Saturday, October 31, 2026

The Killer (2023)

 'The Killer' is a David Fincher action thriller that follows a professional assassin played by Michael Fassbender. The story takes us from an ultimately failed assassination job in France, to a retaliatory attack on Fincher's home base in the Dominican Republic, to Fassbender's hunting down those involved across North America and then being the title to them. 

Fassbender gives us a largely detached narration on his job, the proper way to do it, the importance of staying on plan and not getting emotionally involved, all to the a soundtrack consisting almost entirely of songs by The Smiths. The revel that Fassbender has a homelife with a wife/girlfriend and a reasonably cordial relationship to her brother, adds intriguing complication to the character. A character so disciplined, repressed and bifurcated, that even though he's on a revenge spree through most of the movie, he hardly seems to think about the woman he's avenging at all. 

The film is smart, solid, engaging, and has a goodly number of intense killing sequences, with my favorite being the one in New Orleans. Though a cold film about a cold man, it's a fairly electrifying watch. ***1/2 

Room 237 (2012)

'Room 237' is a video essay about fan theories positing hidden meanings in Stanley Kubrick's 1980 horror masterpiece 'The Shinning'. The theories run on a spectrum from the reasonable (the film is a metaphor for the genocide of the American Indian or the Holocaust) to the far fetched (that Kubrick subtly imbedded in the film a confession to having faked the moon landing). Some of these theories I can believe or at least entertain; I'm now convinced that the perfectionist Kubrick included on purpose some continuity and logic errors to underscore Jack's madness. 

On the whole however the film left me feeling a little disconcerted. The talking heads in the film all appeared to be completely convinced and serious about their pet theories. Earnestnely imposing something on a text, a film, or reality that may not be there, and holding to it with unwavering conviction, that sparks a little fear in me, fear of the irrational. While none of the theories in this film are dangerous, and  I can even agree with some of them on some level, the vibe of the thing shook me some. What if some of the seemingly ridicules is actually true, and what would that mean for my perception of the world. Things that can weigh on you. ***

Friday, October 30, 2026

Carrie (1976)

 This is the original cinematic 'Carrie', and though I know the story pretty well from cultural osmosis, I've never seen a version of this before or read the book. Interestingly De Palma's 'Carrie' is the first film version of a Stephen King novel, and also interestingly it happens to be of King's first novel. This is a real strong start for what would turn out to be a veritable sub genre, the "Stephen King Film".  

I knew going in how iconic this film was, while I haven't read the book so can't fully speak on it as an adaption, as a movie it gets everything right, much as would the second King feature 'The Shinning' four years later (though King was famously dissatisfied with that film as an adaptation, as a film in its own right its momentous). 'Carrie' is well cast, well acted, well shot, well paced, well structured, and leads up to a climax that is probably still King's most iconic. 

There are some things I had assumed about the story that turned out not to be true here, in addition to the PE teacher there are in fact a couple of students who turn out to be sincerely wanting to help Carrie, Amy Irving (who De Palma cast in multiple films) and 'The Greatest American Hero' himself William Kitt. Sissy Spacek and Piper Laurie are so wonderful in their roles as Carrie and her mother, that its hard to imagine they could every be surpassed. 'Carrie' is another classic for a reason, De Palma could seemingly do no wrong in the late 70's and early 80's. ****

Blow Out (1981)

 I hesitated to watch this one for a long time, because I suspected it would just be a modified version of 'Blow Up', which is a movie I think very highly of and don't think needs remade. To an extent it is that, but it is also a lot more; 'homage' is something De Palma does very well, while always putting his distinct tonal and directorial mark on it. 

In 'Blow Up' a photographer captures evidence of a murder in a photograph, though he doesn't realize at first the significance of what he caught on film. In 'Blow Out' John Travolta is a sound man out capturing nature sounds at night, when he catches audio of a passing car experiencing a tire blow out and then crashing into the river. Travolta is able to rescue only one of the two people in the car, Nancy Allen, making this a reteaming of the two from 'Carrie' five years before. While in Carrie the couple are assholes, in 'Blow Out' they are generally good people. 

