Zombies 2 (2020)

Zombies 2 (Dir: Paul Hoen,2020).

The Zombies of Seabrook High return in the imaginatively titled Zombies 2. Now with extra added werewolves. 

When werewolves pose a threat to the newly integrated communities of Seabrook and Zombie Town, monster lockdown is back on. Much to the chagrin of Zombie Zed (Milo Manheim) and his human gal pal Addison (Meg Donnelly). In an attempt to force change Zed runs for school president. Meanwhile Addison is courted by a band of werewolves banished from Seabrook since olden times! 

The Disney Channel Original Movie Zombies 2 presents us with little that wasn’t already available in the original Zombies (Paul Hoen, 2018). Which is actually no bad thing. With its clean cut teens, decent pop songs and polished dance routines it is at least as enjoyable second time around! The less than subtle messages of integration and acceptance are present and correct and important messages they are too. 

If you are not a fan of Disney Channel movies then this probably won’t be the film to convince you otherwise. Although I left my tween years long ago, I find the DCOMs generally offer lightweight, albeit formulaic, fun. The production values are good and they have a goofy charm reminiscent of the 70s Disney comedies I lapped up as a boy. 

No one in their right mind would claim Zombies 2 a masterpiece but its aim is to entertain and this it does! In the current climate what more could we ask for? Especially recommend to fans of the High School Musical and Descendants franchises, Zombies 2 is a colourful, good-natured fun for kids and big kids. Bring on Zombies 3! 

The Limehouse Golem (2016)

The Limehouse Golem (Dir: Juan Carlos Medina, 2016). 

The Limehouse Golem combines elements of the detective thriller and the horror in a nicely atmospheric Victorian era murder mystery; adapted by Jane Goldman from Peter Ackroyd's 1994 novel Dan Leno and the Limehouse Golem.

Taking its cue from the real life Jack the Ripper murders The Limehouse Golem weaves factual characters into the fictional story of serial murderer terrorising the docklands area of London's Limehouse in the 1800s. On investigating the poisoning by music hall entertainer Elizabeth Cree (Olivia Cooke) of her husband, police Inspector John Kildare (Bill Nighy) uncovers evidence to suggest that the murdered man was the serial killer. The race is on to prove the husband was the Golem and clear Elizabeth’s name before she is executed. Dan Leno (Douglas Booth) is the real life music hall star who has taken Elizabeth under his wing and relates her story to the audience. 

I am not the biggest fan of the horror movie genre and those that do appeal to me generally rely less on gore and more on atmosphere. The Limehouse Golem does have its fair share of gory moments but I feel, considering the subject, it is largely justified. This is a dark movie but one which is often beautiful to behold. From the extravagant sets and costumes of the music hall to the moodily lit East End backstreets; credit goes to cinematographer Simon Dennis for the exquisite evocation of the Victorian period.

Just as much a detective thriller as a horror, the movie utilises a classic 'ticking clock' narrative with a neat twist in the tale. Bill Nighy and Olivia Cooke are standouts among the quality cast. As is Douglas Booth who excels as the flamboyant Leno. Eddie Marsan and Daniel Mays offer sterling support. 

The Limehouse Golem may disappoint those looking for a traditional horror. However, those with a taste for an off-kilter mystery, stylishly directed and with consummate production values should find much to enjoy.

The Sword in the Stone (1963)

The Sword in the Stone (Dir: Wolfgang Reitherman, 1963).

Released to cinemas on Christmas Day 1963, The Sword in the Stone was the last animated feature film released by the Disney Studios during founder Walt Disney's lifetime.

Based on T H White's classic modern retelling of Arthurian legend, we follow the adventures of the future King Arthur (nicknamed the Wart), culminating in his encounter with the legendary sword. Taken under the wing by magician Merlin who, with the use of magic, transforms Arthur into a variety of animals to teach the lad some valuable life lessons. When Arthur is captured by sorcerer Madam Mim, she and Merlin engage in a battle over the boy, transforming themselves into ever elaborate creatures in an attempt to outwit the other. 

