Gravity

• Released Internationally on 03/10/13
• Released in Malta by KRS on 08/11/13

Review (07/11/13)

3-word review: Go watch it.

Some films are beautiful, whilst others sacrifice the sweeping vistas and slow shots to deliver a fast-paced thriller instead. Gravity manages to do both, resulting in a film that manages to be gripping from start to finish, whilst still finding time to be a gorgeous feast for the senses.  

Simple, always simple

The first beautiful thing about this film is its simplicity. Two astronauts - one a seasoned veteran (George Clooney) and one a first-timer (Sandra Bullock), are on a space walk when their mission goes very wrong. Cut off from their usual lines of communication and well-rehearsed procedures, they need to struggle to survive. That’s more or less it. No cliché pre-take off introductions on earth, no flashbacks, no deus ex machina. Just a simple, immersive story that leaves you stunned for an hour and a half.

Great performances

As ground-breaking as the technical wizardry on display is, the film succeeds largely thanks to the wonderful presence of both Clooney and Bullock. Clooney is in familiar territory here, character-wise, as the wise veteran who knows all the tricks, offers a voice of reassurance, and never takes things too seriously. His calming presence is vital to his partner in space, whom Bullock instils with equal doses of insecurity and deep-seated determination.

A visual feast

Nowadays, it’s rare that I catch myself wondering ‘How did they do that?!’ when watching a film. I thought it a handful of times during this one. The sheer logistics of creating these completely convincing spacewalks and zero gravity accidents must have caused many a headache, but the end result makes you glad you have your 3D glasses on and a huge screen in front of your face. One scene in particular, as Bullock’s character enjoys a much-earned moment of freedom in zero gravity, is one of those priceless scenes where everything gels perfectly and makes you catch your breath.

Don’t let go

The film somehow manages to keep the tension and action going for most of its running length without ever getting tedious or tiring. Things keep going wrong, but not once does it feel far-fetched. The audience is toyed with continuously, given fleeting moments of security before they are pulled out from under us. This makes for a powerful human drama, the rise and fall of which is played out on the rate of Bullock’s breathing.

Technical masterpiece

This is an astounding achievement in every regard. The eerie, pulsating music; the visual effects; the spectacular shots of earth; the great use of sound - it all comes with a sheen of excellence and feels so much better and cleaner than anything I can recall in many months. Easily the best film of the year so far, and one of the most accomplished pieces of cinema I can remember experiencing.

 

Trailers:

http://trailers.apple.com/trailers/wb/gravity/

Teaser Trailer

Thor: The Dark World

 

• Released Internationally on 30/10/13
• Released in Malta by KRS on 30/10/13

Review (29/10/13)

3-word review: London gets hammered.

Possibly better than the first one

I was a bit wary of this sequel. Kenneth Branagh’s Thor was entertaining enough, but it felt a bit heartless, and focused too much on the pomp and circumstance of the world of Asgard (where Thor and his dad, Odin, are from). When the action shifted down to earth for something us viewers could relate to, it was small towns in the middle of nowhere, and hardly scenes befitting a movie of that scale. Thankfully, these flaws have nearly all been addressed this time around.

Not all Dark

The prologue is rather grand, with battle scenes reminiscent of the Lord of the Rings prologue, and although I usually prefer the earthly action to the other-worldly lore in these films, the backstory and mythology don’t outstay their welcome. We’re introduced to a new nemesis - the silent and scary Malekith, portrayed with not many words but a lot of presence by Christopher Eccleston (Elizabeth). The fine details of his history and masterplan are not too important, of course, but the film does require a rather hefty suspension of belief for us to grasp that when instructed to hide a great evil power somewhere in the universe where nobody would find it, someone hid it in an abandoned building in a London industrial zone. But anyway, things move swiftly to the action.

Loki Loki Loki

For all his posturing and unsightly prosthetics, the new bad guy still pales in comparison to the hugely effective Loki (Tom Hiddleston), who post-Avengers gets to walk that delightfully ambiguous line between friend and foe, and who makes very good use of his screen time in this instalment of the Avengers saga. His chemistry, or lack thereof, with his adoptive brother Thor allows for a few well-conceived scenes and a good dose of Asgard family dynamics.

