Memento Amoris

Remember you must love. Perhaps not the predominant emotion in a remote island in the quarantined British Isles, but Spike (Alfie Williams) shows affection, and how. While the first half is about Spike and his father Jamie (Aaron Taylor Johnson) sussing out the mainland in a coming of age for the former, the second half is a far more emotional story of Spike getting is mother Isla (Jodie Comer) her deliverance. Danny Boyle and Alex Garland dont miss a beat in 28 Years Later. Spectacular work by Alfie. Unmissable for the apocalypse fans, with character arcs instead of pitched battles with violent hordes

16.5/20

The Spectacle that is Spectre

James Bond (Daniel Craig) kicks off his search for the elusive secret organization Spectre in the midst of the Day of the Dead festival in Mexico City. The search takes him across to Rome, where Ernst Blofeld (Christoph Waltz) engages him in a cat and mouse game that finally culminates back in London. Bond affictionados are in familiar territory (or are they?) - the title song (by Sam Smith, male), the Bond girls - Lucia Sciarra (Monica Belucci), and Madeleine Swann (Lea Seydoux), the latter highly accomplished in medicine and hardly a wilting violet by any stretch of the imagination, the gadgetry from Q - and Bond inevitably taking some liberties with them. In the balance of things, Spectre is an understated good watch, with Daniel Craig showing clear signs of ageing though. That for me was the only point of disappointment with what was otherwise a fine movie.

15/20

A Lesser Bond

 

 

Skyfall questions the need for a 007 almost from the word go. Knocks him off a train roof – a shot gone astray, and one that goes unrepented – on the outskirts of Istanbul. Dumps him in London, with his eponymous boss M under threat, and a world of clunky gadgetry replaced with the simple elegance of tracking devices and technology. Age and a declining constitution do not help either. Bond picks up his bearings and chases his quarry – agent gone rogue Silva (Javier Bardem) – into Shanghai, and then Macau. And finally back to good old England, where M liberally borrows from Ulyysses and frankly admits that “we are not the strength that in old days moved earth and heaven…” but promises to continue to “strive to seek to find and not to yield”… even as the climactic scenes drift towards the Scottish moors and the hints of a bleak history. Skyfall is interesting – disconcerting at first, because of its deliberate eschewing of flamboyance, but in the end fairly successful at keeping the franchise relevant

 

14.5/20

In Hell

Why are London-based hit-men Ray (Colin Farrell) and Ken (Brendan Gleeson) stuck for two days in the cold medieval Belgian town of Bruges? They do not know, and neither does the audience. In the meantime, the architectural magnificence around him holds no charm for Ray, haunted as he is by his accidental murder of a child. What the duo do not know is kingpin Harry (Ralph Fiennes) has sent them to Bruges for a dark purpose, that will not be known till later. Against the backdrop of the beautiful and relatively unknown town, three cold-blooded murderers play out a dark comedy In Bruges. Hard-to-forget movie because of the deliberate incongruousness of it all

13.5/20

Titanic ask, passable effort

Perseus (Sam Worthington), son of Zeus (Liam Neeson), finds himself in a family of fishermen, and the latter are annihilated on the periphery of a battle of the kingdom of Argos with the Gods. The Gods have held sway over men for too long, and King Cepheus of Argos launches a campaign to destroy their all-pervasive influence. Faced by the destructive forces of Hades (Ralph Fiennes) and the Kraken, the king calls upon Perseus. Perseus with a band of remarkable men (the Titans) makes a perilous journey to the Stygian Witches, and based upon their advice, slays the Medusa and uses her head to destroy the Kraken and save Argos – not without some help from his father along the way – in the epic Clash of the Titans. Hades’ covert agenda is foiled and Perseus lives on as the hero of Argos. Like all other adaptations of Greek and Roman history and mythology, held to a very high standard, the movie does not make the cut. Notwithstanding the fact that all the characters play their parts admirably, and even the graphics hold together, the movie lacks emotional appeal – moving quickly through the milieu of characters and events. To be fair to the creators, the attempt has been to showcase the character of Perseus herein, rather than attempt a magnum opus. A decent watch, but not quite in the league of the timeless, as all heroes and their eulogies, be they mythology or movie, ought to be

12.5/20

Bombs, Away

Like Enemy at the Gates (snipers), The Hurt Locker focuses on a single war-zone (Iraq, circa today) and one category of soldier (bomb detection squads). Unlike the morality tales like Lions for Lambs, The Kingdom and Body of Lies, there is no lesson purported to be delivered herein. This is about the intensity, and the role of each of the members of an elite bomb detection squad, in the heat of combat. Unavoidably, the groups gets embroiled in other aspects of war that is strictly not their domain, such as sniping across vast expanses of desert, or giving chase to bombers across dark urban alleyways in the dead of the night. The spirit of the group is epitomized by Sgt Matt Thompson – who returns injured and cussing from the epicenter of battle to home and family, and then in an epiphanic moment in a supermarket, decides to return to the Bravo Company for another 365 day stint at what he really loves doing. Great “action” sequences delivered with a deliberate lack of melodrama

14.5/20