The Sword in the Stone had been in and out of production at Disney for over two decades. Originally envisioned on the grand scale of Sleeping Beauty (Clyde Geronimi, 1959), when that movie proved an expensive failure The Sword in the Stone was re-imagined in the sketchier, modern style of One Hundred and One Dalmations (Clyde Geronimi, Hamilton Luske & Wolfgang Reitherman). While the original approach can still be seen in some beautifully detailed backgrounds and the lovely opening tableux, the more modern aspects of the production sit somewhat uneasily with its medieval England setting. While the loose animation style is admittedly charming, and the jazzy score a delight, neither help the movie in establishing an authentic Arthurian setting. In its determinedly 1960s approach, The Sword in the Stone feel closer in spirit to the company's contemporary lightweight live-action comedies than any other Disney animation.

As with Disney's later animated Robin Hood (Wolfgang Reitherman, 1973) the movie suffers from an episodic narrative. A series of seemingly loosely related segments, there is little overall plot. As entertaining and well executed as these sequences are, one cannot help but feel that, like Robin Hood, The Sword in the Stone is slightly less than the sum of its parts. Yet, in spite of its flaws, I have great affection for The Sword in the Stone. It may lack the elaborateness of  Pinocchio (Ben Sharpsteen & Hamilton Luske, 1940) and  Sleeping Beauty or the superior storytelling of One Hundred and One Dalmatians, but it is thoroughly entertaining. 

Bearing a strong family resemblance to 1960s Disney boys Christopher Robin and Mowgli, the character of the Wart/Arthur is a little on the bland side. However Merlin and his "educated owl" companion Archimedes are wonderful comic creations. Madame Mim is great comic villain, perhaps never posing much of a threat but a lot of fun. The sequences in which Merlin transforms the young Arthur into a series of different animals are rich with action, humour and even a little pathos; while Merlin and Mim's wizard's duel is a highlight of the Disney animated features canon. It also boasts a handful of excellent songs by Disney regulars Richard and Robert Sherman. 'Higitus Figitus' and 'A Most Befuddling Thing' in particular display their talent for complicated wordplay that two years later would see them receive universal acclaim and two Oscars with Mary Poppins (Robert Stevenson, 1964).

I loved this movie as a child and I still love it as a so-called grown-up. While, from an artistic perspective The Sword in the Stone doesn't represent the best of Disney, it does offer 80 minutes of solid, warmhearted fun.

Newsies aka The News Boys (1992)

Newsies aka The News Boys (Dir: Kenny Ortega, 1992).

Kenny Ortega's directorial debut was this fact-based musical based upon the New York newsboy's strike of 1899, with tunes courtesy of Oscar winner Alan Menkin and co-composer Jack Feldman.  

A youthful Christian Bale stars as New York newspaper hawker Jack Kelly. When New York World owner Joseph Pulitzer (Robert Duvall) raises the price of the paper and cuts into the boys earnings, Jack leads the newsies in the historic strike which eventually lead to child labour reforms. Aiding him in his quest are journalist Bryan Denton (Bill Pullman) and showgirl Medda Larkson (Ann Margret).

On original release Newsies was an unmitigated critical and commercial disaster. Such was its failure that the movie was hastily re-titled The News Boys for international markets. But all attempts to prevent a flop proved futile; the movie recouped less than $3 million of its $15 million budget and was, seemingly, destined for obscurity. Yet this musical's journey from chump to champ was just beginning. Slowly gaining an appreciative following from home video release and TV screenings, jump forward 20 years and the movie had enough of a following to warrant a stage adaptation. The former turkey was a huge success, winning 2 Tony Awards from 8 nominations; a long way to come for a movie with 5 Golden Raspberry nominations. Things came full circle when the theatrical production was filmed and released as Newsies: The Broadway Musical (Brett Sullivan, 2017).

But what of the movie itself? Newsies is far from perfect. It has an uncertain tone: on one level it doesn’t shy away from the more unsavoury aspects of the story; we see the boys fighting, smoking and spitting (something I find especially distasteful), cavorting with burlesque girls and suffering at the hands of police brutality. Yet at the same time it all seems a bit of a lark, with far better living conditions than I imagine many newsies experienced. Perhaps a movie about child exploitation dressed up a family friendly musical would always struggle with making its subject matter palatable, but Newsies manages to stay on the right side of good taste! 