Between two worlds

Thankfully, the Asgard scenes, as well as those in other worlds, are regularly interrupted by down-to-earth action that help keeps the film somewhat grounded and relevant. The focus is mostly on present-day London, with the Shard getting the sort of attention cinema used to give to Big Ben, and the recent ‘walkie talkie’ building also making an appearance. The film’s final confrontation takes place on British soil, and is rather enjoyable if you manage to ignore all the ridiculous scientific explanations that Jane (Natalie Portman) and her team insist on shouting out intermittently.

In the end

Chris Hemsworth (Rush) manages to keep Thor likeable and reliable, despite him not being half as interesting a hero as Iron Man, or even Captain America for that matter. The film slots nicely into the Avengers timeline, and doesn’t take itself too seriously, with even an amusing cameo or two, as expected. Director Alan Taylor has previously done an excellent job directing Sopranos, Mad Men and even Game of Thrones episodes; and here he shows that he can handle an event film like this one. It’s nothing too refined, but at least it’s good fun. And of course, make sure you sit through the end credits.

 

Trailers:
http://trailers.apple.com/trailers/marvel/thorthedarkworld/

Captain Phillips

• Released Internationally on 10/10/13
• Released in Malta by KRS on 18/10/13

Mini-Review (29/10/13)

3-word review: Hanks excels again.

Some of the best films ever made focus on a single person’s struggle, and Tom Hanks has portrayed that person on numerous occasions. He’s back in top form here, as the true life captain of the first American cargo ship to be captured by Somali pirates back in 2009, before these hijackings became regular news. Director Paul Greengrass (United 93, The Bourne Ultimatum) gives us a simple, no-frills look at the unfolding events, and Hanks perfectly portrays the ordinary man caught up in extraordinary circumstances. His powerful acting starts off subtle and unremarkable but ends in a powerful finale as the hostage situation reaches its conclusion. Credit must also go to the supporting cast, especially his captors – clearly desperate and unprepared, but led by the chillingly calm Muse (impressive first time actor Barkhad Abdi). It’s a moving story of confrontation and survival, and a great piece of cinema.

 

Trailers:
http://trailers.apple.com/trailers/sony_pictures/captainphillips/

The World’s End

• Released Internationally on 18/07/13
• Released in Malta by KRS on 23/10/13

Review (08/10/13)

3-word review: Sadly, too silly.

The Cornetto Trilogy
I am a huge fan of the first two instalments of this unofficial trilogy, which features different stories set in different times, but sharing a certain level of craziness and black humour. They're all written and directed by Edgar Wright (who also brought us the wonderful Scott Pilgrim), and they all star the duo Simon Pegg (Star Trek) and Nick Frost (The Boat that Rocked), who have great chemistry on screen. The first, Shaun of the Dead, was a near-perfect humourous take on zombie films; and the second, Hot Fuzz, was a wildly entertaining homage to over-the-top action films from the 80s. This third outing unfortunately falls short of its predecessors, especially in the second half.

The World's Start
Things start of promisingly, with a fast, joyous and entertaining prologue sequence that introduces us to five old friends and the legendary antics they got up to a few decades ago. Their present day incarnations are all rather serious types, except for the loose cannon Gary King (Pegg), who never quite grew up. The one thing he has going for him is his infective enthusiasm, and he manages to convince the old gang to head back to their hometown and try to complete the famous pub crawl that they attempted many moons ago. Apart from Pegg and Frost, the central quintet is rounded off by Martin Freeman (The Hobbit), Paddy Considine (The Bourne Ultimatum) and Eddie Marsan (Happy Go Lucky).

The Nostalgia factor
Of course, as happens with nostalgia, things aren't as amazing as everyone remembered them to be, and the film offers some half-hearted commentary about the unfortunate gentrification of British pubs, and the rose-tinted distortion of childhood memories. It is, however, fun to watch the central five warm to each other as the pints get consumed and the stories start coming out. When the levels of testosterone get too high, Rosamund Pike (Die Another Day) waltzes in to offer a female touch, and she triggers off a whole slew of further memories.

But...
The above lasts all of forty minutes, and is fun to watch, in a warm, non-demanding way. Then, as expected, all hell breaks loose. I was, of course, expecting this, since the film's title is evidently not just the name of the pub crawl's final pub, and in Hot Fuzz, the sudden change in tone of the film half-way through was marvellously executed and great fun. But here, things manage to get too silly. I am fully aware that 'silly' was a core element of the previous two films, but there's a limit. This film crosses that limit, and hands us a second and third act that are too ridiculous to sustain any prolonged interest. It's a pity, because in between all the carnage and nonsense there are a handful of good jokes and potentially touching moments. But it's all drowned in a big, expensive-looking mess.

