Green Zone

"Green Zone" plays out as a war/thriller but is really built around the scams, for lack of a better word, that were the justifications for the Iraq War. 

Set in the early days of the war, the film follows Chief Warrant Officer Roy Miller (Matt Damon), who leads a team searching from site to site for weapons of mass destruction (WMDs) using information from a "credible source" that no seems to have ever actually seen. Eventually Miller becomes involved in a conflict between two camps in the US intelligence community, one of which wants to broker a deal with an Iraqi general, and the other that wants the general dead. The general knows the truth about the WMDs.

As an action film, "Green Zone" succeeds reasonably well. We have shaky camera work and rapid-fire editing creating a sense of chaos in both scenes of conflict as well as drama in scenes of confrontation between characters.

The film's critical look at the Iraq War, exploring the deception, misinformation, and the consequences of intervention end up a weakness. The story here suffers from its being compressed and simplified into a film form, centering around one low level officer who seems to run around doing whatever he wants, and two far over simplified military intelligence camps. The film strains mightily to hit almost every criticism of this period in US policy, resorting even at times to a mere few lines of exposition, at the cost of testing the suspension of disbelief. 

That said, Matt Damon delivers an adequate performance as Miller, a character torn between following orders and his growing doubts about the mission. There is suspense and several good action sequences. However real world situations such as this conflict are far more chaotic, at all levels, than the film portrays. And it seems highly unrealistic that an officer in the thick of things at that point in the war would be anywhere near the powers that be and the motivations for the actions as we now know them.

Perhaps they should have stuck with the action part and left more of the power struggles, political optics and outright profiteering of that time for a future film to delve into.

More reviews here on letterboxd:

https://letterboxd.com/jssexton/  

Fog Island

"I'm sure you're all wondering why I invited you all out here."

This is another "collection of characters showing up to a creepy and isolated mansion at night" story. One of the guests is responsible for the murder of the host's wife. All of them have a history together involving a missing fortune they believe their host has hidden. Each guest, each shadier than the last, is giving a clue to a mystery set up by their host. The location of the missing money? Or something else? There's skeletons in the closets, and everywhere else. Suspicions run high. The guests turn on each other, and the bodies pile up.

The performances aren't great but are better than usual in this sort of thing. The actors aren't given much to work with in the cliche script. The ending however is surprisingly surprising. And surprisingly dark. It's worth waiting for as the film is only just over an hour. It's quick view.

More reviews here on letterboxd:

https://letterboxd.com/jssexton/  

Tough Guys Don’t Dance

Ryan O'Neal is Tim Madden, an unsuccessful writer with some rather odd women in his life. He drinks too much and after an evening of particularly wild events, he has a new tattoo. Oh and a severed head turns up. He doesn't remember a thing. 

On the surface "Though Guys Don't Dance" is a neo-noir thriller with a con, a drug deal and a murder - actually several murders. The plot seems like a Coen brothers work, but this film isn't really concerned with plot. At its foundation is a small New England town, quiet in the off season. It's the sort of place a Steven King story could unfold. It also resembles a David Lynch setting; full of dark secrets just under the surface (score by Angelo Badalamenti by the way). The film's inhabitants are a strange bunch, all interconnected in complicated ways and all with their own individual craziness.

Let's call "Though Guys Don't Dance"... Quirky? It progresses in a nonlinear manner through flashbacks within flashbacks and narration. There's a dreamlike feel to much of it, as though at any moment it may turn out not to be real. The dialogue is stagey and almost Shakespearian in pacing at times. There's quite a lot of laughs, both at the darkness of the events, and at the shear audacity of this movie. The characters can't make up their minds whether to shoot each other, shoot themselves or just continue waiting for Godot.

It's confusing and incoherent. It's also brilliant and a joy to watch. Produced by Francis Coppola and American Zoetrope, "Tough Guys Don't Dance" was nominated for for four Independent Spirit awards, and four Razzies, in the same year.

More reviews here on letterboxd:

https://letterboxd.com/jssexton/  

The Eiger Sanction

Jonathan Hemlock (Clint Eastwood) is a retired assassin who now lives a quiet life as an art history professor (oh sure that's convincing...). His past catches up with him when he's forced to return to his former employer under threats of reporting his priceless art collection to the IRS. Hemlock is assigned to infiltrate a group of climbers attempting to ascend the treacherous Eiger in the Swiss Alps. One of the climbers, we don't know who, is a Soviet agent that Hemlock must eliminate.

