Sin City * * * * 1/2

Directors: Robert Rodriguez, Frank Miller.
Screenplay: Frank Miller.
Starring: Mickey Rourke, Bruce Willis, Clive Owen, Benicio Del Toro, Elijah Wood, Nick Stahl, Jessica Alba, Rosario Dawson, Brittany Murphy, Jamie King, Carla Gugino, Devon Aoki, Alexis Bledel, Powers Boothe, Michael Clarke Duncan, Nicky Katt, Marley Shelton, Tommy Flanagan, Frank Miller, Rutger Hauer, Josh Hartnett, Michael Madsen.

Director Robert Rodriguez is a real mixed bag for me. Most of the time, I either find his films childish or over the top. This, however, is far from childish but so wildly over the top, it’s hard not to like it. It’s based on the adult comic-book by Frank Miller (who serves as a co-director) and is by far Rodriguez’s finest film to date.

Basin City is the film noir community that plays host to three hardboiled comic-book tales. “The Hard Goodbye” has Marv (Mickey Rourke) an brutish ex-convict who avenges the murder of prostitute Goldie (Jamie King) that he had fallen in love with; “The Big Fat Kill” where private detective Dwight (Clive Owen) finds himself helping hookers fight mercenaries from the red light district and “That Yellow Bastard” sees disgraced cop Hartigan (Bruce Willis) protect dancer Nancy (Jessica Alba) from a psychotic sadist and sex offender (Nick Stahl).

This film may be, unashamedly, computer enhanced but it doesn’t diminish it’s highly visual approach. It’s shot in true noir style with wonderful touches of vibrant colour throughout it’s monochrome palette. It also has the downbeat voiceover that most film’s of the genre indulge in. It’s quite simply, a stunning piece of work. Comic-book adaptations have taken to our screens on a regular basis but Rodriguez has probably been the most faithful to his source material. This is as close as I’ve seen in a page to screen transfer. Rodriguez has retained the look and feel of this fantasy world, practically word-for-word, and I can only assume that having it’s creator Frank Miller on board is a major merit. Like a lot of comics it’s most certainly a boys-own adventure; All the guys look tough and talk tough and most of the gals dress in dog collars and S&M gear. It could be deemed insulting or exploitative towards women but it’s written purely as fantasy and works an absolute treat. I’m a big fan of film-noir but you’d be hard pushed to find it done in such an audacious way. Into the bargain, Quentin Tarantino ‘guest directs’ a scene and we are also given a huge cast of familiar faces. All of which, are superb. The real standout though is a comeback performance by Mickey Rourke. He’s as brutal and relentless as they come – “… they should’ve shot me in the head and enough times to make sure” – and he’s unlike most comic characters you’ll find yourself rooting for. I’ve always been a fan of Rourke’s and this is one of my favourite performances from him. It’s great to have him back. Ultimately, it’s the look and feel of the film that possesses the real power though. It’s very hard not too be drawn into this visceral and uncompromising neo-noir.

“Sin City 2: A Dame To Kill For” is in the works and if Rodriguez and Miller can recreate their true visual spectacle and technical achievements, then we could be in for another treat.

Mark Walker

Blade Runner * * * * *

Director: Ridley Scott.
Screenplay: Hampton Fancher, David Webb Peoples.
Starring: Harrison Ford, Rutger Hauer, Sean Young, Edward James Olmos, Daryl Hannah, William Sanderson, Joe Turkel, Joanna Cassidy, Brion James, M. Emmett Walsh, James Hong, Morgan Paull.

Director Ridley Scott released “Alien” in 1979. For many, it stands as one of science fiction’s best. A mere three years after it though, he delivered “Blade Runner“. It was wrought with production problems, a less than happy crew and abundant studio interference. The end result, however, would lead you to believe that everything went smoothly. This is the definitive of science fiction movies and Scott’s finest film.

Los Angeles, 2019: Rick Deckard (Harrison Ford) is a ‘Blade Runner’ – a unit of the police force that hunt and kill human clones, known as ‘Replicants’. Replicants have been declared illegal after a bloody mutiny on an Off-World Colony, and are to be terminated upon detection. Some have escaped and prowl the streets of Los Angeles looking for answers from their creator. This is when Deckard’s services are called upon.

