A Quick Look at a Book - Blindness by Jose Saramago

Blindness is an interesting read about a unanswerable epidemic sweeping across a city. One by one people fall into a white blindness known as 'white sickness', the government play damage limitation by interning the contagious into a disused hospital.

A unique read owed to Jose Saramago's unusual writing style. An omission of speech marks leaves dialogue feeling urgent and confused, further adding to the characters' despair - in other words, it can be bloody hard to follow at times.

The Police and Mental Health Awareness

Sometimes those who help others need a little help themselves.

Coupling a distinct reduction in police officers with the ever-changing complexities and pressures of policing has resulted in high numbers of officers suffering with stress and mental health problems. The stigma attached to seeking support has resulted in many police staff suffering in silence, taking a deep breath in the locker room before putting on a brave public-friendly face to start their shift.

It’s about time we did all we can to kick the ridiculous presumption of indignity in seeking help. Only when we talk openly about the struggles of mental health do we truly start to tackle the problem. 

It wasn’t until I was set to leave a shift, and preparing to settle down for two restless rest days did I decide to speak with my supervisor. Support can be given just by lending an empathetic ear, or by simply sharing experiences. On this Mental Health Awareness Week I want to do my part to encourage openness and honesty around mental health. 

Let’s start talking.

Cup of Coffee and a Sketchbook

Woody Allen, Sleeper (1973)

It has been some time since I last opened my sketchbook and let the doodles get the better of me. As a point of fact it has been some three months since I have updated the blog. I therefore thought it necessary to grace 2017's first post with a few sketches I've attempted whilst in a caffeine induced stupor. 

This is Danny Zuko if he never met Sandy and turned his back on what appeared to be a very promising jive-dancing career.

This reminds me, I haven't been to the dentist in a while.

This may look arty but I actually just dropped the sharpener.

'I'm going to draw Harry Potter' I thought.

Oh, hello John Lennon.

Film review: Seven (1995)

Directed by: David Fincher

Written by: Andrew Kevin Walker

Starring: Morgan Freeman, Brad Pitt, Kevin Spacey & Gwyneth Paltrow

Detective Somerset (Morgan Freeman) is partnered with Detective Mills (Brad Pitt) to investigate a number of grotesque murders, some grisly scenes I assure you.  John Doe (Kevin Spacey) is the warped suspect, killing remorselessly with graphic symbolism those he feels break the seven deadly sins.

It’s hard to tell where to start when a movie is this good. So here goes, Seven is one of the most visually interesting films I have seen in a long time, the gritty and sinister tone of this film is largely achieved through the cinematography, in post-production the film was developed using a technique called bleach bypass creating moody visuals which compliment the narrative fantastically whilst at the same time reflecting the characters’ emotions. It’s worth noting that Saving Private Ryan went through a similar film development process.

A detective thriller wouldn’t be a detective thriller without a pessimistic long-in-the-tooth cop partnered with a younger cocksure maverick, and the Morgan Freeman/Brad Pitt coupling works a treat. Whilst Gwyneth Paltrow beautifully represents the single glimmer of light amongst the criminality, which in a lesser film would appear inconsequential, but it’s Gwyneth Paltrow and she delivers a far from trivial performance. Then throw chilling Kevin Spacey into the mix, playing his role with seemingly effortless depravity it makes you feel like the film just doesn’t have enough Spacey.

Although the detective partnership is a marvel, I think the most intriguing correlation is between Freeman and Spacey. As the narrative develops you begin to notice the similarities between Somerset and John Doe, despite being on opposite sides of the law. Detective Somerset’s cynical viewpoint is shaped by his many years of investigating heinous crimes, leaving him disillusioned by human nature, this perception is shared by Spacey’s John Doe who goes about executing his own warped sense of justice. I feel all of this is summed up in Morgan Freeman’s line “Ernest Hemingway once wrote ‘the world is a fine place and worth fighting for’, I agree with the second part.”