Performances are strong, especially from Bale who proves a surprisingly adept song and dance man. The choreography is as polished as you would want and the songs are tuneful. It is also refreshing to see a musical which doesn’t suffer from the dreaded auto-tune that afflicts some modern productions. Kenny Ortega had made his reputation as a choreographer and does well in his directorial debut, setting the stage for his later career helming energetic tween franchises such as High School Musical (K Ortega, 2006) and Descendants (K Ortega, 2015).

In retrospect it is not difficult to see why Newsies the movie fared so badly back in 1992. Big Broadway style musicals were just not that popular. An old fashioned movie musical, which consciously recalled movie musicals of the past, particularly Oliver! (Carol Reed, 1968), would have seemed positively archaic alongside popcorn blockbusters such as Batman Returns (Tim Burton, 1992) and Lethal Weapon 3 (Richard Donner, 1992). However, 30 years later in an era when the public has rediscovered its appetite for big budget musicals, this old style Hollywood movie, with its big production numbers and lovingly recreated soundstage sets, is a quaintly quirky treat! It would be fair to say that Newsies is a bit of an acquired taste but it should appeal to those with an appreciation for old fashioned musicals, fans of Disney Channel movies and anyone in between! 

Zombies (2018)

Zombies (Dir: Paul Hoen, 2018)

Girl meets zombie in this musical romcom for the tween set. 

Afraid of the undead? Fret thee not! As a Disney Channel Original Movie, the zombies in Zombies are only likely to induce fear in those terrified by the prospect of perky teens singing and dancing. 

Following a freak accident involving lime soda pop and a mysterious power source, half the population of the seemingly perfect but ultra-conservative town of Seabrook are turned into zombies. After creating havoc eating the brains of townsfolk, the zombie horde are eventually segregated behind a barrier, in their own Zombie Town. Characterised by their pale skin and green hair, the zombies are forced to wear a government issue uniform and keep within the boundaries of Zombie Town. 50 years later the zombies are no longer considered a threat to the community, thanks to the modern tech of  'Z-bands', an electro-bracelet that emits an electric pulse that stops them wanting to consume brains. The movie follows zombie teen Zed (Milo Manheim) as he enters previously off-limits Seabrook High School. Facing opposition from the humans, Zed finds an ally in sympathetic Addison (Meg Donnelly), a pretty cheerleader who does not fit in among the pastel coloured populace of Seabrook. A Zombio and Juliet romance develops as hostility to zombies mounts, especially from Addison's zombie hating parents, desperate for their daughter to blend in. Can the two overcome their antagonists and unite Seabrook? Is this a Disney Channel Movie?!!

Zombies is a lot of fun. The production is good, the song and dance numbers are slickly handled and the clean cut teens are a likeable bunch. While the human/zombie romance is fairly novel, there is little else original in the movie. In actuality this is the High School Musical formula with a zombie overlay. However, its proves a robust formula and happily Zombies still feels pretty fresh. The themes of integration and accepting people (and zombies) for who they are is anything but subtle. Yet, these are ever important messages. The movie certainly means well and if it gets its point across, albeit heavy-handedly, than so be it. 

I have admitted to having a soft spot for Disney Channel movies in the past. For me, they channel the energy of the fluffily enjoyable formulaic Disney comedies of the 70s that I loved as a kid. As Disney’s cinematic schedule become ever more dominated by mega budget remakes and superhero epics, the lightweight output of the Disney Channel seems refreshing simple. No one would claim Zombies is a masterpiece, but it sets out to entertain and in this it succeeds. If you enjoyed High School Musical (Kenny Ortega, 2006) and Descendants (Kenny Ortega, 2015) than Zombies should be right up your alley. 

Saturday Night Out (1964)

Saturday Night Out (Dir: Robert Hartford-Davis, 1964).

On the surface Saturday Night Out would appear to be a non-musical version of On the Town (Gene Kelly & Stanley Donen, 1949) relocated from New York to London. It is actually a portmanteau movie made up of five loosely connected vignettes following the exploits of four merchant seaman and a ships passenger on a night out in the capital. An uneasy mix of the comedic and the dramatic, the movie's best sequences are those laced with humour and which are less concerned with courting controversy. 

