What classics did you see last week ? (30 Dec - 5 Jan 2019)

Disturbing Behavior 4/10

Places in the Heart 5/10

Instinct 6/10

Money Train 3/10

One Million B.C. 7/10

Cornered 4/10

A Scandal in Paris 6/10

Flight of the Intruder 3/10

Keeper of the Flame 6/10

F/x 7/10

Domino 6/10

The Crow 8/10

11 Harrowhouse 5/10

The Hateful Eight 8/10

Revisits


The 7th Voyage of Sinbad (1958) - Review www.imdb.com/review/rw2104690/?ref_=tt_urv 8/10


Mysterious Island (1961) – Review www.imdb.com/review/rw2263853/?ref_=tt_urv 7/10


Jason and the Argonauts (1963) - Review www.imdb.com/review/rw1961098/?ref_=tt_urv 9/10


The Dirty Dozen (1967) – Review www.imdb.com/review/rw2351212/?ref_=tt_urv 10/10


Hombre (1967) – Review www.imdb.com/review/rw2504919/?ref_=tt_urv 9/10


Butch Cassidy and the Sundance Kid (1969) - Review www.imdb.com/review/rw2122751/?ref_=tt_urv 9/10


Kelly's Heroes (1970) - Review www.imdb.com/review/rw3406667/?ref_=tt_urv 9/10


Carry on Abroad (1972) - Review www.imdb.com/review/rw3294816/?ref_=tt_urv 7/10


Beverly Hills Cop (1984) - Review www.imdb.com/review/rw2165902/?ref_=tt_urv 8/10


Lethal Weapon(1987) - Review www.imdb.com/review/rw2082816/?ref_=tt_urv 8/10





Newbies




The Detective (1968) – www.imdb.com/title/tt0062883/reference

Joe Leland - A decent cop on a murky landscape.


The Detective is directed by Gordon Douglas and adapted to screenplay by Abby Mann from the novel written by Roderick Thorp. It stars Frank Sinatra, Lee Remick, Ralph Meeker, Jack Klugman, Horace MacMahon, Lloyd Bochner and Jacqueline Bissset. A Panavision/Deluxe Color production with photography by Joseph Biroc and music by Jerry Goldsmith.

When a homosexual man is found mutilated and murdered, top New York detective Joe Leland (Sinatra) identifies who he believes is the perpetrator and coerces a confessional out of him. With the suspect tried, convicted and executed it appears case closed. Yet as Leland's moral compass gets bent out of shape, he finds his life, the company he keeps, and the case itself are revealing distortions of life changing proportions.

Roderick Thorp would become a known name in the 80s when his novel "Nothing Lasts Forever" was adapted to screen as Die Hard. "The Detective" in written form is not as good as that novel is, so it's not surprising that screen writer Abby Mann took some liberties to smooth out the novel and produce a more serious and focussed narrative. There's no getting away from the "dated" tag that is bandied about for this picture, the attitudes to homosexuality and the policing of the era ensures that is a case. However, if you can accept the time the film was made then it's an engrossing character study that simultaneously lifts up rocks to find corruption and brutality underneath.

Pic is boosted by a superb cast, where along with the big name headliners we find the likes of Robert Duval and Tom Atkins in support. But it is Sinatra holding court, he is nicely restrained, not making Leland a caricature who is given over to histrionics. Leland's cynicism and romantic turmoil is essayed superbly by Sinatra, so much so you easily buy into his conflict of interests. Remick also shines, some of her best work is here playing a frustratingly complex love interest. Both actors benefit from being under the watchful eye of a good old pro like Gordon Douglas.

The story holds strong as a mystery due to having another case for Leland to solve, where sure enough it links to the first case that opens up a can of worms across the board. The social climate being exposed here in New York is not pleasant, but always it's fascinating, as is the back and forth examination of Leland's personal life. It's arguably a film of awkward blends? part hardboiled policer, part tender character study of a man at odds with not only those around him, but also of a society changing rapidly. Yet it definitely works on both of those terms and therefore comes very much recommended. 7/10



Attack the Block (2011) - www.imdb.com/title/tt1478964/reference

It's raining Gollums!

Attack the Block is written and directed by Joe Cornish. It stars Jodie Whittaker, John Boyega, Alex Esmail, Jumayn Hunter, Luke Treadaway and Nick Frost. Music is by Basement Jaxx and Steven Price and cinematography by Tom Townend.