In the end
The messy ending is made even worse by an epilogue scene that adds nothing and doesn't make much sense, and by the time the end credits rolled I had nearly forgotten the high hopes and warm feelings I felt throughout the first part of the film. Thankfully, the three films in this 'trilogy' are separate entities, so in future years we can still look back at Shaun of the Dead and Hot Fuzz with the respect and affection they deserve, whilst hopefully forgetting about this one.

Trailers:
http://trailers.apple.com/trailers/focus_features/theworldsend/

Diana

• Released Internationally on 20/09/13
• Released in Malta by KRS on 02/10/13

Review (30/09/13)

3-word review: A missed opportunity.

This is by no means a successful, definitive, biopic. Those films are hard to find, and in recent years have often been passed over in lieu of films focusing on specific periods or incidents in famous people’s lives, without ambitiously claiming to be an all-encompassing account of the person’s time amongst the living. The King’s Speech was a wonderfully-executed example of these focused types, whereas The Iron Lady was a rather successful overview of Thatcher from her dawn to her twilight. 

Making a modern royal biopic must be quite tricky. A chunk of your intended audience probably have the subject of your film on some pedestal and will carefully scrutinise your every move and see if the film is worthy of its subject. Another chunk hate the idea of a monarchy and will gladly ignore the film or tear it to shreds. But it gets even trickier when your subject is one of the most photographed and public figures of the past decades, and everyone has an opinion about her.

As superficial as it sounds, however, a lot is riding on the resemblance of your main star to the person in question, aided as necessary by prosthetics and makeup. Which is a large part, of course, of why The Iron Lady worked. Naomi Watts, despite her very good acting and wonderfully 80s hairdo, does not look like Diana, and it takes a while for this to sink in and allow you to look past it. In fact some of the best shots in the film feature her from behind or from an angle, and I found myself making a double take to see whether it was archival footage or a carefully re-created scene. 

Unfortunately these designed re-enactments of iconic Diana photos and moments are the most enjoyable aspect of the film, since the love story itself feels like a standard soap-opera romance, which could be completely accurate, or mostly conjecture - we might never know. Naveen Andrews (Lost, Sinbad) is confident enough to pull off the role of the heart surgeon who stole Diana’s heart, and Watts manages to combine enough grace and fragility with occasional moments of daring to remind us what a complex person Diana must have been.

It’s interesting to dip back into the mid-90s, in an era of flip-phones, Concordes and cassette tapes, because back then the internet was brand new, and despite Diana’s constant media presence she was spared the endless, permanent internet plastering that some celebrities get today. Which might be why she managed to enjoy this modicum of privacy and have a last few years searching for happiness, albeit away from her sons for long stretches. “My boys need to see me happy”, she said, and at least she gave it a good try.

The cardiac love story plays out as we expect it to, and the film feels like it could end there, but of course it needs to go on a bit longer so that Dodi Fayed (Cas Avnar - Argo) can come into play, and lead things towards that fateful night in Paris. The chilling, famous scenes most of us will recognise provide a powerful coda to this sad tale, but ultimately they fail to lift this film to the incisive portrait it could have been.

Trailers:
http://trailers.apple.com/trailers/independent/diana/

Pain & Gain

• Released Internationally on 24/04/13
• Released in Malta by KRS on 04/09/13

Review (03/09/13)

3-word review: Entertaining Bay display.

The unmistakable Michael Bay

Whether Michael Bay’s films feature asteroids, giant robots or weapons of mass destruction, or even if they do away with all the sci-fi and gadgetry and just focus on present day crime, they are all easily identifiable as larger-than-life Bay spectacles. Not one to go for subtlety, Bay has often divided opinions with his over the top style. Everything must be drenched in sweaty, unforgiving sun, everything must be bursting with colour, and lots of action needs to happen in slow-motion and accompanied by wailing electric guitars. You also need at least one shot encircling the character from below, and one with a massive plane flying directly overhead, if possible. 

But while the end result is often a big hot mess (the Transformers films, especially the two sequels), or not worthy of the subject matter (Pearl Harbour), it does occasionally result in wide-eyed cheesy entertainment that is a joy to watch (The Rock, Armageddon). Those instances, however, where Bay does away with all the extras and stamps his style onto a crime film, are in my humble opinion the instances where his controversial talents are best displayed. Which is why this film works, just as the two Bad Boys films worked. When your subject matter resembles something out of an MTV reality show, what better way to present it than looking like a big budget music video?