Best of the bunch are Bernard Lee as a middle age businessman falling foul of a honey trap and David Lodge as a sailor paying shore leave visit to his 'mum'. Less convincing are Inigo Jackson and his misadventures with a pair of Soho hostesses and Colin Campbell who finds love with a girl he picks up in a bar. Bottom of the heap is the episode with John Bonney and his exploits with existential anarchist Heather Sears who he stops from throwing herself into the River Thames. As Penny, Sears is the kind of free spirited beatnik kook that you only find in the movies. To be honest, I found the characterisation to be a little patronising and somewhat irritating and while the performances are fine, little about the story rings true. 

Saturday Night Out's hoped for sense of realism is undermined by its uncertain tone, which veers from uneasily from comedy to drama. In some respects the movie has not aged well and what was once deemed gritty is now occasionally grim. The somewhat dated attitude to women which permeates the movie doesn't help. Things are livened up by a guest spot by Liverpool beat band The Searchers, inexplicably performing the title song in a East End roughhouse. Celebrity boxer Freddie Mills also puts in an appearance as a Soho nightclub owner. 

Disappointingly, for a film about a night out in London, must of Saturday Night Out takes place indoors. There are some nice shots of the Embankment and the Docklands area but overall there is less location footage than might be expected. It does boast a quality cast and some nice performances but ultimately feels patently fake. Not a bad movie, Saturday Night Out should be enjoyed by fans of the period British cinema, but is by no means essential viewing.

Mad Max: Fury Road (2015)

Mad Max: Fury Road (Dir: George Miller, 2015)

Tom Hardy takes the lead in this reboot of the popular post-apocalyptic Mad Max franchise. 

Although a modestly budgeted Australian production, the original Mad Max (George Miller, 1979) was an enormous box office success and shot star Mel Gibson to international fame. The movie was follow by the sequels Mad Max 2 (George Miller, 1981) re-titled Road Warrior in the US, and the less well received Mad Max Beyond Thunderdome (George Miller & George Ogilivie, 1985). Mad Max: Fury Road is once again directed by the original series' co-writer and co-creator George Miller.

The movie opens in a futuristic post-apocalyptic wasteland ruled by masked bad dude Immortan Joe (Hugh Keayes-Byrne). Captured by Joe's army and used as a 'bloodbag' by sickly soldier Nux (Brendan McCarthy), our hero Max soon finds himself adorning the hood of Nux's gasoline guzzling vehicle. Nux is in pursuit of Imperator Furiosa who is fleeing Joe with five of his wives in tow, one of whom is heavily pregnant. After some initial misunderstandings(!) Max and Furiosa soon team up to whoop Joe's ass. Which they do in spectacular fashion! 

Mad is right; this movie is a bit bonkers! I can’t honestly said I had a complete grasp of what was going on throughout its entirety. However, Fury Road has its compensations. The movie is nonstop adrenaline, with breathtaking action set pieces. The pace barely lets up for a second, and while occasionally confusing, it is never dull! 

It is also visually stunning; from special effect sets to costumes to John Seale's exquisite cinematography Mad Max: Fury Road has to be one of the best looking blockbusters out there. (Interestingly, the movie also exists as a Black and Chrome Edition, which has been drained of colour. While it is said to be Miller’s preferred version, the use of colour throughout the film is beautiful and I find it hard to imagine any improvement could be made by viewing the film in monochrome. I will watch it and get back to you.)

It is quite violent and occasionally grizzly. But the movie's overtly stylised and somewhat surreal atmosphere made the violent scenes much more palatable, even to a sensitive soul like me. To be honest, I found the excessive spitting way more upsetting than the carnage! 

Tom Hardy is great in the lead, and makes for a surprisingly sympathetic Max. As the kick-butt Imperator Furiosa, Charlize Theron is Hardy's equal in the action stakes and, refreshingly, of  equal importance to the narrative. This lends the movie a welcome feminist angle relatively rare in mainstream action films. 

Despite almost universal positive reception, Mad Max: Fury Road was only a moderate box office success, making the likelihood of a sequel uncertain. Whether or not Warners will feel the need to reboot it in another 35 years is anybody’s guess. However, I do think it would be a shame not to see Hardy return to the role. 