Loosely based on the novel “Do Androids Dream Of Electric Sheep” by, the master of the genre, Philip K. Dick. If you are familiar with Dick’s immersive and intelligent ideas, then you’ll know exactly why this film works on so many levels. On the surface, it’s one of the most gorgeous pieces of cinema ever committed to the screen. The opening shot of the vast, dystopian city of Los Angeles – dubbed “The Hades Landscape” – is an absolute feast for the eyes and
a vision that’s yet to be beaten – even by today’s standards. The city itself is stark, rain drenched and has a heavy Eastern influence. Giant global corporations are rife; slavery, overcrowding and a decaying environment permeate the proceedings. Cinematographer Jordan Cronenweth can’t be praised enough for his eye in capturing this inhospitable future world. This is also helped, immeasurably, in it’s realisation by Production Designers Lawrence G. Paull and Syd Mead; Art Director David L. Snyder and Douglas Trumbull’s exquisite special effects. Everyone pulls their weight in capturing the sheer visual beauty of this film. Underneath the luscious surface, courses a deep and philosophical pondering. The reference to French philosopher Rene Descartes and his metaphysical statement “I think, therefore I am“, addresses the doubt we have as living beings and the nature of our existence. It’s a recurrent theme throughout the whole picture.
It’s a film that is renowned for being tinkered with. Several different cuts were released over the years. The original had Harrison Ford supply a Philip Marlowe like voice-over, talking us through the events. This was deemed insulting to the audience as it caused continuity problems. However, I actually liked it. It gave a film-noir feel that complimented the look of the film but regardless of the cut you prefer, the film is still a masterpiece. It also boasts excellent performances from its entire cast. Ford has been outspoken about his dislike for the film but he has rarely performed better and Rutger Hauer is commanding throughout – with his shiver inducing, “Tears in Rain” monologue, going down as one of cinema’s classic scenes. The haunting soundtrack by Vangelis also deserves mention and accompanies Ridley Scott’s creativity perfectly.
It’s testament alone that with all the big budget special effects these days that a film done in the early 80′s still stands as one of the most amazing visual spectacles ever made. And how many films do you come across, that not only look astounding but also channel Film-Noir and Cartesian doubt?

This connects on a visual, emotional and philosophical level that few films have ever achieved.

Included in My Top Ten films.

Mark Walker

Memento * * * * *

Director: Christopher Nolan.
Screenplay: Christopher Nolan.
Starring: Guy Pearce, Carrie-Anne Moss, Joe Pantoliano, Mark Boone Jr., Stephen Tobolowsky, Harriet Sansom Harris, Jorja Fox, Callum Keith Rennie, Larry Holden.

Before his foray into the adventures of the Caped Crusader with “Batman Begins“, “The Dark Knight” and “The Dark Knight Rises” or even his mind-bending Science fiction actioner “Inception“, director Christopher Nolan delivered this independent, teasingly constructed, psychological thriller in 2000. It was based on an original idea by his brother Jonathan and was only his second feature – after his debut “Following” in 1998. It also marked the emergence of a brilliant directorial talent.

Leonard Shelby (Guy Pearce) is a man who suffers from short term amnesia. He can’t make new memories. The last memory he has, is of his wife… dying. Leonard knows one thing; his wife was murdered. He doesn’t know by whom though and sets out to find her killer, with his condition causing an obvious problem. So as not to forget any information he comes across, it has to be taken, either in photograph or tattooed to his body. Every waking day he has, is a fresh start and a fresh investigation with people manipulating him along the way. Or is he manipulating his own mind…?

With the arrival of Quentin Tarantino in the early 90′s and his films “Reservoir Dogs” and “Pulp Fiction“, it became cool again, to deliver films in different time frames and to manipulate the chronology of the narrative. Tarantino was by no means the first, but he influenced a new generation of filmmakers. There was an abundance of low-budget crime thrillers that attempted to emulate his success. It wasn’t until Christopher Nolan delivered this though, that even Tarantino had been surpassed.
According to Nolan, the best place to start his story, is at the end. Who am I to question that? Who am I to question one the finest independant films to come across in years? He does indeed start at the end of the film, working his way back to the beginning and taking you through one of the most jaw dropping and confusing films I’ve ever seen… and I’ve seen a lot. Straight away, we know how this story plays out but the skill is in finding out why.
Not only is the narrative manipulated but the most impressive thing about this, is how we participate in the main characters frame of mind. He is us, as we try to decipher an elaborate murder mystery, in reverse order. If your not carefully listening or observing, this will leave you miles behind. Rarely does a film demand such unconditional attention and still have you scratching your head. It’s not only the accomplished direction or the vice-like script that’s impresses though. Guy Pearce’s central performance is also marvellous. He displays the perfect amount of vacantness, unsure of himself and others, with glimmers of paranoia and despair. Without a performance to capture this characters bewilderment, it wouldn’t have worked as well as it does.