“My name is Daniel Lugo, and I believe in fitness.”

Mark Wahlberg (Boogie Nights, The Fighter), stars as the gym-obsessed ex-convict Daniel, who dreams of a life beyond his mundane personal trainer job and realises he can’t obtain that life through strictly legal means. He singles out a wealthy, seemingly helpless client of his (Tony Shalhoub - The Man Who Wasn’t There, Monk) and after getting fired up by a motivational speaker (Ken Jeong - The Hangover trilogy) he decides to go for broke and try to skim every last penny off the unsuspecting Jewish businessman. The trio he assembles for the job include his colleague and fellow fitness-fanatic Adrian (Anthony Mackie - The Hurt Locker) and built-like-a-bus Paul (Dwayne ‘The Rock’ Johnson - Fast & Furious 6). 

Fargo, on steroids

Between the three of them they have enough brawn to intimidate anyone, but not enough brain to pull their ridiculous scheme off. And thus ensues a regular winning formula in literature and cinema - the convoluted scheme which goes impressively wrong, partly due to misfortune, and partly due to sheer stupidity. Fargo remains one of the most nuanced and engrossing examples of this, with A Simple Plan trying to repeat the formula a couple of years later. This is nowhere as subtle or high-brow, but it is very entertaining nonetheless, although admittedly in a similar way to watching disastrous reality TV or other instances where you can shake your head and feel hugely superior to the protagonists. Wahlberg anchors the trio well, with his trademark puzzled expression perfectly suited for the enthusiastic but clueless gang leader he portrays. Dwayne Johnson is the most entertaining, however, managing to shift between highly-string cocaine fiend and his character’s recently discovered happy-clappy religious side. 

This is still a true story

By the time a private detective (the ever-bankable Ed Harris - A Beautiful Mind) is brought in to try and uncover the fraudulent scheme, and by the time our anti-heroes have spent all their money and are itching for a second hit, Bay does well to remind us, during one particularly insane scene, that “this is still a true story”. It takes some convincing, but we are shown the real-life protagonists during the end credits, and the events in the film did in fact happen in the mid-90s. Which is why the film is also a wonderfully cheesy collection of 90s styles and music, which cements the comparison with Bad Boys even further.

In the end

By the time the explosions have died down and everyone has come down from their steroid rage or cocaine high, there isn’t all too much substance to take home, apart from the very obvious moral lesson that crime doesn’t pay and that the elusive ‘American Dream’ needs to be attained through hard, honest work. But who cares? It’s an entertaining two hours, and despite being Michael Bay’s second least expensive film to date, I think it’s one of his best.

Trailers:
http://trailers.apple.com/trailers/paramount/paingain/

Elysium

• Released Internationally on 07/08/13
• Released in Malta by KRS on 28/08/13

Review (27/08/13)

3-word review: Slightly inferior follow-up.

The future is now

The illegal migrants huddle together in terrified silence, praying and hoping to get to their new life safely. After paying more than they can afford to a sleazy merchant who thrives off desperation, they make a valiant attempt to reach the promised land where their children can grow up safely, with clean air and free healthcare. The risk they take is huge - most of them will not survive the trip.

This is not some extract from a news bulletin about the current situation in the Mediterranean, it’s a rather poignant scene early on in the film, which despite being fast-paced and action-driven manages to give us a taste of the migrants’ hopes and fears, and strike home the very relevant message. Just like in Neil Blomkamp’s first film, District 9, the use of a futuristic vision of earth to tackle a present-day issue is very well-executed.

Unfortunately, this second film of his doesn’t manage to maintain the novelty and relevance of his first, and after a very impressive opening the film descends slightly into standard, unemotional action territory, with a few quiet scenes here and there which beg you to care by slowing things down and chucking a wailing ethnic female voice on the soundtrack. It doesn’t always work.

In a nutshell

The stunning opening gives us just two sentences of backstory, and manages to draw us immediately into Elysium’s world - earth is diseased and overpopulated, and the elite few have escaped into a massive space station orbiting the earth, where they live in lush green tranquillity whilst keeping a sharp lookout for any unworthy ones trying to crash the party. Jodie Foster is the face of the elite and Matt Damon is our hero on the ground.