I enjoyed the original Mad Max trilogy, but it has been too long since I watched those movies to make a fair comparison to this one. While I found the narrative in Fury Road a little confusing I was ultimately won over by its bonkers charm! Action movies as artistic as this are rare beasts; Mad Max: Fury Road is therefore recommended viewing, even for those who are not especially fond of the genre. 

The Alphabet Murders (1965)

The Alphabet Murders (Dir: Frank Tashlin, 1965). 

A comedy thriller based upon Agatha Christie’s 1936 novel The ABC Murders in which Belgian's finest, Detective Hercule Poirot (Tony Randall), investigates a series of murders, each victim being bumped off in alphabetical order. Chief suspect is the dubiously initialed Amanda Beatrice Cross (Anita Ekberg). 

The Alphabet Murders was an attempt by MGM to repeat the success of their series of comic mysteries adapted from Christie’s Miss Marple stories. Returning are Marple scriptwriters David Pursall and Jack Seddon, while directing duties are handled by former Warner Brothers animator Frank Tashlin. Tashlin brings his Termite Terrace cartoon sensibilities to the movie, setting out its kooky objectives from the opening, when Tony Randall addresses the camera first as himself and then in makeup as Poirot. With Tashlin's knack for visual humour, and some striking black and white photography courtesy of cinematographer Desmond Dickinson, the film is a visual treat. 

Unfortunately, the quality doesn't extend to story treatment. As an Agatha Christie adaptation The Alphabet Murders is pretty unsatisfying. What it is, however, is a showcase for the considerable talents of Tony Randall. Randall’s is a fantastic performance, over the top and pantomimic to be sure, but his Poirot is a great comic creation. An excellent support cast including Anita Ekberg and Robert Morley (as Captain Hastings) also register strong performances. 

Yet, despite the efforts of much of the Miss Marple team, and a cameo appearance by those movies stars Margaret Rutherford and Stringer Davis, The Alphabet Murders was not a success. Somehow the elements that worked so well for Marple just don’t gel for Poirot. Possibly the character was not as well suited to comedic interpretation or maybe the overtly American sensibilities of director Tashlin was not suited to something moored so much in Britishness.

The film largely divided critics and audiences between those who lamented its adaptation and those who praised Randall’s performance. Both camps are correct. While The Alphabet Murders must be considered a disappointment, it is certainly not a disaster. In truth there is much in the movie to enjoy, all depending on how one approaches it.  

A Note On My Mental Health

The following is not a movie review, rather it is a note on my mental health: 

I have given this some thought and decided it is time I ‘came out’ as a depressive. Just under 5 months ago I had a bit of a meltdown and spent 2 days in tears. The tears were not exactly tears of sadness, I am not an unduly unhappy person and remain an optimist. More accurately, perhaps, they were tears of extreme emotionalism. It is difficult to exactly put into words how it felt. I could liken it to feeling as if you would never again feel the sun on your face, never again hear birdsong and never smell the sweet scent of summer lawns. I felt alien and isolated, despite being surrounded by the most caring and supportive family I could wish for. It felt as if the colour had completely drained out of my world. It felt empty, cold and monochromatic. 

I was lucky to receive support from the NHS and Inclusion Thurrock. I am also aware that many suffer far worse than I have. I was never suicidal, thankfully, but acknowledge that I may have been were it not for the support; it is a road anyone of us might travel. 

It is quite difficult going public with this. I know the stigma of mental illness and of the many misconceptions surrounding it. Depression isn’t just ‘sadness’, you cannot ‘pull yourself together’. It may be different for others, but for me it was a seemingly eternal descent into a deep despair that I did not think I could ever climb out of. Mental illness is real, but with help and support there is a road back. I don’t expect to never feel depressed or anxious ever again. However, I am gratefully aware that I could feel much worse than I do now and that feeling better is within my grasp. As it is within everybody’s grasp. Day will follow night, spring will follow winter, good times will supplant the bad. The journey is not quite over for me and possibly never will be. However, the knowledge that my (and your) experience is not unique and is nothing to be ashamed of is monumentally important. Hopefully telling of my own experience may help others realise that they are not alone and that there is always hope. 

Thank you for listening,

Mike