The film's most striking feature is its cinematography. The climbing sequence are all on location at Eiger mountain, Monument Valley and Zion National Park. The climbing is particularly amazing, and the highlight of the film. Watching, I often wondered where the camera could possibly be. In fact one mountaineer on the crew was killed during production at Eiger by falling rocks, something that also occurs in the film.

Eastwood's portrayal of a seasoned mountaineer is convincing and impressive. He insisted on having no stunt double and, having no significant climbing experience, had to train extensively for the role. The portion of the film portraying Hemlock training for Eiger includes footage that is actually Eastwood training in Utah prior to filming in Switzerland.

The plot is a bit convoluted at times. But it's entertaining to watch Hemlock navigate the dangerous world of international espionage, as Eastwood navigates this sort of American James Bond, complete with an extra helping of sexism and bigotry. There's a comically Hollywood insight joke, when meeting a sexy native American women, Eastwood mumbles "Fuck Marlon Brando".

More reviews here on letterboxd:

https://letterboxd.com/jssexton/  

Captain Clegg

This "Citizen Kane" of supernatural tax evasion, set in the 18th century, is the story of a group of King's sailors who arrive in a coastal town to investigate reports of smuggling in the form of untaxed spirits (the liquid type). They end up encountering the dreaded, sinister and mysterious marsh phantoms. "Night Creatures" (also titled "Captain Clegg"), is a terrific Hammer film blending of adventure, pirates, mystery, marshes, bootleg gin and naturally the supernatural. 

The film's minimalist and rudimentary special effects are actually rather creative and genuinely creepy in their own way. The film's coastal setting and eerie atmosphere create an intriguing backdrop for this entertaining tale. Peter Cushing, known for such iconic roles in Hammer films, delivers a typically charismatic performance as the local vicar, with something to hide. And he'd have gotten away with it to if it weren't for those meddling kids and their stupid dog!

More reviews here on letterboxd:

https://letterboxd.com/jssexton/  

Big Trouble in Little China

Here we have a very '80s action adventure staring Kurt Russell's hair. The film has achieved cult status over the years and remains a popular entry in John Carpenter's filmography. Coming a couple years after his more conventional, character driven "Starman, it's an over-the-top, campy extravaganza with supernatural elements, action sequences, and deliberate humor.

Jack Burton, a brash and cocky truck driver played to perfection by Kurt Russell. Russell delivers a charismatic performance, embodying the spirit of a classic Western hero who gets tangled up in an adventure in San Francisco's Chinatown. His performance is the film's highlight.

In "Big Trouble in Little China" Chinatown, or specifically secret catacombs under Chinatown, there lurks an ancient and powerful sorcerer, Lo Pan. Jack Burton finds himself caught up in the middle of a battle to defeat Lo Pan and get his truck back... er, I mean free two green-eyed women Lo Pan has kidnapped. The film is a big budgeted take on the tropes of Chinese centered exploration film, full of martial arts, magic, stereotypes and cliches.

The practical visual effects are fun, the soundtrack is of course on point, the action is good and the script is loaded with laughs. The whole is a call back to B-action movies, Westerns and creature features shifted into an '80s thriller. Whether the tongue in cheek tone of "Big Tro6in Little China" works is a matter of taste.

More reviews here on letterboxd:

https://letterboxd.com/jssexton/  

Withnail & I

Two out-of-work actors, Withnail and Marwood, embark on a disastrous alcohol fueled holiday in the English countryside where they constantly assure everyone that they are not from London.

"Withnail & I" is the very blackest of British comedy, and a sort of very English "Fear and Loathing in Los Vegas". Carrying forward the tradition of "The Young Ones"_ into the '90s, these are slakers before that was a thing - with the unique spins that only England could put on the idea.

Richard Grant delivers a tour-de-force performance as the flamboyant, alcoholic Withnail. His character is a study in contrasts. He is both a charming and repulsive force of pure chaos. Paul McGann is equally effective as the more level-headed "I", dragged along on Withnail's wild adventure.

The film's humor is dark, witty, and often self-deprecating. But the film also slips seamlessly into the truly frustrating, tragic and sad. The characters' struggles with the meaninglessness of the trappings of modern (late '80s) life are conveyed with a biting irony. 

This is definitely one to revisit soon.

More reviews here on letterboxd:

https://letterboxd.com/jssexton/  

Southern Comfort

The opening of this film is some master class film making. Set is perhaps the early '70s, a group of National Guardsmen are unloading into the middle of no place in a swamp. They are unserious weekend soldiers who don't care to be there, they don't all really get along and their officers are routinely mocked. Oh, and they only have blank ammunition, loads of it. We learn everything we need about the setup in the first two minutes.

