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Jarhead (2005)
1/10
Very poor by comparison
5 August 2009
This film is terrible because it really builds the feeling that combat is going to happen, then tells you combat is for the weak, even though it never happens - these people never engaged, so how can this be a commentary? All those war films about guys who got into, and either lived or died horribly - on both sides - fighting against stuff they didn't understand, told us all about the futility of war for the soldier on the ground. But this is just the story of some guy using wars as a vehicle to promote himself. To hell with his sentimental feelings about feeling abashed about not being part of it, that doesn't make him worthy of a story.

If you want an anti-war story you show the stupidity and humility of both sides, not the drama-less humdrum of someone who wished for more.

I have no idea - I've never been in a war, but neither were these guys. They got as close as me. Perhaps they were close on a geographic scale, but they only suffered the same hardships I did in military school. I was smart enough to join when there was no war on, and to be truthful, my military school was a lot lot tougher than here with far more drama, but no one needed to make a film out of it because it was still too banal.
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Sicko (2007)
4/10
OK... But you're lying about the UK NHS
22 December 2007
Warning: Spoilers
I was a huge Mike Moore Fan, HUGE! Sent him emails of support and praise. Got on his mailing list and always responded with a thank you note for informing me of the maladies that lurk in the USA.

Then came Sicko.

Mike you've let us, The British People, down. Way down. You've sold us out for your own cause, to highlight the negatives of your own land, and it's a sad, sorry end to the last 12 years of my relationship with you - you as film maker, me as audience - because now I've gotta question everything else you've said, and I so willingly believed.

I had waited for Sicko with baited breath, preminiscing an edifying and satirical boot up the over paid behinds of those who've miss-managed the USA health systems, or the even more maniacal stock jockying over in the corrupt world of insurance which cost many innocent lives for the sake of a few dollars' profit. I'd foreseen Mike flippin' the bird to those who've hidden behind the general public's ignorance, murdering and destroying lives for money.

And so it was, the film starts great, we see the sick twisted mind of the arch US Capitalists, scheming new ways to cheat the proletariat from what he's owed. We see the evil of corrupt politics, going back as far as Nixon. We see it all in a matter of fact way because it must be true - Mike's telling us! We know Mike, we've loved him for years. He's been the fly in Bush's evil potions since he cheated and schemed his way into his job as the world's most powerful man (and if you believe he's the most powerful man, then I have some swamp land I'd like to sell ya to build on - it's guys like Mike, who can oust the likes of Bush with their films, and education of the masses.)

But then, alas and alack, Mike moves to England for a spot of like by like comparison, where everything's free and cozy and charming and easy, and people actually get paid - that's right folks, you heard me right - get paid, their expenses for visiting the hospitals. I was almost a Sicko myself by this stage! Since when are drugs free for working people? I paid £6.85 for ten tiny pills that cost less than a penny to make by some poor Cooley working in abhorrent conditions in India for less than third what he'd get if he came and did the same job in the UK. Since when do working people get expenses paid? Even to those on minimum wage?

Why Mike, WHY??? Why did you show us a maternity ward in a lovely area of Middle England/Home counties, but not show the real conditions real people have to put up??? Were your researches negating the challenges of filming in hostile conditions?

Why did you leave out telephone number sized wages for the top brass who've so badly miss-managed this shinning example of the egalitarian ideal into a sprawling mass of superbugs, while the frontline staff are on barely more than your average Macdonalds worker after 3 years at college?

Did you forget MRSA Mike? I can't, my neighbour died from it. He was relatively healthy when he went into hospital, but he came out in a pine box.

Did you forget past pay offs to the top brass, after they've messed up so badly you would trust them to scrape sprouts off the xmas dinner plates, just?

Did you forget the postcode lottery? Women dying because they live only a few miles away from where if they'd been smart enough (it is, of course, their fault) to move to before getting breast cancer, they would've been saved?

What was up with Tony Benn (a truly wonderful man, please don't get me wrong here), why didn't you tell him, Tony? Or maybe you did and a bit of creative editing took out the stuff that makes the British NHS more saleable.

Did you forget about the £8 billion set aside for negligence pay outs?