When a South London tower block comes under attack from aliens, a young gang of lads and the nurse they just mugged have to band together to fight back.

In Britain we was wondering just when Joe Cornish was going to turn his hand to directing a feature film, here for his debut he tackled a sci-fiction action comedy with a wry bit of social commentary thrown in for good measure - it was worth the wait.

With one Edgar Wright hovering about in the producers lounge and Nick Frost on hand as a reassuringly adult comedic presence, it could be argued that Attack the Block has joined the Wright/Pegg production line. Yet when you break it down this does in fact homage a myriad of siege invasion films, but still it becomes very much its own animal.

Cornish dangerously structures his film by introducing us to a young gang of kids who think nothing of mugging a single defenceless woman - with a knife. With the group spouting their turf speak (some none British viewers may struggle initially with the dialogue), they are not a bunch of youngsters one can easily get on side with. In fact to dislike them in an instant is wholly justifiable and understandable, so much so that once the aliens arrive it's a human reaction to root for them to rid us of these troublesome youths. So yes, dangerous by Cornish, yet astute as it happens.

As the pic progresses and we spend time with the gang, we start to understand their way of life, their part in a tough society. It's during this key phase that Cornish brings in another structure, that of the victim and the perpetrators having to band together to fight an enemy, surely he isn't going to make heroes out of this gang of youthful miscreants? So once this scene is set, and the aliens start to unleash toothsome hell on this part of South London, it's battle royale time. The blood and jokes seamlessly flow together, the score booms and other characters are introduced, some either for a lighter angle - others to annoy us and maybe be set up for alien gnasher fodder?

The aliens themselves are a splendid creation, a new addition to an overstocked market. One of the youngsters calls them gorilla wolf things, that's about right, they be jet black with spiky hair and bio luminescent jaws and claws, they move on all fours. And then it's the last part of Cornish's clever structure plan, for as we are given a reason why the aliens are after this particular group, so does characters transformations offer a prudent point. There is hope unbound, not just for people in movie, but for societies fractured by the way of the life afforded them. While the lesson here of people taking responsibility for their actions, to right their wrongs, is written loud and proud.

Smart and fresh performances across the board, led by the wonderful Whittaker and a star making turn from Boyega, close out the deal. Attack the Block is a genre spilcer of a picture that brings something new to the table it sits at. Trust Bruv! 8/10



The Place Beyond the Pines (2012) - www.imdb.com/title/tt1817273/reference


If you ride like lightning, you're going to crash like thunder.


The Place Beyond the Pines is directed by Derek Cianfrance and Cianfrance co-writes the screenplay with Ben Coccio and Darius Marder. It stars Ryan Gosling, Bradley Cooper, Eva Mendes, Emory Cohen, Dane Dehaan, Ray Liotta, Ben Mendelsohn and Rose Byrne. Music is by Mike Patton and cinematography by Sean Bobbitt.

A motorcycle stunt rider finds he has a son he never knew about and turns to robbing banks as a way to provide for both the child and his one time lover. This puts him on collision course with an ambitious rookie cop that has serious life changing consequences for both of them...

The Place Beyond the Pines (superb title) is a three parter of a character study that examines the critical decisions we make in life whilst putting different characters along a road of reckoning. The atmosphere of palpable human foibles is quickly established by Cianfrance, the introduction of stunt rider Luke Ganton (Gosling mesmerising) the kick start for what will be a multiple character piece even though the narrative core is purely about Ganton and cop Avery (Cooper) and their impact on each other and those connected to each.

Such is a key element of events in the story, it's difficult to say too much because this picture demands that spoilers are not dished out willy nilly. Going in blind without knowledge of the story trajectory is a must to garner maximum rewards. What can be said is that for the final third the pic does lose momentum, there's a big shift of emphasis (though critically connected to all that has gone on previously). It's not a film killer, though, for this remains a damn fine film, one that is packed with utterly gripping sequences, but the ambitiousness shown by Cianfrance is almost the undoing of a fascinatingly engrossing experience.

The consequences of choices are profoundly explored here, the multigenerational axis riveting in execution by director and writers alike. It also looks terrific, evocative cinematography from Bobbitt (12 Years a Slave) is in turn boosted by Patton's tonally compliant musical score. Ultimately, to enjoy fully you will have to accept implausible contrivances and that the psychological digging never really achieves all that it should. A bit of better thought for the last third and some trimming of the run time would have helped greatly, but this is still quality film making and recommended to grown up film fans for sure. 8/10


Suffragette (2015) - www.imdb.com/title/tt3077214/reference


Deeds, not words.