It is only when at the hospital following his rescue of Nancy, that John learns the other person in the car was the governor (this film is set in Pennsylvania), an early favorite for the next years presidential election. As you'd expect given the set up, the audio Travolta captured may prove the death not an accident. 

While the first act of the film owes a lot to it's Antonioni predecessor, the bulk of the film owes more to the paranoid political thrillers of the seventies, such as 'The Parallax View'.  As I've been watching these De Palma films I've been noticing his penchant of casting many of the same actors in his films; I'm getting a sense of his stock company, for example I don't think anyone else has used Dennis Franz as effectively. 'Blow Out' is a very involving movie, and provides further evidence that Brian De Palma was Alfred Hitchcock's early successor as the cinematic 'Master of Suspense'. ****

Dressed to Kill (1980)

 I hadn't really planed on it, but I ended up having a Brian De Palma week. I had started 'Dressed to Kill' a couple times before but had never completed it, stopping in the first 10 minutes or so, finding I wasn't in the mode. I decided to power through it this time and I'm glad I did. De Palma is known for being obsessed with Hitchcock, whose influence on his work is very overt. 'Dressed to Kill' is a riff on 'Psycho', sharing structural, thematic and visual elements. Yet it totally works as its own movie, its not a mere rehash like the notorious 'Psycho' remake of the 90's. I hesitate to get into the plot in any detail, as the surprises are worth experiencing, and if I started writing about this movie in detail I think I'd have a hard time stopping. It is in a number of ways exploitative, but it's parts are all strong leading to a satisfying whole. This is considered one of De Palma's best for a reason. ****

Tuesday, October 20, 2026

Death Wish V: The Face of Death (1994)

A now 73 year old Charles Bronson returns as Paul Kersey, now back in New York and living under a fake name courtesy of the Witness Protection Program, he's teaching architecture at a university (seems like a place he might run into old colleagues, but what the hay) and dating Lesley-Anne Down whose 33 years his junior and has a 12ish year old daughter. Down is a well known fashion designer whose ex husband Michael Parks is a sadistic mobster who still has his hands in her business. Parks, not knowing who Bronson really is, makes the mistake of killing Lesley-Anne, and as this is a Death Wish movie you know what happens next. Bronson is long in the tooth, but I'd be lying if I said some of those revenge deaths weren't fun to watch. This film comes close to rivaling 'Death Wish 3' in terms of ridiculousness and camp, but if you see just one Death Wish movie it should still be number 3. 'Death Wish 5' is still better then it should be. *1/2

The Living Idol (1957)

 Part rather slow and abstract horror movie, and part travelog, 'The Living Idol' boasts some gorgeous color photography of 1950's Mexico, both urban and the jungle. The plot concerns Liliane Montevecchi, the daughter of a Mexican archeological worker whose father is killed under unusual circumstances. Following his death Liliane is taken in by James Robertson Justice, a European archeologist whose lived in Mexico for decades, and his native wife Sara Garcia, both of whom she's known her whole life. 

Liliane's dads (accidental?) death occurs during the visit of a family friend, Yankee photo journalist Steve Forrest, who Liliane has been in love with since she was eight. Liliane makes this known to Steve, but Steve thinks she's too young (I think her character is supposed to be around 18). Steve leaves to cover the Korean War and says they'll talk about it when he gets back. 

It is several years before Steve makes it back to Mexico, Liliane is now a college student and James is teaching at the university. In the interim James has becoming increasing obsessed with an Aztec legend about a fearsome Jaguar God who demands human sacrifice. Steve determines that James may not be so sane anymore and that Liliane might be in danger. 