Did you forget about waiting lists for vital operations? Did you forget we also have a private sector? And, just like in The Home of The Brave and The Land of The Free, you don't wait for an operation if you've got £/$.

Or did you just forget to look into them? Did you come and spend time in the UK Health System? Trust me Mike, it sucks. But it didn't do 20 years ago. 20 years ago it was everything you said it was now.

Did you forget these things, Mike, hah? Hah?

Or did you just need to highlight to Americans how greener the grass is on the other side of the pond? Because my American chums, it simply ain't so rosey here, not if you're working class, poor and from here originally. In fact the truth is, it's a shambles. We had one of the finest health services on earth, then disastrous governments after disastrous governments killed the wonderful white dove that was once so envied.

Mike, I'm crestfallen. I believed all you had to tell me, but now I have to question the veracity of every single sentence. The last 12 years together seemed so wonderful, so inspiring, so funny and yes, made me feel affection for you, only now do I see it's all been a sham. The emails and messages I sent you (or someone pretending to be you) on myspace, and the other notes of praise, can you please return them.

You've lost a fan Mike, shame on you.

You'll have lost many more by the time the British public gets round to seeing Sicko.

I'm off to do some campaigning for Bush - he never tried to sell me lies about the NHS.
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3/10
Up there, but a big let down
1 June 2007
Anyone who grew up working class in the early eighties is gonna get right behind Shane Meadows' latest piece, and I found myself whipped back to a time of skineads, unemployment, despondency at our futures, and a general disenfranchised feeling of self worthlessness as experienced by us, the impoverished masses, spearheaded by what was a true tory government - not our current lying tory government, hiding behind a name that used to represent us - but a real tory government that was never afraid to say they hated, yes HATED, us, the working class. You can hate her, but at least she told us that.

With that I loved the idea of This Is England and preminisced a story of wasted and misguided youth, but with an ultimate redemtion in the understanding of why we'd been lied to and told by so many that it was those of colour who would ultimately lead to us being unemployed when we were of age. Or at the very least this could've been a film that reminded us how this modern government, claiming to be representative of the working class, was indeed none other than a Margeret Thatcher Paradigm.

Sadly, although This Is England very much captures a time and place, it provides no lessons or explanations for the reasons why we were lead to think that way, all those years ago in the eighties. There's nothing here but a story, and if you're going to throw in footage of real events, then juxtaposion it against the trials and tribulations of something so real as that time, then at least do it with a point!

It's many years since I blamed the failings of society on race, or sat in on speeches given by Oxbridge educated men who believed in repatriation, and I was hoping to see a little of that growth in This Is England. Unfortunately it isn't there. There's nothing that decries racism - or even the current insanity of liberalism that floods the country with the things we'd been told to fear back then when it wasn't even real! There's no reaffirmations of what we should've learnt from those times. There's nothing to suggest the stupidy of both sides of the political spectrum - the conservatives or conversersly the ultra right wing.

Instead this is just a film about a kid who gets involved in some drama involving skinheads. In defence, the acting and direction is excellent - up there with Ken Loach for realism, and lovable for being so completely English, but a million miles away from Alan Clarke and David Leland for what we can learn - it just isn't what I'd hoped for in way of a bigger picture. Maybe I'm the moron for not being able to see it for what it is: tantamount to a good episode of Eastenders, but sadly, nothing more. If you ever see Shane Meadow's give an interview, he's a really interesting character - you'd definitely expect more than this.
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Falling Down (1993)
An affirmation of decadence
22 November 2004
Take the hottest day of the year, a traffic gridlock, cracked pavements, dirty streets, unwarranted hostility and a general feeling of being short changed. Then add the frustrations of having an estranged wife and child, an extremely jaded and unbalanced mindset, and the frustration of being obsolete with no marketable skills. Set them against the decadent back drop of modern day LA where if you are 'Not economically viable,' you are of no use, and the result is Falling Down.

The tag line 'The Adventures of an Ordinary man at War with the Everyday World,' makes Joel Schumacher's masterpiece sound like the benign story of a working stiff with issues. However Falling Down is a dark and engrossing urban fable, a study into the mind of the disenfranchised and reminder to all that the removal of comfort is a lot closer than we care to believe.

