Reverend Horton Heat

Saturday, 26 December 2009

Triple Film Review

Son Of The Morning Star, Joyeux Noel and Rain Man Reviews


Since it’s the Christmas holidays, I thought I might as well spend some time watching some decent films. So, I scoured the shelves jam packed with a seemingly endless array of videos and DVDs, to stumble upon Son Of The Morning Star, a three hour war film about the famous General George Armstrong Custer, and the events leading up to his last stand at the Little Bighorn River against a tribe of Native Americans.

Although the acting isn’t amazing, especially from Gary Cole as Custer himself, the film does document the events from both the Native’s and Army’s point of view, which I thought was a rather great idea. A fair deal of the story is also told by two women, one being Custer’s wife and the other a Native American. Unfortunately, I found Custer’s wife rather annoying, and she glamorised him as being a brave and noble general, which evidence suggests otherwise.

The occasional battle scenes were reasonably alright, with some being better than others, plus the final battle at Little Big Horn did drag on a tad too long for my liking. A few slow motion shots were also used towards the end, and proved surprisingly effective.

You may have to turn up the volume a bit for this second video, as it is quite quiet.

The second film I watched was a war film called Merry Christmas. I hadn’t heard of it before, so my expectations weren’t too high, but I decided to watch it anyway. The film concerns the World War 1 Christmas ceasefires, which took place along the Western Front, and various characters from the Scottish, French and German armies.

Decent acting, a worthy storyline and great visuals dominate Merry Christmas, plus an unexpected appearance from Gary Lewis as one of the main characters isn’t a bad thing. The fact that it is a French film may surprise some people, but didn’t bother me whatsoever. It was only when I finished watching it, that I realised it’s French name was Joyeux Noel, and I had heard about it before I saw the film.

It’s also rather emotional, as you can really feel a strong sense of friendship between characters even on different sides. An interesting subject provides an interesting, well made film. A couple of scenes, like the one shown in the video above really capture what it must have been like for the soldiers in the trenches at Christmas and do so superbly with a mighty sense of realism.


Both of those movies may have been good, but the third film I watched combined excellent acting, an inspiring script and totally original plot to produce outstanding results.

Charlie Babbitt, a selfish young yuppie is annoyed after he discovers that his father has died and left all his fortune to Charlie’s savant brother Raymond. Charlie subsequently kidnaps Raymond to try and reclaim some of the money he believed to be rightfully his.

Dustin Hoffman is amazing as Raymond, and plays the part utterly convincingly and with revolutionary acting skills. Cruise isn’t far behind, as he also succeeds in fulfilling his role to a high degree, subtly changing his attitude towards Raymond and improving his personality as the film progresses.

Overall:

Son Of The Morning Star: 7.5/10

Joyeux Noel: 8.25/10

Rain Man: 8.75/10

Please comment!


By Paddy Johnson

Thursday, 10 December 2009

Cool Hand Luke Review







Cool Hand Luke Review

A five star film review from the Daily Mail and a 125th best film ever position on IMDb hinted that Cool Hand Luke wasn’t your average mediocre movie. Perhaps the problem was that my expectations were too high…

When Lucas Jackson (Paul Newman) gets sent to prison, he quickly gains the respect of his fellow inmates, and becomes their greatest idol. After his mother dies, Luke is appalled that he is forced to spend time in the box (an almost pitch black, narrow hut with not even enough space to lie down) in case he decides to attend her funeral. After he is released, however, Luke is determined to escape from the camp, and, with the help of friends, tries several times to do so.

Cool Hand Luke does have many great attributes, such as stunning and visually amazing cinematography (brilliant picture considering it was made in 1967!), a fair share of classic moments (e.g., the egg scene, and the Captain’s speech) and decent acting at best demonstrated towards the end.

The problem is that it didn’t feel to me like a classic film, and although enjoyable, wasn’t at all the remarkable film I expected it to be. Newman isn’t a jaw droppingly good actor, and wasn’t anything special in this.

A good film, which provides inventive entertainment, but not a masterpiece by any means.

Overall: 8/10


By Paddy Johnson

Saturday, 5 December 2009

Unforgiven Review



Unforgiven Review

After viewing a fair amount of Eastwood’s previous westerns (High Plains Drifter, Pale Rider, The Dollars Trilogy etc.), I had rather high hopes about this film. He not only stars in, but also directs Unforgiven to quality standards later demonstrated in classics such as Letters From Iwo Jima.

