Stealers Wheel

Norway is quickly becoming the master of the grounded disaster film. In 2015, The Wave received critical acclaim. . . three years later, the same creative team (including producer Are Heidenstorm and writers John Kåre Raake, Harald Rosenløw-Eeg) brought forth a sequel, The Quake, directed this time by John Andreas Andersen. If there was one complaint about the previous film, it is that there could have been a bit more depth in regard to the characters. Learning from their mistakes, The Quake takes place three years later. . . Kristian Eikjord (Kristoffer Joner) is deemed a hero by the country – though he does not feel one. Bogged down by the countless lives lost after the title wave hit the tourist town Geiranger, the now bearded man is in a fugue-like nervous state.

Often considered the best year for westerns (which is saying something), 1969 brought forth a wide array of spectacular and dynamic films (ranging from traditional to more modern style fare) – Butch Cassidy and the Sundance Kid, True Grit, The Wild Bunch, The Undefeated, Paint Your Wagon, Mackenna’s Gold, Support Your Local Sheriff!. . . the list goes on and on. Also add 100 Rifles, co-adapted and directed by Tom Gries (from the 1966 novel The Californio), to that illustrious list. Set in 1912, the narrative brings together three intersecting storylines in a rather engaging way: a beautiful young woman, Sarita (Raquel Welch), is forced to hang from her father’s legs as he is being hung (helping him die a little bit quicker); a half-Yaqui, half Alabaman robber, Joe Herrera (Burt Reynolds), hides out somewhere in Mexico (after having just stolen six thousand dollars from an American bank), while an African American officer, Lyedecker (Jim Brown), is on the hunt for this slippery fellow.

Let me start by saying that every James Bond film, be it ‘good’ or ‘bad’ (for lack of a better term), is special. Since 1962's Dr. No, Ian Fleming’s famed spy has lit up the silver screen, not only awing and entertaining (for even the most frustrating of Bond films still have those wow moments of action, or those most entertaining one liners), but also holding a magnifying glass up to the then present day – analysing current issues (such as The Cold War, The Space Race, North Korea. . . the list goes on and on). . . understanding when to be more jokey or serious, it is a measuring stick of an historical document that speaks to what was on people’s minds in that specific year. Now, you might be wondering – why oh why review Roger Spottiswoode’s 1998 film Tomorrow Never Dies – for it is arguably one of the less magical efforts in the franchise. Being a fan of all things Bond, I recently read the film’s novelization, written by Raymond Benson (who wrote three novelizations during the Pierce Brosnan era, as well as six original novels, and three short stories). . . and was quite impressed by how entertaining it was (which didn’t exactly compute with my memories of the film).

An Americanized twist on the Agatha Christie murder mystery, Rian Johnson writes and directs Knives Out (2019), an entertaining crime-centric dramedy that earned him an Academy Award nomination for Best Original Screenplay. Centred on the suicide (or is it murder – cue the dramatic music) of famed crime writer and patriarch Harlan Thrombey (Christopher Plummer), he was the centre (and benefactor) of his entire family. Though this is the genesis event, the main player is actually his kind-hearted and thoughtful caretaker/nurse, Marta Cabrera (Ana de Armas) – someone who is constantly reminded by Harlan’s relatives that she is a part of the family (despite them claiming she is from Ecuador, Cuba, Uruguay, Paraguay and Brazil – definitely part of the family). With a really weird disorder, she vomits anytime she attempts to lie – not good in a murder mystery.

Sequels are a fickle matter. Nearly impossible to match the original’s magic in a bottle, they tend to become a greatest hits of the previous effort. . . less story and more about outdoing the first film’s visual antics – attempted appeasement for fans and more fodder for its detractors. This is no different for 1982's Death Wish II (coming to theatres a lengthy eight years later), director Michael Winner and star Charles Bronson coming together for another vile look at the seedy side of big city America. Set two years after the original, Paul Kersey (Bronson) has uprooted from New York to Los Angeles. . . the architect finding love once more, this time in the arms of reporter Geri Nichols (Jill Ireland – Bronson’s wife and frequent collaborator – a whopping 16 times). His daughter Carol (Robin Sherwood), after the heinous acts seen in the first film, is slowly making progress with her doctors – at least uttering a few quiet sentences each week.