After an accident at work, his health suddenly becomes an issue, and the script goes for the old trick of adding urgency to the story by giving him a set number of days to live. With nothing to lose, he plans a daring trip to Elysium, with the altruistic aim of making their wonderful healthcare tools available for all of Earth.

Has its good points

Damon is, as always, very likeable, and his human side manages to shine through here, despite the prosthetics and exoskeleton they screw into him to make him strong enough for the mission. The shots of earth are impressively done - it looks like one enormous favela - but what I really loved was the look of Elysium. Definitely a space station, but for once designed with the possibility of fresh air and open-air landscapes. Very clever. The visual effects are all top-notch, including droids that looks better than Transformers and a couple of memorable healing shots.

Sharlto Copley, who shot to fame after his unforgettable main role in District 9, is back in a prominent role here, initially treading the line between Earth and Elysium as a rogue gun for hire. The sense of urgency is maintained throughout the film, which runs for what I thought was the perfect length for this type of film, and which thankfully helped us forget some of the inconsistencies and clichés it contained by ending beautifully.

 

 

 

Trailers:

http://trailers.apple.com/trailers/sony_pictures/elysium/

The Lone Ranger

• Released Internationally on 03/07/13
• Released in Malta by KRS on 14/08/13

Review (13/08/13)

3-word review: Surprisingly, consistently, fun.

 

British comedian Billy Connolly once defined ‘intellectual’ as ‘someone who can listen to the William Tell Overture without thinking of the Lone Ranger’. Well that rules me out. After months spent watching re-runs of the 50s TV show as a child, Rossini’s orchestral gallop is forever linked to the masked hero in my mind, and I must admit I felt a surge of excitement when it burst onto the screen this time around.

News from afar

Inevitably, us European audiences are often influenced by feedback from the US when it comes to tentpole films which aren’t released simultaneously worldwide. In this case, Disney’s big summer blockbuster flopped spectacularly, despite Johnny Depp’s name being plastered everywhere and despite much of the crew from the Pirates of the Caribbean films being on deck. The reasons why could be debated at length, but for starters the film is definitely a good half-hour too long, which always means less box-office returns. That aside, however, I couldn’t find any obvious, major flaws, and I thoroughly enjoyed the ride.

Wild Wild West

Westerns tend to struggle to find an audience, but when done well I find them hugely entertaining. This one is about as western as it gets, and there’s equal parts sweeping, gorgeous vistas and oppressive heat and dust. Director Gore Verbinski (who has already regaled us with a masterful western starring Depp - Rango), makes more than the occasional nod to the spaghetti westerns of the Sergio Leone days, from highlighting the bad guy’s clear blue eyes to using incidental background sound effects to create tension. And like all the great classic tales from the west, train tracks and native Indians form an essential part of the plot.

Why so serious?

Thankfully, Verbinski steers clear of the classics when it comes to taking himself seriously, and just like Rango this film is infused with a healthy dose of self-awareness and humour. It is mostly provided by the misunderstood and seemingly not-too-bright Tonto (Depp), who proves to be a useful sidekick much in the vein of captain Jack Sparrow. He gets to do a lot of eye-rolling too, due to the bumbling antics of the titular character himself (Armie Hammer, The Social Network). The excuse for the Texas ranger’s lack of expertise is that this is an origin story, and he therefore makes the transition from clean-cut legal office man to bankable vigilante before our eyes. The tongue-in-cheek attitude is a blessing, especially when your hero is a man in a suit, mask and white hat, who rides a horse whiter than Shadowfax and who silhouettes himself against the setting sun whilst yelling “Hi-Ho Silver!”. Verbinski handles all this marvellously, and I for one laughed out loud more than once.

Cast & Crew

Besides the two main guys, the film is populated with a host of two-dimensional characters, but the talented cast does the job admirably, with William Fichtner (The Dark Knight Rises, Armageddon) finally getting a full-blooded bad guy role, Tom Wilkinson (Michael Clayton, Batman Begins) playing his usual shifty self, and Helena Bonham Carter (Big Fish, The King’s Speech) pulling out all her eccentric tricks. Behind the scenes, the film boasts wonderful scenery and some stunning shots, including a few self-aware, eye-catching ones as in all Verbinski’s recent efforts, and one set piece that looks like a scaled-down Helm’s Deep. Composer Hans Zimmer moves on from the noisy Man of Steel and shits into playful mode, including his all-important take on the Overture, which predictably ends up sounding like Rossini on steroids, in a good way.

