Pet Sematary 2019 ***

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Nostalgia isn’t always what it used to be; one of Stephen King’s best books made for a pretty average film in 1989, and this 2019 revision actually improves on the original without ever approaching the heights of the text. Jason Clarke brings his signature intensity to Louis Creed, a doctor who moves with his wife and children to idyllic Maine, only to find that there’s a highway at the bottom of the garden where heavy trucks pass by. This scenario is laced with dread; no matter how hard Creed has worked, no matter how stable the relationships his life is built upon, death, sudden and decisive, lies only a few baby steps away from his house, and nothing he can do will avert it. Of course, when tragedy strikes, there’s an ancient burial ground around which offers him a chance at apparent salvation, but only delivers a brief respite before something cruel comes down the pike. Pet Sematary’s narrative body-swerves the climax or the original book and film, apparently with King’s blessing, and puts something more cinematic in it’s place. John Lithgow plays a more grounded version of Fred Gwynne’s old codger who knows all the secrets, and plot-holes aside, Kevin Kolsch and Dennis Widmeyer’s film manages to deliver the nasty thrills that the dark story demands.

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Kedi 2017 ****

Cats, cats, cats…arguably the greatest gift the internet brought was non-stop cat coverage. The big screen has been slow to see the same potential, but Cedya Torun’s return to his Turkish homeland in Istanbul is a wonderful showcase for stars who have no interest in being in a film. Kedi follows a number of diverse moggies through their daily routines in the city. As in Venice, cats seem to have a tight grip on the underworld, and Torun doesn’t bother with any anthropomorphic analysis or talking heads, other than a few stories about how cats and people get along. One lively character sits outside a restaurant, and seems to have trained the proprietors to bring him his food at a pre-arranged signal; such delightful details make Kedi and charming, original documentary for when a story just seems like too much bother.

Beasts: Special Offer 1976

Another worthwhile entry in Nigel Kneale’s ITV series from 1976, Special Offer is a very odd tale of telekinesis that seems to reflect on a similar subject matter to Stephen King’s Carrie, but instead of the specific humiliations of a prom and pig’s blood, the ordinary everyday humiliation of working on the checkout of a British supermarket creates a similar result. Pauline Quirke plays Noreen Beale, a naïve and inexperienced girl who starts work on the tills in a store operated by Mr Grimley (Geoffrey Bateman). She’s got a secret love for him that’s unrequited, and soon items are breaking, shelves are clearing themselves and Noreen believes a strange creature is responsible. Kneale isn’t afraid of being silly, but he’s also averse to cliché, and Special Offer never quite settles on a tone, making the climax all the more nightmarish. There’s a keen eye for the unfair male dominance of the working environment, and also the kind of satire of capitalism that marks Kneale’s work, even in his abortive screenplay for Halloween III; Season of the Witch.

Beasts: Buddyboy 1976

Nigel Kneale’s interest in science-fiction topics is mixed with genuine social critique and a pessimistic view of human nature; this entry in his Beasts tv show from 1976 doesn’t quite fuse these elements together, but it’s a wild ride all the same. A young Martin Sham, all curly hair and mouth, is a small-time entrepreneur and gangster who hopes to turn a high-street dolphinarium (posters identify it as being called Finnyland) into a sex club and cinema; presumably Kneale saw this as a sign of the times, but it’s hard to take seriously the notion that in 1976 Britain’s high street dolphinariums were falling into nefarious hands. The previous owner (Wolfe Morris) is haunted by the ghostly presence of a dolphin (Buddyboy) which he abused, and Lucy (Pamela Moisewitsch) seems to have an affinity with the dead creature. The punch-line is bleak and non-visual, but Buddyboy is a real curio because of the decent acting from Shaw, and the surreal sense of dislocation. While it sounds ridiculous, Buddyboy is not the kind of story that you’ll ever forget.

A Boy and His Dog 1975 ***

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Adapted from a sci-fi novel by Harlan Ellison, A Boy and his Dog is an unusually imaginative sci-fi movie from 1975. Actor briefly turned director LQ Jones also wrote the screenplay with Alvy Moore; the story takes place in an apocalyptic wasterland and concerns Vic (Don Johnson) who traverses the remains of planet earth with his telepathic dog Blood (Tiger, voiced by Tim McIntyre). Vic is lured into an underground bunker where there are plans to harness his virility for pre-creational purposes, and A Boy And His Dog sticks to its independent guns by having the survival of the human race low on Vic’s priorities. With dialogue taken often verbatim from Ellison’s novel, A Boy and His Dog is a smart antidote to big-budget sci-fi; it makes its points with satirical verve.

 

 

 

Mousehunt 1997 ***

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Gore Verbinkski’s first features shows all the visual energy and gift of visual comedy that featured in the Pirates of The Caribbean movies, but without the lame-love interest. Instead there’s a stream of high quality slapstick for kids of all ages; Nathan Lane and Lee Evans play Ernie and Lars Smuntz, who are hoping to restore an ancient mansion but haven’t reckoned with the sitting tenant; a mouse who is unwilling to move out. Mousetraps, cats and eventually a tough professional exterminator (a brilliant cameo from Christopher Walken) are all enlisted, and Mousehunt has enormous fun with the comic possibilities in this breezy Dreamworks production; any film with such an extended mouse-down-the-trousers gag deserves points for trying.

Madagascar 3: Europe’s Most Wanted 2012 ****

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No prior knowledge of the Madagascar films is required to enjoy the third and best instalment; co-written by Noah Baurmbach, it’s a genial romp that finds the escaped zoo animals loose in Europe and infiltrating a circus for cover. Gia (Jessica Chastain) and Vitaly (Brian Cranston) run the operation, and there’s a choice dilemma for Alex the lion (Ben Stiller) and his gang; to stay with the circus where they are regarded as an inspiration, or admit that they’re losers on the run. The be-all-you-can-be message is exemplified by a dazzling montage set to Katy Perry’s Firefly, a sequence that elevates Eric Darnell, Tom McGrath and Conrad Vernon’s film to high art. And the regular appearances of a chimp in a Louis X IV wig are cause for hilarity in themselves; not quite on message with the rest of the gang, this baroque figure is the trickster incarnate.