It's a telling point in history, that of the Suffragettes, the militant women's organisations in the early 20th century who, under the banner "Votes for Women", fought for the right to vote in public elections. So case in point that any filmic treatments are greatly anticipated - and wanted of course, so here we have Sarah Gavron's film that is written by Abi Morgan and starring Carey Mulligan, Helena Bonham Carter, Brendan Gleeson, Anne-Marie Duff, Ben Whishaw and in cameo Meryl Streep.

Right off the bat it should be noted on two crucial points, one is that this is merely a story strand involving a group of Suffragette women, this is not all encompassing, something which is emphasised by the fact that Suffragette leader Emeline Pankhurst is only cameoed here by Streep. Secondly it has to be said that this is a condensed narrative for story telling emotional gain in favour of the Suffragettes, their more serious activities for attention are very much played down. So with that in mind anyone interested in the subject are urged to seek out literary sources for story as facts.

Filthy Panks!

The gripping story here dramatizes events that builds to the death of Emily Davison at the 1913 Derby. We are privy to the harsh realities of the life of women in this era (period detail superb), the employment pay structures, the treatment at the hands of the authorities, and the home lives that could result in losing ones child on account of poverty. It's potent stuff and ensures that we at least understand the need for change and fully support the women in their ultimate goal, the arguments put forward viable and just.

Thankfully the makers are not on a one way mission to portray all men as monsters, there's a nice balance between good and bad. The implications of the women's long road to reckoning is given thought, the social distortion possibility hanging in the air alongside economic murkiness. So although the narrative often gets heavy handed in striving for dramatic impact, the point is well and truly made and begs all to delve further into a cause that ultimately needed winning.

Small in scale as regards the Suffrage Movement as a whole, but important as an historical pointer and acted with professional assuredness by the cast, this achieves its goals regardless of condensement gripes. 7/10

Crack-Up / Irving Reis (1946). RKO. Even though this picture has a happy ending, it is otherwise about as noir as you can get. George Steele (Pat O’Brien) is a curator of art and a popular lecturer on that subject (an unusual profession for a noir hero). One afternoon his job is threatened because his lectures are bringing just everybody into the museum, not just the elite. That night he gets a phone call that his mother is ill in a nearby town so he takes a late train which is involved in a crash with another train. The train trip and crash sequence is a marvel of directing, editing, and cinematography. When he wakes up back at the museum, his story doesn’t check out. There has been no train wreck. If that doesn’t draw you into the story, nothing will. Great supporting cast of Claire Trevor (Steele’s girlfriend who appears suspicious) and Herbert Marshall (a new guy who keeps showing up and getting attention from Trevor). In smaller parts, the always scene stealing Wallace Ford is a police lieutenant and Ray Collins (Citizen Kane, Lt Tragg on the old Perry Mason series) is a doctor who treats Steele. Highly recommended.




Behind Green Lights / Otto Brower (1946). 20th Century Fox. This film doesn’t have many noir credentials but is a fun crime film, nonetheless. A driverless car rolls downhill on a city street until it stops by banging into the police station. A dead body is inside. Lt. Sam Carson (William Gargano) is on night duty so is in charge of the investigation. He faces a lot of political pressure. There is a local election coming but the main suspect, Janet Bradley (Carole Landis), is the daughter of the candidate thought to be in the lead. Advocates for one side want Carson to delay until after the vote is in but the other side wants Janet booked immediately. The murder victim was a blackmailer who seemed to have something on every. Carson needs to clear the case that night. There is more than a little humor in the proceedings. Richard Crane (prolific ‘50s TV actor) plays a police reporter on his first day on the job. John Ireland is Carson’s number one at the station. The talented and lovely Carole Landis spent the bulk of her movie career in “B” pictures. Just a little over two years after the release of “Behind Green Lights,” she died of a deliberate overdose at age 29.





