The Fellowship of the Ring (1954)
Blimey, the idiocy of rural life.
Blimey, the misogyny of rural life.
Blimey, Tom Bombadil. What a twat.
Blimey, this is pedestrian. And I don’t just mean all the walking.
Blimey, these elves are even more insufferable than I remembered.
Blimey, Gandalf’s dead. Or is he?
Blimey, these elves are even more insufferable than the last lot.
So Rivendell is Granta and Lorién The New Yorker?
Blimey, Orcs shoot bows the way Imperial Stormtroopers fire blasters.
Blimey, that Boromir’s a wrong ’un.
Well, that whole fellowship thing didn’t last long, did it?
(For my last adventure in rereading Tolkien, start here, though this is the best of those posts.)
and so anyway it turns out that the best thing about The Girl with All the Gifts (2016) is not the absence of Sean Pertwee in a scenery-chewing Sean Pertwee role, because if there is one thing this movie needs it is Sean Pertwee in a scenery-chewing Sean Pertwee role, no, the best thing about this movie is one or other of these two slowly dawning realisations: either a) that Gemma Arterton is gradually transmuting into Mads Mikkelsen, who, by the way, was fabulous in his unexpected turns as Tamara Drewe and Gemma Bovery; or b) that what people actually mean when they say that The Girl with All the Gifts is unlike any other zombie movie is that The Girl with All the Gifts is, more than any other zombie movie, almost precisely identical to an underdeveloped, poorly plotted, British ‘not actually sf’ sf drama mini-series…
and so anyway it turns out that the best thing about Atomic Blonde (2017) is not the weird disjuncture between the parts of the film that want to be John le Carré (but aren’t), the bits that want to be exciting (but aren’t) and the bits that want to be sleazy (but can’t even manage that) and the bit that wants to be really cool by using George Michael’s ‘Father Figure’ in an unexpected way (but comes a very distant second to Keanu (Atencio 2016)), no, the best thing about Atomic Blonde is the complex set of emotions when you suddenly realise that the bald bloke playing C is a rather dour Peter Wyngarde and that this must have been his last film, and then when you get to the credits and discover it was actually James Faulkner impersonating a rather dour Peter Wyngarde and you kind of feel sorry for him but relieved that at least Peter Wyngarde, dour or otherwise, was spared the indignity of appearing in this piece of shit…
and so anyway it turns out that the best thing about American Sniper (2014), Clint Eastwood’s po-faced remake of Stolz der Nation, is how it perfectly captures – both formally and narratively – the precise experience of getting bogged down in a fundamentally mistaken venture with no clear exit strategy…
…where even the Eccles cakes are abstemious – as hollow and unsatisfying as a doctrinal dispute at synod…
and so anyway it turns out that the best thing about Phantom Thread (2017), Paul Thomas “No Daddy Issues Whatsoever” Anderson’s latest paean – albeit ambivalent – to men who are monstrous pricks is not the fabrics or the frocks or the fungi, nor is it the way in which the relationship between Edward Christian Reynolds and Bella Anastasia Alma deconstructs the myth of romantic love, revealing the way it works as ideological cover for the toxicity of heteronormativity under a patriarchal class system, no, the best thing about Fifty Shades Posher is the scene at the fancy-pants New Year’s party in which there is literally an elephant in the room – and no one talks about…
and so anyway it turn out that the best thing about the oddly lifeless Logan Lucky (2017) is not the spectacle of Soderbergh blaming its poor box-office on the marketing campaign rather than the odd lifelessness of it all, nor is it the tremendously funny I swear gag of beating the Disney juggernaut to cutting off the arm of the latest Skywalker, nor is it the actually quite amusing (though I think it is meant to be touching) scene in which Channing Tatum’s little girl tricks an auditorium full of West Virginians to sing ‘Take Me Home, Country Roads’ out of key, no, the best thing about Logan Lucky is Daniel Craig’s very first scene in which, with an eye on his post-Bond future and the mortality of older actors, he auditions for every scenery-chewing role that, after their deaths, would previously have been offered to Steven Berkoff, Anthony Hopkins or Malcolm McDowell…