As a self-proclaimed film geek I find it troubling that this is the first time I’ve seen Seven, especially when I’ve heard ‘what’s in the box?’ referenced so many times. So, if you’ve already seen this mid 90’s classic thriller then I hope this short review prompts you to revisit it. If like me you haven’t seen Seven then I would advise you to take heed, this is a film well worth your time.  

Alternative Christmas Movie - On Her Majesty's Secret Service (1969)

Directed by: Peter R. Hunt

Written by: Richard Maibaum (screenplay), Simon Raven & Ian Fleming (novel)

Starring: George Lazenby, Diana Rigg & Telly Savalas

Tis the season to stock the snack drawer, curl up on the sofa and watch some festive films, and that’s exactly what I’ve done. There has been much thought and consideration from movie connoisseurs as to what are the top alternative Christmas flicks, and Die Hard is a film that has fully established its position at the top of the alternative Christmas tree. I thought I may throw another film into the ring and fight the corner for On Her Majesty’s Secret Service this Christmas.

OHMSS is the sixth in the Bond franchise, and sees James Bond (George Lazenby) meeting Teresa ‘Tracy’ Di Vicenzo (Diana Rigg) and assumes a cover to investigate Blowfeld’s Piz Gloria base in the Swiss Alps. This is Lazenby’s first and only appearance as the vodka martini drinking, trilby sporting, lady killing, baddy beating double-o; and my god doesn’t he do it with humility with a slight peppering of brutality. For the seven years prior to OHMSS with 5 films in between (completely overlooking 1967’s Casino Royale) Sean Connery was undeniably Bond, and so should that be the case. That said, I feel poor old George was set up to fail right from the outset, after all how dare this commercial actor step into Connery’s shoes. I can’t really put my finger on exactly why OHMSS is widely considered one of the weaker Bond films, it’s almost as if critics haven’t seen Moonraker. Lazenby’s Bond may have lacked the overall menace that Connery’s portrayal oozed, however his compassion, vulnerability and awkward brutality makes for a far more complex and realistic character, Lazenby brought fans an exposed human Bond which had later completely been lost during the Roger Moore reign and then was later revisited by Timothy Dalton.  Diana Rigg is an essential and compelling component to this film, her troubled character is perfectly matched with Lazenby’s Bond, and you get a complete sense of them being each other’s salvation.

The cinematography is also a huge credit to OHMSS, especially during fight scenes, chases, and other action sequences. So many elements make me consider the recent Jason Bourne franchise, the action is well paced, and makes you feel like you’re on a pair of skis being pursued through the alps by gunmen yourself.  

Everything about this Bond entry screams ‘way ahead of its time’, this may attribute to why it has been reconsidered in recent years.

Pros include: George Lazenby’s James Bond, Diana Rigg, Louis Armstrong, unforgettable storytelling and immersive action sequences.

Cons: Telly Savalas’ Blofeld – just not for me.

Die Hard can wait until next year, with much of the action taking place in the Swiss Alps and plenty of references to the festive season, OHMSS is a must see alternative Christmas film.

Film review: I, Daniel Blake (2016)

Directed by: Ken Loach

Written by: Paul Laverty

Starring: Dave Johns & Hayley Squires

You shouldn’t judge a book by its cover, similarly you shouldn’t judge a film by its trailer, and that’s exactly what I did. I saw a trailer for I, Daniel Blake the last time I was at the pictures and I thought ‘yes, that’s going to be a goodun’.’ I, Daniel Blake seemed to have an allure, maybe not in the same way that Star Wars: The Force Awakens made its convincing argument but in an understated hidden gem sort of way. Sometimes I can overlook the latest British films, the giant that is Hollywood delights the masses with some absolute greats which dominate cinema listings, some movies get lost on the crowded radar, the last brit-flick I caught on its release was the nostalgic reboot of Dad’s Army, so I thought I would give I, Daniel Blake a look.

Set in the backdrop of Newcastle, Ken Loach’s film tells the story of Daniel Blake (Dave Johns), a skilled carpenter who is put out of work due to ill health and finds himself experiencing the frustrations and tribulations of state welfare.