The squad we follow is assigned to match off across the swamp from point A to point B. They spend a lot of time complaining and bickering and naturally become lost. A series of dumb mistakes and they find themselves hunted by local Cajuns, who actually know what they're doing.

The film's greatest strength lies in its atmosphere. The bayou setting, with its dense vegetation, murky waters, and eerie silence, creates a palpable sense of unease and isolation. The tension builds as the guardsmen realize their predicament and that their situation has become serious. They are incompetent strangers in a strange land. They don't speak the language, they're lost (literally and metaphorically) and they're shooting blanks. The Vietnam War allegory to pretty obvious.

The film features a solid cast with Keith Carradine standing out as the only level headed one in the group. The others, again we quickly learn, are strong, weak, dumb, impulse, crazy, etc. like seven dwarves. And that's a weakness in the film. We get the situation and a superficial characteristic for each man early on, and that's it. There's little depth to these people. They are as obvious as the metaphors of the film and the plot (we know full well what will unfold) suffers for it.

The locals are likewise superficial. They are mysterious "others" glimpsed through the trees, almost monsters in fact. This is likely deliberate, and the end sequence does attempt to add a human dimension to the swamp dwellers. But it's heavy handed and not enough. A missed opportunity... 

This is not a major criticism though. The film simply does a number of things well, but a couple things merely adequately. "Southern Comfort" is none the less an engaging and exciting film from a director that knows how to hold the viewers interest. And it is definitely well worth watching.

More reviews here on letterboxd:

https://letterboxd.com/jssexton/  

The Lady from Shanghai

"Like the sharks, mad with their own blood, chewin' away at their own selves."

"The Lady from Shanghai" is a enigmatic and iconic film noir that remains a timeless illustration of love, betrayal and deceit. The film's intricate plot, striking cinematography, and memorable performances make it an all time great.

A rough Irish sailor, Michael O'Hara (played by Orson Welles himself), becomes entangled in a dangerous game of cat and mouse when he by chance meets the alluring Rosalie (Rita Hayworth). Their relationship escalates of course, and mysteries accumulate, leading to murder, a touch of blackmail, and some suspenseful courtroom action.

"The Lady from Shanghai" is renowned for its striking and innovative visual style. Welles, known for pushing the bounds of filmmaking technique, employs a variety of stylistic elements to create a visually arresting experience. The film's use of deep focus, shadows, and distorted perspectives serves the sense of suspense and mystery.

The film features strong performances from its lead actors. Welles delivers a charismatic and complex portrayal of Michael O'Hara, while Hayworth is captivating as the enigmatic Rosalie. The supporting cast also contribute to the film's overall success creating an array of highly memorable characters.

This is a complex film working a great deal of depth into its multilayered plot and the double crossing characters that populate it. The film's ending has been the subject of debate. It can be seen as classic tragidy. But may also be viewed ethically void. Regardless, there's twists that hold to viewer right to the end.

"The Lady from Shanghai" is a remarkable and definitive film noir. It's fascinating, visually impressive to say the least, and highly quotable. The writing is outstanding. This isn't a film that's easy to forget. Welles and his mirrors...

"Maybe I'll live so long that I'll forget her. Maybe I'll die trying."

More reviews here on letterboxd:

https://letterboxd.com/jssexton/  

The Straight Story

Right from the beginning, the Angelo Badalamenti soundtrack signals that this is a David Lynch film. But "The Straight Story" may surprise some as a departure from his usual surreal and enigmatic work. This film, based on a true story, follows Alvin Straight, a man in his 70s and in declining health, as he embarks on a journey across the Midwest alone on his riding mower. His purpose is to see his estranged brother, Lyle, who has just suffered a stroke.

The film's quiet simplicity is its strength. There's no grand arc or dramatic twists. There's just one old man's determination and the kindness of the strangers he encounters along the way.

Richard Farnsworth, in his 70s himself at the time of filming, delivers a fully engaging and understated performance. The Alvin he portrays is past his best years but resilient; a man coming to terms with his past and present situation.

Despite the film's straightforward narrative, Lynch's signature touches are evident. The film's landscapes are both serene and haunting before a lingering camera. There's also a focus on small, off beat details, significant objects, and interesting people. And of course, the soundtrack.

More reviews here on letterboxd:

https://letterboxd.com/jssexton/