This movie is beautiful to look at, top notch cinematography, lovely locations and people, I just wish they'd done more with the story, it  lacks the heft to properly compliment the visuals. **1/2

 

Bodies, Bodies, Bodies (2022)

The Gen Z children of rich parents decide to wait out a hurricane in Pete Davidsons dad's mansion (I guess this is supposed to be Florida) and have a party.  Amandla Sternberg, recently out of rehab, arrives unexpectedly with her new (and decidedly not rich) girlfriend Maria Bakalova. So Maria is the audience surrogate character, she quickly notices tensions within the friend group and mostly tries to keep a low profile. 

To pass the time the group decides to play a 'guess the murderer' party game called 'bodies, bodies, bodies', but then the actual dead bodies of group members start to turn up and the friends quickly find themselves turning on each other, and trying to determine who the real murder is. I hesitate to say more then that concerning the plot, it took a bit to get going but I really enjoyed this movie, it surprised me. ***

High Treason (1929)

British sci-fi film was released in talkie and silent versions, I saw the talkie version. Set in the future year of 1940, 'High Treason' posits a future where the Western World is divided chiefly between two federated states, 'The United States of Europe' compressing that continent, Africa, Britain and its Common Wealth; and the Empire of the Atlantic States, comprising North and South America save for the Dominion of Canada. So the boarder between Canada and the old United States is the most tense in the world, there are skirmishes there, chiefly related to rum running because apparently America is still under prohibition. We see these reported on the television news. 

A prominent peace advocate, as this movie was made at a time when prominent peace advocates were a thing, tries to hold Europe back from the brink of war, but then there is a terrorist attack on the Chunnel (yes this film predicted the Chunnel) and war seams inevitable. The peace advocate, whose daughter is dating a higher up in the European military (I made the decision not to bother with the names of the characters and the obscure actors who played them), may need to commit some titular 'High Treason' to stop it. 

He does commitment that treason, but owns it and consents to his execution, taking one for the geo political team. It's dry, but its short (95 minutes for the talkie), and there is some decent model work for the time. A curio. *1/2 


Sunday, October 18, 2026

Breezy (1973)

 In the film 'Licorice Pizza' - which is set in 1973 - a plot element involves the making of a thinly veiled version of 'Breezy' called 'Rainbow'. In addition, having now watched 'Breezy' I can better see a number of aspects of that film embedded in the later films DNA, including an age gap romance and a similar California setting. 

'Breezy' was the third film directed by Clint Eastwood, after 'Play Misty For Me' and 'High Planes Drifter', in fact characters in this film go to see 'High Planes Drifter' in a theater. 'Breezy' is a character study/ romance film in which an imbittered, divorced, real estate agent played by a 55 year old William Holden, slowly, and against his better judgment, falls in love with a free spirted 17 year old who goes by "Breezy" and is played by a very lovely 20 year old Kay Lenz.

The film somewhat lessens the ick factor of the pairing by making "Breezy" not a run away, but rather an orphan who finished school early then set out on her own. She's the manic-pixie-dream-girl type, very charming, and she's the one who actively pursues Holden, picking him like a stray cat might pick an owner. 

While Kay Lenz is beguiling (side note: Eastwood started in a film called 'The Beguiled' two years before making this movie), it's Holden who makes the film work. I read one reviewer point out the honesty in his performance and I'd second that, you believe him, the positive changes Breezy's presence brings out in him seem real and earned. The whole film has a understated quality that keeps it from feeling excessively exploitive, even as it makes sure to show off Kay Lenz's body. Without going into them I also wanted to mention the film has a number of good side characters and side plots, these provide counter point to the main narrative and provide further emotional shading and backstory for the leads. 