White Heat / Raoul Walsh (1949). Warner Bros. Maybe I should have waited to see this on Mother’s Day. In one of the most ferocious and graphically violent films under the Production Code, we see Cody Jarrett (James Cagney) who is a psycho gangster not above shooting down innocent bystanders who hear his name mentioned. He rules his henchmen with the always looming threat of a beating or being killed. They are loyal to him but also scared out of their minds of him. The only person who can control him is his mother, Ma Jarrett (Margaret Wycherly). She is the only one he turns to for advice (which he always takes) and when he has one of his debilitating headaches, she embraces him like an infant and rubs the back of his neck until it passes. Wycherly is great. There is a terrific scene when Ma Jarrett, even meaner and wilier than her son, realizes she is being trailed by coppers in multiple cars. Cody’s bored wife Verna (Virginia Mayo) seeks to leave him any way she can and be safe. Meanwhile, a federal officer (Edmund O’Brien) has gone into deep undercover to infiltrate Cody’s gang. Cagney is a homicidal lunatic as scary as any you have seen, even in modern movies. So many great set-pieces, the best may be the prison mess hall when Cody gets some bad news. Explosive ending and imminently quotable final line. A classic of noir and a classic transcending genre. Not to be missed.




The Lone Ranger. S.2 Ep. 3. September 28, 1950. “Dead Man’s Chest” When Clayton Moore died in 1999 at age 85, one commentator wrote that The Lone Ranger didn’t just restore justice, he restored innocence. He restored faith in justice. “Dead Man’s Chest” is one of many examples of this throughout the run of the show. An evil gang of robbers is rounded up, the value of reading is reinforced, and at the end The Lone Ranger and Tonto slip away when no one is looking or as one wise (fictional) character has said, “Virtue is not virtue unless it is without hope, without witness, without reward.” It is generally true with just a few exceptions that the words “The Lone Ranger” are only spoken once during course of each show as the last line of dialog. As in this story, when the sheriff and newspaper publisher realize the duo have gone, one says, “I think I know who he is.” The sheriff says, “I know, too. The Indian told me. He’s THE LONE RANGER!” Cut to the Ranger and Tonto riding fast into the distance, then to the “HiYo Silver, Away!” and then to the triumphant theme music from Rossini. For people of a certain age, this is goose-pimply stuff. Familiar western face Myron Healy plays one of the head criminal’s henchmen. Healy appeared as a Bad Guy in seven episodes of The Lone Ranger over the course of its run.




Talk About A Stranger / David Bradley (1952). MGM. Family, coming-of-age drama shot in film noir style. Set in the orange groves of sunny California, young Robert (Billy Gray) really really wants a dog. He takes a stray home but in a few days the dog is found poisoned outside the house of a new arrival, a man who is extremely anti-social and rude. Robert is convinced the man has killed his dog. When the adults in his life seem unable or unwilling to do anything about it, Robert takes matters into his own hands. As the boy goes into revenge mode, the more we see noir elements in the cinematography: night scenes, plays of dark and light, odd camera angles, and extreme close-ups of faces to heighten intensity. Interesting movie with a mixture of genres and styles. Also, one of the best child performances in classic film. Gray was 13 but looks younger. More mature viewers will remember Billy Gray from the old TV series Father Knows Best (1954-1960). Former song and dance man George Murphy (later a state legislator in CA) is Robert's father and Nancy Davis (later Reagan) is his mother.




The Miami Story / Fred F. Sears (1954). Columbia. A committee of civic minded citizens in the title Florida metropolis recruits former mobster but now reformed single father Mick Flagg (Barry Sullivan) to pretend to be Cuban mob muscle coming to town to take over the rackets from Tony Brill (Luther Adler), who regular law enforcement has been unable to touch. The intent is to entrap Brill into admitting his criminal ways. Flagg and Brill, who used to know each other, engage in ploys and counter ploys. Sullivan and Adler play well off each other. Beverly Garland in an early role is an innocent caught in the middle. Well acted, well paced noir.

So perfectly stated, mikef6! Your review makes me wanna watch it all over again. LOVED that movie!

It looks like you had a awesome week Aussie, (Mask of Zorro is my all time favourite film) and I was wondering which cut of Deep Red did you view? I was also wondering how you found Rogue One to be? Out of the two I've seen this is the Disney SW I enjoyed the most,partly thanks to the really solid cast, even with R1 leaning more than a little on nostalgia:


 

OldAussie Ha! We both watched Funny Lady (1975) last week!