The tag-line for this was… “Some memories are best forgotten”. The same can’t be said for this film. It won’t allow you to forget it. An absolutely gripping and perplexing modern noir from Nolan and one of the finest and most orginal films for a very long time.

Included in My Top Ten films.

Mark Walker

L.A. Confidential * * * * *

Director: Curtis Hanson.
Screenplay: Brian Helgeland, Curtis Hanson.
Starring: Kevin Spacey, Russell Crowe, Guy Pearce, James Cromwell, David Strathairn, Kim Basinger, Danny DeVito, Graham Beckel, Brenda Bakke, Paul Guilfoyle, Ron Rifkin, Matt Malloy, Simon Baker.

James Ellroy is one of the finest of hard-boiled crime writers. For those not familiar, check out his “L.A. Quartet“; four novels, that delve into the seedy and corrupt world of the Los Angeles police force in the 1950′s. This film is actually based on the third novel in the series and director/screenwriters Curtis Hanson and Brian Helgeland have done a marvellous job in adapting Ellroy’s convoluted narratives and staccato writing.

L.A. in the 50′s is rife with organised crime and corruption in the police force. Both intertwine in the glitz and glamour of the booming Hollywood movie business. The story follows the path of three very different police detectives. Jack Vincennes (Kevin Spacey) – the suave and ambitious type with an eye on stardom for himself. Bud White (Russel Crowe) – the brutal strong arm who will do anything to achieve his form of justice and rookie Ed Exley (Guy Pearce) – who does everything by the book and believes in law and order. A late night shooting in a coffee shop, which leaves one policeman dead brings these three detectives together in an elaborate plot involving corrupt politicians, prostitutes made to look like movie stars, gangster Mickey Cohen and sleazy tabloid journalists.

First of all, where this film succeeds – in it’s difficult adaptation – is capturing the mood and setting. Not since Roman Polanski’s “Chinatown” in 1974 has this been achieved. The music by Jerry Goldsmith taps into film-noir with a seedy jazz score, while Dante Spinotti’s rich cinematography perfectly captures the infancy of the city of Los Angeles, before it’s economical boom. It was a city that could make or break a person, with corruption at every corner. This rich attention to detail, is also captured by some outstanding performances. Kim Basinger won a supporting actress award but it’s Spacey, Pearce and particularly Crowe that own this film. Their performances have seldom been better. The story itself can simply be described as labyrinthine. There are so many facets that’s it’s hard to keep up. It demands your attention and commitment but it also rewards. Credit must go to Curtis Hanson, who does an excellent job in handling all the narrative arcs and teasingly fitting all the pieces together. This is filmmaking of the very highest standard.

An absolutely enthralling film, that’s so vivid and compelling that fans of the genre should not ignore.

Included in My Top Ten films.

Mark Walker

Film Noir * * *

Directors: D. Jud Jones, Risto Topaloski.
Screenplay: D. Jud Jones.
Voices: Mark Keller, Bettina Devin, Roger Jackson, Jeff Atik.

Being an avid fan of the film noir genre, I couldn’t resist one that used the genre’s description as it’s title and also carried an 18 certificate, making this an enticing prospect for any hardboiled fan, not to mention that it’s an animated take on it.

Waking up in the Hollywood hills without a clue as to his identity, our protaganist finds himself with a dead police officer lying next to him and the murder weapon fitting his holster perfectly. He determines that it must be himself that’s the murderer. But he has no idea of who he is or why he’s killed. He sets out to unravel the mystery of his identity while crooks and dames try to thwart his investigation at every turn.

For me, one of the major attractions to this film was the animation but unfortunately, that was also the biggest disappointment. It’s nothing special by today’s standards, and bordered on amature at times. The splashes of colour throughout were a nice touch though, in a mainly monochromatic style. What really raises this above the standard is it’s perfect attention to the atmosphere of a noir, with excellent use of downbeat voiceover and sleazy saxaphone and trumpet jazz soundtrack. It doesn’t quite manage to hold your attention throughout though, partly down to the substandard artwork and the fact that it goes way over a reasonable running time – meandering towards it’s conclusion. Comparisons with Frank Miller and Robert Rodriguez’s “Sin City” will no doubt be made, as this is the best example of what to expect from this unexpected genre addition. The opening is so strong that the rest of the film suffers because of it.

