by Duke Leto (Oscar Isaac), first learn that they will become the new denizens/guardians of the planet Arrakis, with its massive spice mining operation, rebellious indigenous people, and impossibly hot desert climate, to the point where, having suffered a cruel twist of fate (engineered by an evil emperor), Paul Atreides (Timothée Chalamet) and his mother (Rebecca Ferguson) (both with spiritual/supernatural powers) flee into the desert into the arms of the Fremen people (led by Javiar Bardem). Villeneuve and his team demonstrate impressive technical virtuosity in bringing the novel to the screen – it’s epic and serious, forboding and sometimes grim (all the actors speak in a pronounced stage whisper, filled with portentousness).  Although otherworldly, the CGI is not intrusive but blends into the dusky colour scheme of the film – yet you never forget that this is science fiction taking place in another time and place (with giant sandworms swarming through the desert, how could you?). I suspect, however, that not having read the book might be a disadvantage when watching the film. Villeneuve trots out a large array of characters, most of whom are not fully developed, and moves the action in a relatively exposition-less way from significant episode to significant episode. Knowing the story surely helps to provide the glue that holds it all together. Perhaps too only fans of the book will be pleased with a film that ends with the suggestion that we are only really at the beginning. Fortunately, I’m in that camp and I look forward to Part 2.

Shaolin Soccer (2001)

 ☆ ☆ ☆ ½

Shaolin Soccer (2001) – S. Chow

Trying to come up with something to watch with the kids that isn’t animated, cloying, or trying too hard to be suitable for both kids and adults (wink, wink), I remembered this ridiculous gem. It was a hit with the boys (more or less)!  Stephen Chow plays a down-and-out kung fu ace (“Mighty Steel Leg”) who is recruited by once famous soccer star Man-Tat Ng to get a team together for a big competition (against “Team Evil”).  We meet the other former monks from his Shaolin gang (“Iron Head”, “Hooking Leg”, “Iron Shirt”, “Light Weight”), see them train, and play against other teams before eventually making it to the finals (of course).  Contrary to many other “losers make good” narratives, these guys become amazing soccer superstars pretty quickly – aided by some amazing powers and funny CGI effects (don’t expect the “they do their own stunts!” routine here).  It is a slapstick comedy after all.  A side plot involving a steamed bun making, tai chi expert girl who may or may not have a romance with Chow does not quite hold together.  But no worries, we had a laugh!  (And for the record, we watched with subtitles, not dubbing).

The Matrix Resurrections (2021)

 ☆ ☆ ☆

The Matrix Resurrections (2021) – L. Wachowski

Arriving approximately 18 years after the third film in the original Matrix trilogy and a good 22 years after the iconic first film, this fourth installment knows its place. As directed by Lana Wachowski (without her sister Lily this time), the film returns to the Matrix approximately 60 years (?!?) after the events of the original trilogy to find Thomas Anderson (Keanu Reeves) now a star game designer being encouraged to revisit his biggest earlier success (called The Matrix, get it?). This self-reflexive gag extends to a discussion of why anyone would want to revisit an earlier success: nostalgia, money-grab, etc.  Although a bit too on-the-nose, at least it is amusing and in keeping with the franchise’s blurring of fiction and reality. And then, again, we are with Keanu as he tries to determine whether he is having a mental breakdown or really experiencing a visit from a new Morpheus (wherefore art thou Laurence Fishburne?). Take the red pill, man (even if it means leaving the half-recognised Tiffany, played by Carrie-Anne Moss, of course)! Although his therapist (Neil Patrick Harris) tries to hold him back, off he goes back to the dismal underworld. And here’s where I started thinking that I should have watched Reloaded and Revolutions again because I lost the plot – where was Zion, who exactly is that aged ruler? Unfortunately, the spew of exposition was pretty lost on me and the new characters, apart from maybe Bugs (Jessica Henwick), failed to make much of an impression.  But then, once we’ve returned to the Matrix, who cares? It’s all fighting, bullet-time, (or a new-fangled bullet-time, which wasn’t really too impressive) and the challenge of extracting Tiffany/Trinity, who may not really want to be extracted anyway.  Keanu does his job, with style (I had to ask how old he is – and he looks it, at times). To its credit, even at 140 minutes plus, the film flies by.  And just as easily dissipates from your consciousness after it’s done.