Hi all,I hope everyone is having a good 2019,and I kicked the year off by watching a flick from this studio for the first time:



New Years Evil (1980) 6

Cracking open with a whiff of the 80's from the moody dark-synch score, co-writer/(with Leonard Neubauer) director Emmett Alston & cinematographer Thomas E. Ackerman pull welcomed strings of Cannon cheese on the screen, as the New Year celebrations are fired up with the raging flames of big hair New Wave bands performing at every New Year countdown, and the nutter seamlessly blends in while wearing a mask,along with successfully taking on a biker gang at drive-in filled with teens getting hot and heavy. Lighting the final firework with an ominous rumble from the synch-score, Alston matches the fun Cannon antics with a stylish, knife-edge Slasher atmosphere of the psycho timing events to the midnight hour, and the final taking place around a lift, which Alston zooms down to the floor, following the would-be victim attempt to escape.

Setting the timer off when the stranger calls Sullivan to let her know that a "naughty girl" will be murdered when each US time zone hits midnight, the screenplay by Alston and Neubauer wisely put the Slasher action aside for the majority, and instead builds very good tension via the race against time set-up, from Sullivan having to break the dismissive attitude of the police over her TV broadcast getting nasty phone calls, to a frantic search be Sullivan and the cops to stop the killer before 10 to midnight. Hanging on the telephone with little option of a helpline, the cute Roz Kelly gives a lively turn as Sullivan, whose initial "Final Girl" fear is hardened up by Kelly into determination to stop the killer before the New Year's evil day.

X-Mas flicks & shows:



El Camino Christmas (2017) 5

Making the Christmas seasonal setting feel like a needless bolt-on, director David E. Talbert displays his playwriting origins in working with cinematographer Tim Suhrstedt, as the convenience store hostage centre-piece is covered with stilted camera moves up the shop floor which fails to crack laughs or tension. Targeting a Red Neck, Black Comedy atmosphere, Talbert takes aim with enjoyable encounters from Eric Roth's run-in with the trigger-happy cops, but misses once entering the store. Taking 10 years (!) in development, the screenplay by Theodore Melfi and Christopher Wehner introduce Eric with a rough and tumble rogue charm, and Larry in a washed-up, bitter laughs haze. Stumbling everyone into a hostage situation, the script dries up fast with the revelation about Eric and Larry being easy to predict, along with attempts at punch-lines falling flat. Not helping the cops (must be first time he did that!) Tim Allen gives a good crusty turn as Larry, while Luke Grimes chips into the guy from the wrong tracks vibe, whilst spending Christmas at El Camino.



Mickey's Once Upon a Christmas (1999) 7

Made by the teams behind the Disney animated TV shows of the late 90's/early 2000's, the directors give this anthology the same slick animation polish as the TV series, with the characters being given a rubbery appearance, which rubs some of the warmth in the hand-drawn style away,but inflates a lively atmosphere when everyone is jumping with excitement for Christmas. Despite being dropped straight to video, the feature breaks from the stigma of low-grade Disney STV with a touch of class, first from the excellent voice cast, (which includes Alan Young voicing Scrooge McDuck for the first time since DuckTales ended in 1990) and second in the maturity of the screenplay. Loosely linking three X-Mas tales together with an unrelated wrap-around/narration on the joy of Christmas, the writers wonderfully have the legendary charters display a level of melancholy to the occasion, brimming in Goofy and his son Max having doubts over Santa being real, (thanks for no difficult questions after viewing guys!) and Mickey being penniless, but finding in his heart the joy of spending the holidays with Minnie, once upon a Christmas.



Christmas Evil (1980)4

Taking a decade to get filmed, the changes writer/director Lewis Jackson (who does an excellent commentary with fan John Waters) made to dice the flick into production during the Slasher era are visible, via the merry use of Christmas decorations/ toys for murder having a crisp style in the set-pieces which are out of place with the rest of the film. Jingling all the way as the "Greed is good" era begun, Jackson cast a cynical atmosphere over the holiday season by slinging loose cannon Harry into a gutter of sharp suited scum and acid-tongue office parties. Attempting for this to be a study of someone on the fringe of society, the screenplay by Jackson feels incredibly forced with handling the Slasher elements, which discharge the chance for the complexities offered by loner Harry to crack to the surface, as Harry wishes all a Merry evil Christmas.



The Royle Family at Christmas (2000) 10

Featuring future star Sheridan Smith in her third, and final very good guest appearance as Emma Kavanagh, the ensemble cast continue to give superb performances, with them all showing restrain in knowing when an awkward silence and uncomfortable glances can be a winning punch-line. Joining the regulars, Sharon Duce and John Henshaw fit right in as visiting couple Roger and Valerie Kavanagh, with co-writer/(with Craig Cash)/co-star/ director Caroline Aherne keeping the camera lingering on the Kavanagh's realisation of how different they are to the Royle's. Making this a blissful family gathering, the script by Aherne and Craig Cash finely balance hilariously earthy humour of family members attempting difficult conversions, with a festive warmth over looking towards the new year during this Royle Christmas.