Unpolished and flawed characters, living on the breadline with an underlying feeling of abandonment from the government, it all sounds very British doesn’t it? Just like a brisk slap around the face or a particularly potent cup of coffee, I, Daniel Blake carries a very sobering and solemn message. The film is careful not to be stayed, ensuring that the narrative is well paced and develops in a way that keeps you entertained. Katie (Hayley Squires) is a single mother who, much like Daniel Blake, faces a daily struggle to pay rent and even provide food on the table. It’s absolutely clear to me that when writing the screenplay, Paul Laverty really considered the characters individually and how their relationships with one another should develop. It could be said that this movie does have an air of predictability, however it’s not necessary about the destination, more the journey the characters go on.

This film’s thought-provoking premise and wonderful script is combined with a very talented cast, making I, Daniel Blake a film which resonates with many people, especially in this time of global austerity, and I am sure will go down in British cinema history as a truly remarkable film.  

I can certainly recommend seeing this one. 

Seen it? Let me know your thoughts below. 

Film review: Candyman (1992)

Directed by: Bernard Rose

Written by: Clive Barker & Bernard Rose

Starring: Virginia Madsen, Tony Todd, Kasi Lemmons & Vanessa Williams

    

A few friends and I thought a horror film night was on the cards given that Halloween is just around the corner, we pooled together a few films and started picking our favourites. I hadn’t heard of Candyman before, it was borrowed from a friend of a friend and came recommended, and quickly inspired interest from the group. Not being a horror connoisseur I knew I would enjoy the film watching experience, as for the film itself, I imagined a typical early 90’s slasher with some minor plotholes sprinkled with some shaky casting, none of this mattered however because it was a film fright night and I’m a coward. 

So, in the words of Alfie, 'what's it all about?' Well, the Candyman (Tony Todd) is a seemingly tragic mythological legend which is brought to reality when his name is uttered five times in a mirror. He has a bloody hook for a hand and reaps murderous revenge whenever he appears.  Sceptical grad students Helen (Virginia Madsen) and Bernadette (Kasi Lemmons) accidently beckon Candyman as they research the theory behind the legend.

Candyman is almost everything you would want in a horror film, you have the spooky yet intriguing backstory, the unprepared college students and enough nasty death scenes you can shake a hook at. If you are looking for a jump this Halloween then this is definitely the film to do it, at least for the first half hour or so. I was toying with the idea not to include the name of the actor who portrayed the Candyman in the above paragraph in order to maintain a level of anonymity, I will explain why Tony Todd has been named in my review of Candyman. What makes an effective horror flick to me is not all the blood and gore (although it helps), it’s often what you don’t see as opposed to what you do see which is most scary, so it’s disappointing that Candyman’s face (Tony Todd) is revealed earlier than I would expect from a horror film. Once revealed, the Candyman’s strange and spooky mystique is somewhat diluted, I guess that’s what makes Halloween’s character Michael Myers so terrifying, the mask, the unknown, the unknown forces the audience to fill in the gaps with their imagination. The same applies to Heath Ledger’s brilliant portrayal of The Joker in The Dark Knight, we think ‘what’s underneath it all?’ – ‘I bet it’s scary’. Unfortunately, Candyman loses that important element, which if included would have made this a truly excellent horror film.

You’ll be forgiven for thinking that a film called Candyman will have some sort of relevance to candy, unless I missed something fundamental, I didn’t see much significance in the name, perhaps it was eluded to when I left the room to grab some more popcorn for everyone. It is fortunate therefore that there are plenty of reasons to watch this film, the setting for instance, much of the film is set in Chicago’s Cabrini-Green housing project, the urban location adds a unique component to the movie, horror films tend to heavily rely on that secluded rundown house in the woods, so it’s refreshing to see a film take all the essential pieces of an effective location and place it in a more populated urban environment, making a neglected city estate that new shack in the woods. It’s also worth noting that Virginia Madsen turns my anticipation of questionable acting over on its head by giving an immersive performance, while Tony Todd commands the screen with his strong physique and booming voice. Candyman isn’t afraid to consider important issues such as racism and poverty that certainly highlight real-life subjects of the early 1990’s which also remains relevant and poignant today. 