This is one of those films I didn't plan on finishing, just wanted to get a taste of it given the 'Licorice Pizza' connection. However, the movie reeled me in, and was surprisingly emotionally affective. To those who can get past the premise, I recommend. ***

 


Saturday, October 17, 2026

The Final Conflict aka The Omen III (1981)

 The last entry in the feature film 'Omen Trilogy' is a disappointment even compared to its middling predecessors. Damien is now a grown up played by Sam Neill, whose mostly waisted in this. 32 years of age and heading his family conglomerate, he takes a step back from day to operations to assume his father's old post as the US Ambassador to Great Britian (a vacancy having been conveniently opened up for this job via the forces of darkness). The forces of light are back too, mostly monks and priests, they have relocated the sacred daggers which are the only instruments capable of killing the Anit-Christ. Several assassination attempts fail. 

There are also story points concerning the impending second coming of Christ, but in a break with prevailing doctrine apparently Jesus is coming back as an infinite again (so he can grow up to face a sixty-something Anti-Christ?)  But Jesus won't have to be the one to end the Anti-Christ's reign, which will prove to be short and low key, as he is to be felled by a single mother that he recently started dating. This film lacks the scale which would seem to go with such a cosmic story, there's a few decent set pieces, but its mostly people talking in rooms and Damien raging in front of a crucifix which he keeps just to rage in front of. This was silly, rather cheap looking, and really bad. *


Damien: Omen II (1978)

 'Damien: Omen II' is of course a sequel to the 1976 film 'The Omen', a film that is considered a classic but that I thought was middling. I think this was middling as well, but in some ways, I found it more interesting than its predecessor, in part because the first film has worked its way into the collective consciousness, so I felt like I'd kind of seen it even before I saw it. 

This movie follows a young pubescent Damien coming to the realization that he is to be the Anti-Christ, something that he is legitimately upset about at first, but which he comes to embrace. Damien also learns of a conspiracy of people dedicated to helping him, including an instructor at his military school and the number 2 official at his uncle's multi-national conglomerate. 

After his parent's deaths in the first movie Damien is taken in by his father's brother. We learn that the Thorne family run a multinational conglomerate, and that while Gregoy Peck was able to use his privileges to have a prominent diplomatic career, his brother William Holden took over the family business. Holden seems a decant enough guy, but when approached by representatives of a 'conspiracy of light' dedicated to stopping Damien, he just refuses to see his nephew's evilness (despite all the people around him that conveniently wind-up dead) until it might be, and in fact is, too late. 

Some interesting ideas here, but similar themes are tackled more interestingly in other films from around the same time, such as 'The Fury' (1978) and 'The Visitor' (1979). The movie also fails to take advantage of a plot twist they seemed to be setting up, in which Holden's wife Lee Grant knew that Damien was to be the Anti-Christ the whole time. **

Sunday, October 11, 2026

The Burning (1981)

 'The Burning' is an early 80's slasher film using the New York City area urban legend of "Cropsey" as a jumping off point. Here Cropsey was the grounds keeper of a summer camp who was horribly disfigured by a fire caused by a prank against him gone wrong. After five years in the hospital, undergoing ultimately unsuccessful skin grafts, the disfigure and embittered Cropsey decides to seek his vengeance on campers and their councilors. 

It is in effect a pretty standard type 80's slasher film, but I thought one of the better done ones. It hits all the expected beats, the fairly large cast of characters are mostly well fleshed out and distinct, and its got a decent gimmick with Cropsey making his kills via a pair of pruning shears. This is also of note as the first movie produced by the notorious Harvey Weinstein, who is also one of three people listed under story by credit, the actual screenplay was co written by his brother Bob Weinstein. You can see a little of Harvey in a couple of the characters. 

This movie also boasts an unusual amount of future stars in the cast, including Holly Hunter, Jason Alexander and Fisher Stevens. The film under performed at the time owing to the slasher glut of the early 80's, but has since gained a cult following. There has never been a sequel or a remake. Again this is a pretty standard horror, but I thought the cast was unusually good and so I enjoyed it more then most films of this type. I would even say its better then any of the 'Friday the 13th' films. ***

Piranha 3D (2010)

 A few years back I watched 'Piranha DD' confusing it with 'Piranha 3D'. Turns out 'Piranha DD' is the sequel to 'Piranha 3D', which could loosely be construed as the 3rd film in a franchise going back to a couple of Roger Corman films in the 70's and 80's, if you ignore the 1995 Piranha reboot. 