BoJack Horseman: BoJack Horseman Christmas Special: Sabrina's Christmas Wish (2014) 7

Breaking the 4th wall by the episode being wraparound by BoJack watching the X-Mas special of his cancelled TV show, the script by Raphael Bob-Waksberg slyly rolls out deconstructions on the TV Comedy X-Mas specials, from recurring gags falling to land,to the (possibly Married with Children inspired?) rowdy crowd yelling out at the cast/characters. Along with the very good voice work from the main cast,Kristen Schaal gives a funny, fittingly sickly sweet voice as Sabrina, who pushes around the less than subtle "message" of the ep, sharply satirising Comedy shows which force a moral message in,as Bojack celebrates Christmas with his past X-Mas specials.

Other flicks:



OSS 117: Lost in Rio (2009) 7


Undressing the tailor-made jokes on 60's Bond of the first film, returning co-writer/(with Jean-François Halin) director Michel Hazanavicius continues his collaboration with cinematographer Guillaume Schiffman in patterning this entry to the Euro Spy genre of the 60's in general, and to "happening"/ hippie flicks of the swinging 60's. Dotting OSS 117's introduction with criss-crossing spilt-screens,Hazanavicius spies on a slick chic atmosphere of steamed-up dissolves sinking 117 into the "Free Love" of the era. Going in more of a slap-stick rather than kitsch direction for the quick-paced jokes in this second entry,Hazanavicius sweetly plays up the clichés of the Euro Spy genre with funny gun battles where every shot the baddies take at 117 randomly misses, and gives the beautiful women agents a sparking appearance.

Loosely inspired by OSS 117: Mission for a Killer (1965), the screenplay by Hazanavicius and Halin is less defined on the goals of the mission compared to the first, but serves up a delirious mix of cheeky Euro Spy weirdness of double-dealing agents, booming CIA bosses, dirty hippies,cackling Nazis, and a wonderful final packed with Hitchcock tributes. Keeping 117's dialogue politically incorrect, the writers draw sharp one liners from 117 being completely out of step with the hippie era, via 117 stumbling in offending fellow (Jewish) agent Koulechov each time he tries to create a bond,and his straight-lace macho outlook rubbing up against the Free Love surrounding 117. Joined by a terrific, dead-pan Louise Monot as Koulechov,Jean Dujardin gives an excellent, hilarious return spin as 117,whose devilish cad charms Dujardin carries with a swagger match by a fitting look of being unaware of the hilarity when delivering one liners whilst agent OSS 177 finds himself a fish out of water lost in Rio.

It's actually never a surprise to me when I see someone let down by The Goonies, for as much as a fan of it myself, I have seen a lot of dissention towards it over the years. Maybe you have something there about generational issue? Certainly I feel that if you fell in love with it as a youngster it's a love that lasts forever.

Ah, kids adventure films, how fondly we remember.

In an effort to ward off property developers and save the Walsh's from having to move away. Mikey Walsh, Brand Walsh and their intrepid friends, set off to look for pirate treasure they believe exists after the discovery of a dust covered map.

Fun fun fun! Treasure, pirates, booby traps, crooks, weird cellar dwelling humans, water slides, wishing wells and budding teenager romances, The Goonies has it all.

Directed by Richard Donner and written by Steven Spielberg and Christopher Columbus, The Goonies is one of those rare animals that thrills the children and bewitches the adults in equal measure. Romping along at a fair old click, the film never stops to pause for breath, thus dragging the viewers along for the ride.

There is no expense spared with the production (the sets are delightful) and the cast are mostly engaging. There's some minor annoyances, such as the girls being adventure caricatures, but itches are easy to scratch if you have engaged from the off with its fantastical charms.

It's a film that once loved in childhood should hopefully stay far beyond into your adult years. A junior Raiders Of The Lost Ark perhaps? Maybe not, but still one wholly satisfying action adventure experience, one that's standing the test of time for many of us with our fondly nostalgic glasses perched delicately on the end of the nose. 8/10

Cast Away. I'm still bothered by the finale, and the characterisations at the start are less than meaty, but it's a very good film. - www.imdb.com/review/rw2131715/?ref_=tt_urv