For starters, the plot is reasonably strong, the characters fully developed, and the suspense at times unbearable. A starry cast including Morgan Freeman, Richard Harris and Gene Hackman, not to mention Clint himself, propel Unforgiven into greater territory.

Following on from a brutal incident involving the knife slashing of a prostitute, a reward is offered to anyone who can track down the cowboy who committed the crime, and his partner. Aging gunslinger William Munny (Eastwood) teams up with old friend Ned Logan (Freeman) and the cocky, young Schofield Kid (Jaimz Woolvett) to kill the two men and collect the bounty.

Unfortunately for them, the town where the prostitutes are located is run by lawman “Little Bill” Dagget (Hackman) who forbids anyone to carry firearms into his town, as he has previously demonstrated by savagely beating English Bob, who previously rode in (and subsequently out) of town. Another unfortunate incident occurs near the end of the film, forcing Munny to return to his gun slinging ways for an epic, visually impressive final shootout.

All the characters are well acted and seem realistic, but I was most impressed by Richard Harris’ performance as English Bob, a rather posh and civilised character. This is an absolutely classic and thoroughly enjoyable western, with excellent portrayals of the characters, a worthy script and remarkable suspense sequences. Eastwood has clearly learnt a lot about westerns from previous years.

Overall: 8.5/10

Friday, 20 November 2009

Open Range Shootout Parts 1, 2 and 3







One of the best western shootouts ever made! Please comment!

Once Upon A Time In The West Opening Scene



A clip from the western masterpiece "Once Upon A Time In The West". This scene is very suspenseful and features slow and effective build-up. It is also a major influence on my film. Please comment!

Friday, 6 November 2009

Vengeance- a short story by Paddy Johnson

Here is a short story I wrote yesterday. Please tell me what you think about it or your interpretations of its meaning, which I will eventually reveal.

Vengeance

1000 eyes but he’s still blind. He staggers on through rain, thunder and shine witnessing first hand accounts of hate, love, loneliness and discomfort. He struggles on through desolate landscapes, barren lands, desperate times and alienating experiences. He wonders and wanders endlessly under a pitch-black cloak of suffering, shielding his face from the outer world. But they can still see him, sense his presence in mind, body and soul.

It is solitude, which most affects him. He finds that, sometimes not everything is what it seems. Some keys unlock more than one door, rain can bring the brightest of weather and no-one is ever completely alone. He finds comfort, happiness in his head. An irreplaceable feeling which he is certain no-one can steal from him. He realises with a triumphant grin outstretched on his darkened face, that friends aren’t everything.

He releases himself from their tight grips, and lets out a cry of happiness. He is completely free, with more enthusiasm and comfort than ever before. He does not care what anyone thinks of him. His expression triumphant, he knows inside his brain that he has reined victorious overall.

He does not feel the need to be understood, as he now understands himself. He fears no longer from hate and abuse, but returns to many a happy cheer, his face a portrait fixated in the heads of everyone for miles around. The wrong reasons redeem themselves, and all is forgiven almost as if there was never anything to forgive in the first place.

He rips the chains of solitude from his flesh, the needles of hatred from his skin and dashes triumphantly towards any direction. At last, his sense of full loving is fulfilled. The experience may have tainted him, but overall has done him well.

He does not stand up for any nonsense, treads carefully retracing every step, forever watching his back cautiously. He has changed and now the tables have turned. He is the oppressor in a land of false judgement. They now experience and breath the same foul, twisted air that he once inhaled. Experiencing in full detail his hardships, troubles and pet-hates to full realisation.

They beg for his apology, but what is done will always be done. Now his past is their present and no power in the world can change that except him. But he is once again bitter, sour and merciless in his ever-burning lust for revenge. Sadness smothers him and strangles his insides. Isolated in a cold dark room, feeding on thoughts, drinking the blood of those who suffer under his own iron fist.

The blood reigns from the walls of his existence. He stammers, and breaks. He cannot take this any more, and forcefully kicks open the door. He has exploded and his excessive emotions are released onto the unsuspected victims, as they once victimised him. Like dominoes, they fall one by one. He feels unstoppable, and screams out his emotions, breaking his victims as they have done to him so many a time before.