In 'Piranha 3D' an earthquake opens up an underwater fissure connecting an Arizona surface lake to an unground lake and thus releasing a species of piranha thought extinct for 2 million years. The first person killed by these piranha is Richard Dreyfus in a rowboat singing "Show Me the Way to Go Home", and the person who explains the "science" to the audience is Christopher Lloyd in 'Doc Brown' mode. This movie likes its references. 

The lake into which the piranha are released is a popular spring break destination, and you guessed it, this happens during spring break. The action in the film centers around 3 or 4 groups; local law enforcement and family centered around sheriff Elisabeth Shue, a 'Girls Gone Wild' codded porn shot centered around Jerry O'Connell, and a geological survey team centered around Adam Scott (guess which one of these three center spokes survives).

Somewhat to my surprise there are moments when I felt a genuine sense of horror during the course of this film, something that wasn't the case with the sequel. Also, unlike the sequel the script here is actually pretty tight, it's a legit if often comic disaster movie. My favorite bit was probably the piranha eating all the flesh off a bikini clade babe and then the breast implants floating upward.  ***

Saturday, October 10, 2026

The Haunted Palace (1963)

'The Haunted Palace' is the 6th entry in director/producer Roger Corman's "Poe Cycle" of the 1960's (a total of eight Edgar Allen Poe inspired works were released by Corman between 1960 and 1964).  The titles source material, Poe's 1839 Poem 'The Haunted Palace' is short on plot, so this is supplemented by grafting on the story from H.P. Lovecraft's 1927 novella 'The Case of Charles Dexter Ward'; making this the first feature film based on a Lovecraft story. 

In 1765 Arkham, Massachusetts local rich guy Vincent Price is burned at the stake (actually he's tied to a tree and then set on fire), for being a warlock and seducing local woman via magic. 110 years later in 1875, a descendent of the dead warlock also played by Price arrives in town to claim his inheritance. The 18th century Price lived in a century's old castle or palace, which he had bought in Europe then had re assembled brick by brick in the new world. 

The new 19th century Price is actually a pretty good guy, by his evil great grandfathers ghost initiates a psychic link between the two via his old portrait. 18th century Price slowly takes control of 19th century Price's body, and with the help of two fellow warlocks, one of which is played by Lon Cheney Jr., he proceeds to get revenge on the descendants of the people who killed him. In a typically Cormanesque cost saving measure the decedents of the villagers in the opening 18th century sequence are played by the same actors in the 19th century bulk of the film. 

The films okay and by Corman standards better than usual. The 18th century Price had cursed the decedents of the Arkham villagers with having an unusual number of deformities among them, so we have an excuse for some reasonably good make up and prosthetic work. The hero of the film turns out to be the town doctor played by Frank Maxwell, he takes a reasonable course between the superstition of the towns folk and the early skepticism of 19th century Price. Maxwell save's Price's life at the end, but the film concludes with the implication that his ancestors ghost is still hanging around inside of him. Actress Debra Paget, 22 years Price's junior, plays his wife in the film, she is still alive at 93 years of age. **


Halloween: Resurrection (2002)

 'Halloween: Resurrection' aka 'Halloween 8' is a sort of soft reboot that ended up not producing any direct sequels. The story does away with Jamie Lee Curtis's Lauire Strood in the first 10 minutes or so, Micheal finally gets her and I can see how this would be very unsatisfying to devotes of the franchise. But as the films use of the word "resurrection" in the title implies, this movie is not so much concerned with the past, as it is with trying pump new life into a series that was nearly a quarter century old by this point. 