This movie comprises of just about the right stuff to make you afraid of your bathroom mirror for a few weeks, who cares that it breaks the ‘be afraid of the unknown’ code sooner than expected, with enough blood to make Freddy Krueger wince Candyman should top your Halloween fright night list.

Fractured Batman Mask

It's about time I watched The Dark Knight Rises again.

Star Wars Illustrations

I grabbed a coffee, opened my sketchbook and hoped the force was with me - it wasn't, I spilt my coffee.

Film review: The Fundamentals of Caring (2016)

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Directed by: Rob Burnett
Written by: Jonathan Evision (novel), Rob Burnett (screenplay)

Starring: Paul Rudd, Craig Roberts, Selena Gomez

Following a tragic loss Ben (Paul Rudd) decides to become a care giver, he is employed as a full-time carer for Trevor (Craig Roberts) and whilst on a week’s road trip they both see life from a different perspective.

The Fundamentals of Caring is another feature length that Netflix have added to their ever-growing library of films. Exploring anguish and bereavement; this recent Netflix instalment seems to follow an already well established theme, the notion of helping someone disadvantaged and in return overcoming personal grief. The title doesn’t slip off the tongue either (I had to double check it before writing this review), you may forget the relevance of the title as ‘the fundamentals of caring’ is a quick whistle-stop mention at the beginning of the film however not all movies can be as obvious as Snakes on a Plane.  At the beginning, Trevor’s mother explains to Ben that her son suffers with Duchenne muscular dystrophy, she goes on to say that he is very anxious and only ever leaves the house on a Thursday when he is taken to the park for a few hours. So when Trevor is introduced you may find yourself surprised by his overtly confident humour and self-assured behaviour which doesn’t quite fit what we have been led to believe about him, nevertheless it’s taken on the chin which wouldn’t be the case should the script have been half as entertaining. Roberts and Rudd make an unlikely pairing however they delight with wonderful complimenting performances. To say that the plot is familiar is not to say that it’s a tired or weary film, in fact far from it, just don’t expect the most original piece on Netflix.  

Film review: American Honey (2016)

Director: Andrea Arnold

Written: Andrea Arnold

Starring: Sasha Lane, Shia LaBeouf

American Honey tells the story of Star (Sasha Lane), a teenager from an impoverished background who finds herself traveling across America’s Midwest with a motley magazine sales crew.

American Honey certainly has a story to tell, it explores the struggling youth of America with unfiltered honesty. Sasha Lane presents raw talent as she makes a performance of someone who has been film acting for years, which makes this debut for her even more astounding. Shia LaBeouf plays Jake, with charm and charisma he becomes the crew’s most successful magazine salesman. American Honey relies on an improvised script and a young talented cast to drive the narrative forward, effectively focusing on the troubles of youth, poverty, sex and drugs. Lane and LaBeouf’s on screen chemistry is palpable as their characters develop a mutual attraction to one another, intimate scenes are presented with real and almost embarrassingly raw detail (so not one to watch with the parents).

So, seated in the middle row, screen 1 at the Curzon in Canterbury, I watched American Honey having read almost nothing at all previously about the film. With considerable curiosity I started to wonder ‘what makes this film different yet somewhat familiar?’, I couldn’t help but smile when it dawned on me. The film is shot in the academy ratio of 1.37, giving the screen a squarer frame, reminding me of the eye pleasing filters of Instagram, which is an appropriate and ingenious cinematic ploy to give the film an extra nod towards youth. The cinematography is fantastic so it’s unfortunate that the major pitfall to this film is in the editing, at almost 3 hours in length you find yourself worrying whether you’ve put enough money in the carpark meter. The semi-adlib script is a huge credit to American Honey however couple this with the running time it may make you wish for a conclusion about 30 minutes before it comes.