If you’re a fan of the film noir genre you’ll find plenty to enjoy, but it somehow left me feeling that this was a missed opportunity for something unique and special.

Mark Walker

Payback * * * *

Director: Brian Helgeland.
Screenplay: Brian Helgeland.
Starring: Mel Gibson, Gregg Henry, Maria Bello, Deborah Kara Unger, Lucy Liu, David Paymer, John Glover, Bill Duke, Jack Conley, Freddy Rodriguez, William Devane, James Coburn, Kris Kristofferson.

“L.A. Confidential” screenwriter Brian Helgeland makes his directorial debut with this remake of John Boorman’s “Point Blank”. The commanding presence of Lee Marvin may be gone but this time we get an uncompromising, bad-ass Mel Gibson taking centre stage.

Armed robber Porter (Gibson), is double-crossed, shot in the back and left for dead by his ambitious partner Resnick (Gregg Henry) and junkie wife (Deborah Kara Unger), who also take $70,000 from him. Once the bullets are removed and he’s fighting fit again, he chases down a parade of low lives in a violent bid to get even and grab his share of the loot.

We are introduced to Porter during the opening credits as he steals from a homeless man, doesn’t tip his waitress, and basically just shows a mean-spirited disregard for everyone around him. He’s a deliciously nasty character and probably Gibson’s finest role to date. This is a gritty modern noir with everything you could possibly want. It has the voice-over, an anti-hero, arch enemies, femme fatales and also a sense of humour. Not to mention having a great seventies feel to it, and boasting three prominent seventies actors in William Devane, Kris Kristofferson & James Coburn as the crime lord’s Porter is out to get. Despite all this though, it seems everything I liked about this film was (surprisingly) the studio’s doing. Helgeland was sacked during the making of the film and as a result, he released his director’s cut at a later date. One of these studio additions is a wonderful monochromatic look with the colour desaturated, adding further weight to a Film-Noir. I haven’t seen Helgeland’s cut yet but I doubt it’ll change my opinion of this version and I never thought I’d find myself saying I like what a studio has done to a film. All the performances are delightfully sleazy or menacing with the highlights being Gregg Henry who lends some excellent support as Porter’s sleazy double-crossing partner and Gibson has never been better. Like a cross between the ruthlessness of his “Mad Max” and the craziness of his “Lethal Weapon” characters.

It may leave a bad taste for some but I found this to be an uncompromising and highly enjoyable guilty pleasure.

Mark Walker

The Killer Inside Me * * * *

Director: Michael Winterbottom.
Screenplay: John Curran.
Starring: Casey Affleck, Kate Hudson, Jessica Alba, Simon Baker, Bill Pullman, Ned Beatty, Elias Koteas, Tom Bower, Brent Briscoe, Jay R. Ferguson, Liam Aiken.

After Casey Affleck’s performance in his brother Ben’s directorial debut “Gone Baby Gone” and his Oscar nominated turn in “The Assassination of Jesse James…”, he’s fast proving that he is the brother with the acting chops, with yet another excellent delivery in this brutal film-noir, based on Jim Thompson’s novel.

Deputy Sheriff Lou Ford (Affleck) is an all round clean cut, impeccably mannered, law enforcing kind of guy. At least that’s on the surface. Behind his steely-eyed glare lurks a undercurrent of violence which displays itself with outburts toward the women in his life as he connivingly orchestrates the death of a local tycoons son and the woman he is eloping with, while trying to maintain his facade.

Michael Winterbottom has always been an interesting and controversial director and he yet again draws the attention of the finger-waggers, with a violent and sadistic sociopath as his protaganist. With very violent scenes, this film is hard to watch at times but still captivating nonetheless, thanks to an exceptional cast. Jessica Alba and Kate Hudson both add strength and depth as the Deputy’s prostitute mistress and fiancee respectively but still don’t stand a chance with the duplicitous nature of Ford’s psychopath. He’s cool and calculated and Affleck plays it to perfection with a disturbing and disdainful execution.

Very unsettling and graphic viewing but on the whole, it’s a quality film and despite a slightly weak finale, it’s still a fine addition to the film-noir genre.

Mark Walker