This movie has more African American characters in it then it any of the previous films and attempts to exploit the then relatively recent arrival of 'reality TV' in its plot. A group of Haddonfield University students (since when did Haddonfield have a university), are locked overnight in the Meyers house on Halloween for a live stream reality show; there a cameras planted throughout the house and each 'contestant' has a head mounted camera with them. This proves to be especially usefully as the online friend of one of the contestants is able to use information gathered by the cameras, as well as an early texting feature, to communicate the location of Mike Meyers when he inevitably shows up.

This isn't a very good movie, but what I enjoyed about it most seeing it for the first time now is just what an artifact of its time it is. This is a very 2002 movie in the casting, in the music, in the reality show and period internet elements of the story. This is really a pretty generic slasher, but adding in a nostalgia kick for the period in which it was made, and in which I was also in college, made it rather enjoyable. **

Thursday, October 8, 2026

Return of the Killer Tomatoes (1988)

 'Return of the Killer Tomatoes' is (appropriately) the first sequel to the 1978 horror-spoof-adventure-comedy 'Attack of the Killer Tomatoes'. Made by some of the same folks who did the original there are a number of returning characters, as well as additional characters, all/most of whom would appear in the 1990 - 91 Fox Kids animated series 'Attack of the Killer Tomatoes'. I was a big fan of this cartoon during its initial Saturday Morning run, and foremost among the things that fascinated me about it was it's absurd, slapstick humor and an in-joke, self-referential vibe that I couldn't fully understand. 

Well, I can understand that more now as the series is a more or less direct sequel to this movie. This movie however is not for kids, with cruder humor and (I kid you not) a direct tie-in to Playboy Magazine. The cartoon series does some retconning and ages down a number of the characters, but a slightly pervy undertone remained. 'Return of the Killer Tomatoes' is not a good movie, it ironically has a 0% Rotten Tomatoes score.  However, I'm glad I saw it, as it unraveled some of a childhood mystery. *1/2

Fun facts: 

Film featured a young George Clooney. 

A 5th 'Killer Tomatoes' movie is due to hit theaters later this year. 

Wednesday, October 7, 2026

Alice, Darling (2022)

 Alice (Anna Kendrick) goes for a weeklong vacation at her friend Wummi Mosaku's cabin to celebrate the birthday of mutual friend Kaniehtilo Horn. The three have known each other since elementary school but hadn't seen much of Alice lately. owing to all the time she has been spending at work and with her new artist boyfriend Charlie Carrick. Over the course of the vacation Wummi and Kaniehtilo notice strange behavior from Alice, a nervous fidgetiness, excessive time on her phone, her generally being less fun and more irritable. When Alice starts talking about cutting the vacation short and leaving before Kaniehtilo's birthday, Kaniehtilo takes and hides her keys and cellphone to force her to stay. Cut off from the outside world Alice starts acting more like her old self, and revels that her relationship with the seemingly charming Charlie is not as ideal as it appeared to be. Then Charlie shows up at the cabin. 

This generally understated Canadian production has a nice, unhurried pace, is reflective and enjoyably small scale. Star Anna Kendrick reports having once been in a relationship like this, and the film is a rumination on how otherwise smart and independent women can become trapped in abusive relationships. While Charlie is not a physically abusive man, he is imposingly tall and emotionally manipulative and had slowly been stripping away at Alice's sense of self-worth. Alice was afraid that Charlie wouldn't "let her" go on the birthday trip, so she lied and told him she was traveling for work. When Charlie figures this out, he is upset, yet when he shows up uninvited at the cabin he puts on a show of being understanding. With Alice reverting to subservient behavior, it's up to Wummi and Kaniehtilo to figure out how to best get Alice out of her bad situation. 