This film is far from avoidable however, it shines a bright light on some really important themes with wonderful direction, just make sure you’re comfortable and you’re not pressed for time.

I'd loved to hear from you, let me know your thoughts below.  

Film review: The Wrong Man (1956)

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Directed by: Alfred Hitchcock

Written by: Maxwell Anderson & Angus MacPhail

Starring: Henry Fonda, Vera Miles & Anthony Quayle

I know I have already taken a look at a Hitchcock lately so my apologies for being samey, however you can’t ignore a great can you? The Wrong Man is a true story of ‘Manny’ Balestrero, an innocent man with a wife and children to support is accused of a crime he didn’t commit.

In a sense The Wrong Man is a typical but yet atypical Hitchcock film. An everyday man has been caught up in a case of mistaken identity, quickly spiralling from a curious coincidence to a helpless set of circumstances; this all sounds very Hitchcock as it seems to be a popular theme explored by the director. Henry Fonda gives a completely believable performance of the accused, his ability to command scenes whilst making himself appear powerless is compelling and owes to the uncontrollable situation he finds himself in. Vera Miles matches her co-star with an excellent portrayal of a supportive wife tormented by guilt to the point of mental exhaustion, this to a degree splits the narrative into an interesting subplot, which I was hoping would develop further.

Out of respect to the true events and mindful of not distracting the audience Alfred Hitchcock doesn’t make a trademark cameo appearance as he has done in previous films, instead he introduces the picture before the opening credits. The film is thoroughly watchable; you find yourself paying attention to the smallest details, the quick glimpses between characters for instance, this certainly left me thinking - is this wonderful direction or clever misdirection from Hitchcock? The Wrong Man is taken to grittier, more serious and more poignant heights than say his later North by Northwest (1959) movie. Art designer Paul Sylbert designed authentic New York sets and helped Hitchcock achieve some of the films more memorable shots, most notably where Fonda is seen in a prison cell through the door hatch which is done by using a wide angle lens.

It’s really hard to criticise an Alfred Hitchcock, to do so would be some sort of cardinal sin – so best mentioned quickly, I felt that the implications of the wrongful accusation could have been further explored, particularly how Rose Balestrero was affected however this may just be due to Vera Miles’ strong portrayal that added to the intrigue. Perplexingly The Wrong Man is one of those Hitchcock’s that is often overlooked, with some advanced cinematography and captivating performances, this is certainly a plausible drama from the film-noir era that deserves not to be forgotten.

Film review: Blair Witch (2016)

Directed by: Adam Wingard

Written by: Simon Barrett

Starring: James Allen McCune, Callie Hernandez, Brandon Scott & Corbid Reid.

Spooked

My pal really wanted to see Blair Witch at the cinema, horror is an acquired taste and unfortunately for Bob he struggled to drum up any interest from friends to go with him. I have never been in a rush to dip into my wallet and see a horror movie at the cinema, that been said Bob and I previously studied The Blair Witch Project (1999) at school (media class) and I remember being intrigued by the original cult film and was interested to see the sequel. So I searched high and low for that cinema gift card I received last Christmas and agreed to see a late showing with my friend.

So, Blair Witch in brief (without spoilers). James and his friends document their time in Burkittsville Woods, Maryland as they investigate the mysterious disappearance of James’ sister Heather. Heather and her friends went missing in 1994 as they attempted to film a documentary on the legend of the Blair Witch.

The movie as you would expect begins in a similar vein as its predecessor, the concept and direction is the same with some 21^st century gimmicks such as earpiece cameras and a drone to map the forest. No doubt Blair Witch delivers on the ‘jump out of your seat’ front however this is often because the characters bump into each other during intense moments, bum clenching nonetheless. This as it may, there is an underlying feeling throughout the film that it is very much relying on the uniqueness of the Blair Witch Project released some 17 years earlier, the first in the franchise earnt its place in the horror hall of fame due it’s low budget originality. In comparison, the sequel appears to be on the face of it nothing new. With regards to accepting most horror films (or any film for that matter) the audience has to take a leap of faith, not everything on screen will reflect reality, real human emotions or decisions; so enjoying with a pinch of salt comes to mind. I feel the plot in the Blair Witch was so close to the original it made the characters look somewhat foolish, you end up asking ‘why are they going into the woods?’, ‘you may need to pee, but why are you leaving the camp alone?’ – it’s true, as a viewer you are confused by the decisions the characters make, they are aware of the legend of the Blair Witch, they’ve also seen the original documentary tapes from 1994, so why on earth are they doing the exact same thing?