The Story of Film: A New Generation (2021)

 ☆ ☆ ☆ ½

The Story of Film: A New Generation (2021) – M. Cousins

Filmmaker and critic Mark Cousins waited ten years to offer this four-hour sequel to his 15-hour mini-series, The Story of Film: An Odyssey (2011). Whereas the first series covered the history of film up to that point, the new release aims to highlight trends and new contributions in film in the 21^st century specifically.  As before, Cousins narrates in his soft-spoken Northern Irish lilt (which some have called soporific in comments on IMDb but which I quite enjoy), pointing out aspects of the various clips that he’s chosen and making connections across films. The organisation here is very loose and rambling and whatever trends and themes Cousins has found don’t always become especially explicit.  At times, he seems to be grouping films by genre (horror, documentary) but in other places, he seems to want to argue that advances in technology or the onset of the pandemic are the contributing factors to new trends. But the overall feel of the film is just a relatively random, stream of consciousness presentation of cool movie clips accompanied by interesting insights. It pales in comparison to the earlier opus but it’s still a fun watch and a place to find out about art-house and experimental films you may have missed.

 

Harry in Your Pocket (1973)

 ☆ ☆ ☆

Harry in Your Pocket (1973) – B. Geller

James Coburn is the suave pickpocket “cannon” (Harry) who, with his older partner (the “steer”) Walter Pidgeon, take on a pair of young people, Michael Sarrazin and Trish Van Devere, as “stalls” in order to form a team that steals some “pokes” from rich folks in Seattle. The mechanics of pickpocketing is the main focus here, using the lingo above, and with repeated demonstrations, as the young folks learn the trade. Sarrazin’s Ray, in particular, is keen to become a cannon, the one who picks the pocket, but Coburn’s Harry refuses to teach him. Instead, Harry does the deed and quickly hands over the poke to one of the others, because “Harry doesn’t hold” which also means he hasn’t ever gone to jail.  That’s not to say that the police don’t know who he is – soon the group is asked to move along, to find another city to loot. As the film progresses, the relationship tensions (particularly between Harry and Van Devere’s Sandy) start to simmer: Ray is jealous and begins to work on his own (with guidance from Pidgeon’s Casey) which eventually causes the team to unravel a bit. This being the 70s, there’s a downbeat ending, although it’s more abrupt than it should be. The flat TV-style cinematography and rather prosaic settings don’t add much to the proceedings. This film deserved a Jean-Pierre Melville in the director’s chair but got Bruce Geller instead (only other feature: The Savage Bees, 1976).

 

Pagan Peak (Season 1; 2018)

 ☆ ☆ ☆ ½

Pagan Peak (Season 1; 2018) – C. Boss & P. Stennert

Looking for another TV series to stream when there isn’t time or energy to watch films and I came across this one on SBS On Demand.  Although it seemed at first to have supernatural overtones (due to the serial killer’s use of Krampus masks and iconography), it quickly turned into just another police procedural, albeit one that takes place in a very scenic location – in the Alps on the border of Germany and Austria.  The two detectives do get fleshed out across the 8 episodes with Ellie Stocker (Julia Jentsch) from Germany transforming from optimistic and even bubbly to more beaten down and world weary and Gedeon Winter (Nicholas Ofczarek) from Austria moving in the opposite direction from cynical and disengaged to sensitive and involved.   We also eventually get to meet the killer and learn about him.  So, yes, this is one of those shows where the suspense slackens and it turns to a game of cat-and-mouse rather than whodunnit.  The ending of Season 1 is poignant and fitting. Overall, Pagan Peak is watchable but not particularly thought-provoking.  I’m not sure I need to watch Season 2.

 

The Tomb of Ligeia (1964)

 ☆ ☆ ☆

The Tomb of Ligeia (1964) – R. Corman

The last of Roger Corman’s Edgar Allan Poe adaptations (this one drawn from an early 1838 tale), again starring Vincent Price but this time written by Robert Towne (later famous for Chinatown).  Price plays Verden Fell who we meet when he is still grieving the death of his wife, Ligeia; he wears strange sunglasses due to a recent attack of light sensitivity. Fell lives in a dilapidated abbey with just his manservant for company, aside from a stray black cat (of course!) who acts as though she owns the place.  The cat may be possessed by the spirit of Ligeia – and certainly acts jealously when Fell starts a new romance with The Lady Rowena Travanion (Elizabeth Shepherd, who also plays Ligeia). After a whirlwind courtship, the two marry, travel Europe for their honeymoon, but return to the abbey, where Fell begins to act mysteriously, disappearing at night when Rowena is asleep. When a family friend digs up Ligeia’s grave to find it empty, all signs point to necrophilia (!!!). Things get pretty crazy from that point and it’s hard to know whether Fell is hallucinating or something supernatural is going on. At any rate, it doesn’t end well.  But, as with Corman’s other Poe releases, it’s a handsomely mounted B-film with that creepy feel.