The film also contains a counterpoint B plot about a local young woman who has gone missing. At several points in the movie Alice and friends encounter search parties and even assist them for a time. The uncertain fate of the missing girl parallels the uncertain fate of Alice. Once the missing girl's fate is finally reveled, it becomes make or break time for Alice's future as well. ***



Friday, October 2, 2026

Death Line (1972)

A couple of college students, American Alex Campbell (David Ladd, brother of one of the films executive producers, Alan Ladd Jr.) and Brit Patricia Wilson (Sharon Gurney), are returning from a date late one night, and notice a seemingly well to do man lying unconscious on the stairs leading out of the subway station. Alex doesn't want to get involved, but Patricia insists they tell someone, so they tell a policeman, but by the time they get back to where they saw the man he's gone. Alex had taken a peek at the man's wallet, so passed the name on to the police. The local Inspector (Donald Pleasence) is initially uninterested in the report (as there's no body, and no missing person reported), but when a check is run on the name and it is discovered to belong to a holder of the Order of the British Empire, a senior civil servant in the Ministry of Defense, the inspector becomes much more interested. 

The film follows the Inspector and his associates in the investigation, the couple who first found the man, and his murderer. Christopher Lee stops by in a camo role (which he agreed to do for scale as he had never worked with Pleasence before and wanted to) as a member of MI5 who shews the Inspector away from the case. But whatever secret goings on the missing man was involved with turn out to be unrelated to his disappearance. 

The "twist'' of the film is that the missing man (James Cossins) was knocked unconscious and later retrieved by a cannable (Hugh Armstrong). The station in question is located near a long-abandoned tube line that had collapsed in on itself during construction, back in the Victorian era. At that time, it was standard practice not to dig the dead workers out as it was deemed not worth the effort. Here however a number of the male workers and for some reason some women survived the collapse, and again for some reason they didn't dig themselves out and return to the world but formed a small colony that survived for eighty-odd years, picking off as needed fellow members of the lower classes to eat. This apparently didn't attract attention because those that the cannibals picked off were deemed unimportant by the police and upper classes. The class commentary here is heavy handed. 

The colony was at last down to one member, and because by chance he abducted someone deemed important (who was down there trying to hire a prostitute), the larger mystery finally came to light. The killer was essentially a caveman, who could communicate only in grunts and slivers of English that had survived underground. The "good guys" kill him in the end, but projecting forward this case would have become a tabloid sensation and prompted investigations into the better part of a century's worth of crappy police work. 

So yes, the mystery proves to be silly, but the film does a good job of maintaining tension and boasts some interesting characters. For me the most interesting by far is Pleasance's Inspector Calhoun, there is a lot of implied backstory to the character and Pleasance elevates  
him with the particularities of his performance. He's a man who given his age would almost certainly have served in The War. He lives alone and apparently never married, he's very particular about his tea, is kind of a grump, has some sort of ongoing beef with Lee's MI5 character, and as an investigator, I'd give him a B -. 

This is another movie I didn't expect to finish, just wanted a taste of it. However, it proved interesting enough to catch me and hold my attention for its 87 minutes. Smarter than it needed to be, its exploitation far that is just enough off the expected path to be memorable. **1/2 

Entrapment (1999)

 Sorry, can't say I liked this one much, though I probably would have liked it more had I seen it closer to when it came out. A 29 year old Catherine Zeta-Jones is an insurance investigator who is really a thief herself. She arranges things to give her boss a reason to send her after a famous thief played by a 68 year old Sean Connery. Tasked to stop him, she really plans to team up with him for a series of daring robbery's, culminating with a night time break-in at the Petronas Towers in Malaysia as the world rings in the new Millennium.

The sexyness of the April - December couple was really played up at the time. I thought the plot was really basic and pretty uninteresting. Though the extended heist sequence at the end is very well done and frankly made me feel dizzy and scared. However for the most part this felt like a mah of a movie, for me the chemistry of the leads just wasn't enough to carry this blah and ridiculous, auto pilot of a 90's action movie. *1/2