I feel that I’m not selling this film at all and that’s certainly not my intention, Blair Witch achieves what it sets out to do. The fact that there’s a predictable and lurking sensation that the characters are looking for trouble for the most part can be ignored. Due to the documentary style filmography Blair Witch inevitably remains terrifying, unsupported by a musical score the film relies on the point of view perspective to suture the audience into the intensity of each scene. Dramatic night scenes leave the audience yearning for the respite comfort of a day time scene. And when the day scene never arrives you find yourself exhausted by the uncertainty of the darkness. In the interest of transparency, I have to mention that my friend Bob and I did adopt the foetal position as we watched the final 15 minutes of the film through our hands, I can’t deny that I felt a little pathetic as I glanced over my shoulder to see the calm composure of the row behind.

With this in mind I think it’s important to note that I am a coward and I do scare easy. Perhaps you’ve seen the Blair Witch and you have a different view, feel free to leave a comment on this post, I would be intrigued to hear your thoughts.

Back to the Future (Parts I & II)

How many of us were hoping for a hoverboard last year?
(2015 - Marty McFly's hoverboard)

"If my calculations are correct, when this baby hits 88 mph...
you're gonna see some serious shit"
Doc Brown

Book review: Marathon Man

A finished Marathon Man and a cup of coffee,
Pork & Co, Canterbury

Tom ‘Babe’ Levy is a young intellectual living in New York with dreams of being a professional marathon runner. However, Babe’s life takes a dramatic turn following an unexpected visit from his brother. Unprepared, Babe finds himself on a run unlike any other as he is thrown inside the world of villainous assassins and torture.

It may have taken me almost 5 months to the day (a personal best) however I have finally finished the William Goldman novel Marathon Man. As you would expect the initial few chapters aim to establish context whilst familiarising us with key characters. Although the narrative begins slowly and skips from seemingly one unrelated incident to another, we are quickly reassured that these chapters have absolute relevance to the story and this quickly snowballs; Goldman’s characters have a lot of depth and as soon as their paths appear to cross the novel develops into a gripping thriller. Full of story twists and surprises Marathon Man will have the reader thinking ‘what’s next?’, even when the page corner is folded and the book has been put down for the day. Goldman’s storytelling is intense and dramatic scenes are described in teeth grindingly chilling detail.

Please don’t let the fact that it took me 5 months to finish this book put you off - Marathon Man is a thriller of epic proportion.

James Bond Quotes

What's your favourite James Bond quote? There's too many great lines to choose from, being the Bond geek that I am I thought I would comprise a few of the best known phrases - sorry if I didn't include your favourite.

Film review: Café Society (2016)

Directed by: Woody Allen

Written by: Woody Allen

Starring: Jesse Eisenberg, Kristen Stewart, Steve Carell & Blake Lively

Set in the back drop of the glitz and glamour of the 1930’s. Tired of working a dead end job for his father in New York, Bobby Dorfman (Jesse Eisenberg) contacts his hotshot movie agent uncle Phil (Steve Carell) who reluctantly takes Bobby under his wing and familiarises him with the Hollywood highlife. Bobby is then introduced to the mesmerising Vonnie (Kristen Stewart), she warns from the start that she has a boyfriend (which happens to be her employer) however helpless Bobby falls madly in love with her. The pair develop a blossoming friendship before lovesick Bobby returns to New York where he meets a beautiful socialite, Veronica (Blake Lively). Things seem to be working out for Bobby until Vonnie visits New York, rekindling Bobby’s original affections.