He is crazy, wild eyed and without a care in the world. Past emotions, nothing but an empty, desolate shell remains. They cannot control him anymore, fear his presence, his existence. He knows he cannot struggle on in these conditions. He is not that sort of person. His emotions have transformed him, broken his existence into a mere shard of glass in an ocean of windows, all reflecting on his past suffering.

He faints, quivers, exposes himself to the elements and eventually joins hands again to the forgiveness of authority. He is deep in trouble, but is perfectly aware of the fact. He collapses under his own weight of mind, his head swollen and shuts the door on outer society.

Triumphant, dominant, although far from happiness, he seeks the very things that he has ignored for so long now. Where have the good times disappeared to? People who he once knew, respected, cared for turn away in disgust as he watches helplessly. Only he is to blame.

He tries to hide his weaknesses, although they are blatantly obvious even to the most unaware of folk. Behind his vision, lie haunted, tainted pupils of distant morals. Unexplained examples of sickness become more apparent. He hates himself now, sickened by his grief and anxiety. He shakes his head, in a brave attempt to eradicate the fever. He cannot.

He is the cause of his own failure. A failure which was by no means his fault, but the fault of others who had pushed him to unforgivable limits. If there ever was a sin to be committed, this was by far the worst.

He tries to regain qualities such as friendship, loyalty and trust, but drowns in a swamp of uncertainty. He has lost his identification, a false character in place of a kind, helpful gentleman. He cannot believe what he has just done. Cannot face the outside world ever again…

They are past understanding and refuse him once again, retreating on his appearance and whispering behind his back. Once again, he cares about them, and more importantly, what they think of him. His sense of freedom evaporates into thin air and for once, he turns back and welcomes his abusive past with open arms.

His tormentors, although far less wise and emotionally developed as him are what make him human, body and soul. He understands fully now, that, there is absolutely no point in any violence whatsoever and his vengeance has only worsened his condition.

He grits his teeth, but this time to bear a different pain. Thankfully, the worst has past, and he unlocks the door. Welcome faces and blurry visions fill his view, and he closes his eyes once more. He lets them take his friendship, his unification and mingle them with outer society.

His eyes open once again to perfect joy and happiness. He cries tears of solitude, for one second forgetting everything that has ever happened to him, before sighing and raising the object to his head. The end is nigh…

By Paddy Johnson

Friday, 30 October 2009

The Short Films Of David Lynch Review









The Short Films Of David Lynch Review

The basic and pointless animations of Six Figures Getting Sick, the creepy, alienating images of The Alphabet, the dark, depressing atmosphere of The Grandmother, the disturbing, sick filming of The Amputee, the quirky, nonsensical footage of The Cowboy and The Frenchman, and finally, the horrifying, nostalgic weirdness of Lumiere dominate this freaky collection of Lynch’s short projects.

Firstly, I will tell you that most of the short films displayed in this collection are black and white, miserable and lack any kind of meaning whatsoever. Vague connections to some kind of distant plot are recognisable in the 34 minute The Grandmother, and the 26 minute The Cowboy And The Frenchman.

The Grandmother involves a poorly treated, hideously abused young child as he searches for love and comfort until eventually finding a bag of seeds. He plants one of these seeds, which subsequently form a grandmother, who is caring and kind towards the boy. But, soon after this, fate intervenes and the grandmother dies, leaving the boy to mourn sadly over her death. The fact that there is hardly any colour in this except dark, depressing visuals only further enhances the gloomy atmosphere.

The Cowboy And The Frenchmen, perhaps the most normal and welcoming of the films, involves three cowboys on a ranch who come across a Frenchman. The Frenchman is scared of an Indian who has been tracking him for quite a while, but they soon become friends as a car (yes, a car) pulls up alongside the ranch and some women step out. That was basically the furthest I could ascertain before loosing the storyline entirely.

This aside, you can’t argue that the films are influential, and completely original. The animations are clever and well done (but extremely weird).

Overall, Lynch’s collection is quirky, abnormal and sometimes shockingly grim. At times slightly amusing (The Cowboy and The Frenchman), and at other times shocking and disturbing (The Amputee), this is nonetheless strangely enjoyable in places. A rather hit and miss affair.