In the end

It has its flaws, and it could have been shorter, but it’s gorgeous to look at, fun throughout, and packed with action, humour and some (predictable) drama. It may not be everyone’s cup of tea, but I found it ticked all my boxes for a summer blockbuster, and provided more escapist entertainment than many of its more successful summer competitors. And it was definitely the most fun I’ve seen on a train since Back to the Future Part III, which was over two decades ago.

 

 

 

Should you sit through the end credits? Yes

 

Trailers:

http://trailers.apple.com/trailers/disney/theloneranger/

The Bling Ring

• Released Internationally on 12/06/13
• Released in Malta by KRS on 24/07/13

Review (23/07/13)

3-word review: Sick but fascinating.

I often refer back to a comment I once read - that a good film is one that manages to make the audience feel anything strongly enough. The more films I watch, the more I agree. I liked this one quite a bit, for example, despite it making me want to reach into the screen and slap every single main character hard in the face. I sincerely hope that every person who watches this film is disgusted at some level.

“We had so many beautiful gorgeous things.”

Based on recent true events, this is the worrying tale of a group of spoilt Hollywood teenagers who despite having way too much ‘stuff’ and money in their lives, let their obsessions with fame and celebrity turn them into a ring of burglars, stealing designer items from the mansions of the the stars, enjoying the rush of the invasion even more than the acquisition of more stuff. The warped products of the Facebook generation are presented in near-documentary style, with the camera observing their vapid lifestyles, ridiculous conversation and dangerous boredom. How one spends the day and night is not half as important as how one looks in the ‘selfie’ photos one takes and posts online, and the definition of a successful life is not whether you enjoy your day, but how fabulous it looks on Facebook. I’m sure this rings a few bells with any regular social media user, and this phenomenon is a real and present problem, along with our increasing obsession with watching anything remotely interesting through the screen of our phone camera, rather than with our eyes.

“America’s sick fascination”

As I sat peering into the accessorized lives of these pseudo-spiritual juvenile delinquents, I felt a similar feeling of disgust to when I used to watch MTV’s ‘Cribs’, a show which used to showcase the exorbitant and ridiculous excesses that the filthy rich incorporate into their homes. These brand-obsessed teenagers left me feeling similarly empty and soulless, and sad that this level of superficiality actually exists. It’s like watching the E! channel all day long.

The biggest name in the film, Emma Watson, has some initial trouble shaking off her Hermione character from the Harry Potter films, which is of course how us audiences have seen her growing up. But once you embrace the new accent and attitude, there’s a fine-tuned performance worth noting, and one that brings home the complete lack of self-awareness her character has. A lack of self-awareness that is of course fuelled by reality - these young criminals served their short prison terms and emerged ready to milk their new found fame and make the most of the situation. It’s fame that’s important, not how you got it.

Sofia Coppola continues to build her impressive directing filmography and adds her usual brand of style to the proceedings. The brazen titles, the obtrusive but intoxicating music montages and the hedonistic dialogue are equally matched by a few beautifully constructed scenes, including a gorgeous long take of one of the burglaries. She even manages to make CCTV footage look classy. Some might argue that the film offers no statement or lesson at the end of it all, but I didn’t feel it was necessary - the film is a statement in itself and perfectly captures many symptoms of the sick society we live in.

The Vanity Fair article on which the film is based: The Suspects Wore Louboutins by Nancy Jo Sales.





Trailers:
http://trailers.apple.com/trailers/independent/theblingring/

Past Perfect: Butch Cassidy and the Sundance Kid (1969)

Home movie gems from the past few decades that need some dusting but never get old.

It was only recently that I finally got around to watching this classic, and once again the overwhelming feeling afterwards was that I really should be dedicating more time to watching these golden oldies, because there’s usually a very evident reason why they’ve endured. I had never watched a film with Paul Newman and Robert Redford in their prime, and I can see what all the fuss is about. If you want a perfect example of on-screen chemistry, look no further - the title pair are so effortlessly brilliant together that they’re a joy to watch. And it gets even better when Sundance’s girlfriend joins the fray, including a famous musical bicycle scene which will have you humming for the rest of the day and bringing out your old Burt Bacharach tapes. It's basically a chase film, and although it doesn't maintain the great quality of the first half, it still ends with a wonderful, classic scene.