In typical fashion Woody Allen presents us with a nostalgic peak of the past, Café Society is a beautifully captured picture which explores a romanticised view of the 1930’s. Intriguingly this is Woody Allen’s first collaboration with the cinematographer Vittorio Storaro who convinced him to digitally capture the feature which is a first time for Allen. The golden hue like quality makes this film an absolute delight, the audience is presented with a number of close up shots of Kristen Stewart which are very reminiscent of early Hollywood pictures starring the likes of Rita Hayworth or Donna Reed. Jesse Eisenberg puts in a wonderful performance playing the awkward “deer in the headlights” character which is seemingly the perfect platform to deliver Woody Allen’s writing. This certainly isn’t Woody Allen’s best more recent film and doesn’t quite meet the heights of Midnight in Paris or Blue Jasmine. The relationships between the characters aren’t fully explored, instead we are told about them through Allen’s narration. Steve Carell plays the high flying Hollywood agent well with some excellent scenes between him and Jesse Eisenberg; that said, I couldn’t help thinking his casting in Café Society was a little ill-fitting, perhaps because while his performance is considerable I can’t shake the image of him having his chest hair waxed in The 40 Year Old Virgin. Putting all that aside, Woody Allen’s writing is… Woody Allen’s writing, he sticks with familiar ‘love triangle’ themes however this doesn’t matter at all, the story is romantic and poignant lightly peppered with classic Woody Allen humour. Café Society is no Annie Hall but still remains a thoroughly enjoyable and absorbing watch.

Film review: North by Northwest (1959)

Director: Alfred Hitchcock
Written by: Ernest Lehman
Starring: Cary Grant, James Mason & Eva Marie Saint

Roger Thornhill (Grant) is a New York socialite who falls victim to mistaken identity, pursuing foreign agents believe Thornhill to be a government spy. North by Northwest follows this unfortunate character as he crosses the country eluding capture and seeking to redeem his true identity.

North by Northwest is an absolute silverscreen classic and is one of many gems in the late great Hitchcock crown. The film is shot beautifully and employs some amazing cinematography with intriguing angles like the 'god's eye view' shot as Grant leaves the UN building. The musical score is excellent and really adds to the intensity of the action. North by Northwest is still regarded as one of cinema's greatest suspense thrillers; it certainly doesn't matter that at times (and only at times) Cary Grant's portrayal is not always 100% believable and his character seems to make the 'obvious wrong decisions', he still puts in a charming and iconic performance as Roger Thornhill/George Kaplan. With superb and unique direction from Alfred Hitchcock it's easy to see why this film is still admired today.

Trivia: Don't miss Alfred Hitchcock's cameo appearance as the man who tries to get on a bus at the beginning of the film.

E.T the Extra Terrestrial (1982)

Bunking school and smoking.

Film review: Bullitt (1968)

I tried.

Director: Peter Yates
Writer: Robert L. Pike (novelist), Harry Kleiner & Alan Trustman (screenplay)
Starring: Steve McQueen, Robert Vaughn, Jacqueline Bissett

Following the assassination of a witness in protection, 'do or die' cop Lieutenant Frank Bullitt (best name on the planet) finds himself investigating the San Francisco criminal underworld.

Bullitt is a hard hitting detective thriller that delights gritty film lovers. Steve McQueen is not renowned as the most gifted or versatile actor of his time however excellent at what he does best (being as cool as a cryogenically frozen cucumber that has been brought back to save Christmas). This film certainly puts McQueen in his comfort zone, which happens to be behind the wheel of a 1968 Ford Mustang wearing a roll neck sweater and a snub nose revolver to his chest. If you haven't seen this film then it's one of those you need to see, Bullitt features a car chase scene which wrote the book 'Hollywood Car Chase Scenes', McQueen was always very keen to perform his own stunts, the chase scenes in this film are shared between Steve McQueen and stunt driver Bud Ekins. The iconic shot of Steve McQueen making a wheel spin reverse in the Mustang was not originally scripted, during filming McQueen took a wrong turn, the footage was used in the film and is remembered to this day.