Full of clichés, like the cop on his last day before retiring, Falling Down bravely meets all expectations of stereotypes, rather than challenging them, making for a realistic reflection of a failing society. Here, a man in extremis, without the feral cunning or killer instinct required for a life in the street, makes his way on anger and luck alone, somehow surviving to leave a paper chase of violence and destruction behind.

Relying heavily on symbolism, illustrating a flip side of America running parallel to the hunky dory world occupied by the successful, the over all message of 'No Matter, Never Mind,' is clear in this world where children play next to vagrants dying from AIDS and Korean grocers can legally steal from the public with their overpriced goods.

Michael Douglas displays some hitherto unseen talent as the unbalanced D-FENS, as he casually totes gang weapons (complete with rubber bands on the grips) in his formal shirt and tie, does battle with store owners and comes up against fast food restaurants, homeless people, gangsters and Nazis. Robert Duval is equally brilliant as the desk jockey on his final day, determined to stop anyone else from being hurt, including the perp.

There is, of course, a small amount of Hollywood sentimentality thrown in for good measure, however the dynamics of such a strong narrative make this completely forgivable and it's possible to overlook this as a flaw given the film's overall strengths.

Praise surely has to go to Ebbe Roe Smith for writing one of the finest scripts ever to grace celluloid. Known for bit parts and cameos, who the hell knows who Ebbe really is? Look on IMDb to find out (if you're a geek like me) or release him into the ether if you don't care. The truth is, he's out there. The question is: Where's the next script?

On the whole, Falling Down is a powerful and dramatic indictment of American culture, societal decadence, and the failing values of the West. It's not for everyone and will most certainly offend some, but if approached with an open mind, will provide plenty of fuel for thought.
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25th Hour (2002)
A powerful and haunting parable.
12 November 2004
As 'A Spike Lee Joint,' 25th hour is a paradigm, filled with Lee's typical style and directorial vigor. A flowing, feature length music video, containing a story that is coherent, topical and, above all, strongly analytical in its approach to the characters, 25th Hour is the story of mid level drug dealer (Monty Brogan – Ed Norton) whom, on his last day before being incarcerated for his elicit trade, must make peace with his family and friends, answer to his Red Mafia suppliers, say farewell to the city he so obviously loves and, ultimately, accept that he is now in receipt of justified dues.

With a post 9/11 setting in NYC, the script deviates from the book (which was written pre-9/11) only slightly in order to encompass the destruction, yet the atmosphere is set with the opening credits and a slice of dialogue during the first quarter (followed by some beautifully filmed cutaways to a sodium lit nighttime clean-up crew, working in Ground Zero) which leaves the audience with no alternative but to associate the main characters' desperate tableau with plight of the city in the aftermath of tragedy. This could perhaps beg the question: What was so bad about how Monty made his living to warrant the end of his life (in effect) in the 25th Hour?

This is a question answered before it's asked, with the first scene after the opening credits showing an exchange between Monty and a disheveled wreck of a man who is quite clearly one of his customers. It's further reinforced in a later flashback to Monty's earlier days as a dealer when the same man approaches Monty dressed in business attire. The destruction of others for personal gain is something that will not - and quite rightly so - go unchallenged.

A subplot concerns blame, where Monty vilifies and accuses everyone in the city, himself included. However, later in the film, the injustice of this is rectified with a simple shot of the various people, looking upon him with sympathy – the personification of this being a small boy offering a sign of friendship. Monty's own redemption begins and is represented by him expressing his brotherhood to the child in return.

Relying somewhat on symbolism and hidden meanings, there are a number of subtexts, as well as ample opportunities to read into the narrative more than is intended, but the overall message is clear: culpability is in the hands of the bearer, and with his last 24 hours of freedom sifting away and the eponymous 25th Hour quickly approaching Monty must see that blame can only lie with himself.

25th Hour's greatest achievement is in relaying a subtle, but highly relevant parable in a manner of storytelling that is both enjoyable and compelling. Very few words are wasted and the dialogue remains taught and muscular throughout. The editing, acting, score, direction and cinematography are all of the very highest standard. It could've been very easy for a film of this nature to fail by being presented as an embarrassing lecture. Thankfully 25th Hour is definitely no lecture, but a powerful and haunting movie.
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