Merry Christmas Everyone - Back in 1993...

I begged Mum for the Jeep. I absolutely begged but, alas, Mum tells me it was sold out. There was no chance. It was gone. "Santa" might be able ... but, we all know about the difficulties there.

Hopes were dashed, I flicked through the Argos catalogue... the dirty, brown-and-red jeep. Obviously that one hadn't sold out. Who on earth would want that crappy toy.

I wanted the bright green-and-yellow, Jungle Explorer. Missiles fired from the back (I don't recall these in the film) and a small-part that could break away from the front. Best friend Richard Fenn had the tyrannosaur - in the Primary School playground, we would be able to set-up the real Jurassic Park.

I had Alan Grant, multi-jointed whilst Graham - the Bangor Rep - had Dennis Nedry and a Dilophosaur...

But there, in my little present pile sat one box... one big box ... oh ... my ... go-o-o-o-od...

That was Christmas '93 in The Columb Family Household

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Terminator Salvation (McG, 2009)

"I knew it. I knew it was coming. But this is not the future my mother warned me about. And in this future, I don't know if we can win this war."

Introduction

So, finally, a short plan to watch all the Terminator films has finally drawn to a close. And it really has petered out - nothing special to finish. I think its fair to say that Terminator Salvation is the weakest of the four films. They really tried to make it special but I think the desire to create a family-friendly big-ass blockbuster sci-fi action film is the problem - where are the darker themes of industrialism and capitalism? Gone, replaced with clear and obvious themes of 'who am I'. An identity crisis - you would think John Connor would've dealt with than in T2.

You Would Think The Revival of Batman was a Good Choice...

Christian Bale is John Connor. I think it is fair to say that, at this point in the franchise, the role of John Connor has to go to someone everyone is excited about seeing. Discussions about Chris Nolans The Dark Knight and Batman Begins often veer into the terriotory of Christian Bale: Is he a good Batman? I think most people feel that he is not flawless - there are issues. A lack of expression and emotion - a sinister charm that could be sweeter? Nevertheless, the gritty John Connor seemed ideal for Bale but I think the biggest problem is the script - and it reckon Bale, therefore, phoned it in. No real effort in the role methinks. His lame gravelly voice - Nick Stahl and Edward Furlong didn't have a destroyed voicebox - whilst delivering lines from the franchise that have simply been squeezed in for no clear reason: Kate Connor asking "What should I tell your men when they find out you're gone?" and John Connor replies - "I'll be back". Eugh. Then there is Kyle Reeses opening line - "Come with me if you want to live". Its non-sensical and doesn't help the film in any respect. Nobody is sitting in the cinema waiting for these lines to be re-delivered. Think McG, Think.

Time-Travel

There is none! A franchise rooted in 'turning-the-clocks' back - regret and remorse about our capitalist actions. One of the best aspects to the weak-Terminator 3 was seeing Skynet and their resources build the first terminators. Deleted scenes on the DVD too show a very strange clip as the actual Arnie speaks with a deep-south accent as a military-man states "we'll change the voice". The first two films utilise time-travel to save any depth shown of the future. I think this is a staple of the series. We want to see the smaller-scale story as the bigger-scale story continues in the background. We didn't even see Kyle Reese go back in time - now that would've been cool.

Considering how simple the original stories were, this film is that much more complex. How can this be?  It can be as we follow the story of Kyle (Anton Yelchin) himself and his 'LA' resistance, then we have the pseudo-complexity of Marcus: a murderer placed on death-row, only to be resurrected again as a robotic-human ... but alas, he has a 'strong heart' (Worthington? Strong Heart?...). Finally we also have the huge-scale resistance John Connor is setting up. All of these issues at play ... remember when it was a simple terminator-is-trying-to-kill-sarah-connor. Easy. Everything else was secondary in The Terminator. (I think there is much more depth in The Terminator but, one the surface, it can be seen as a simplistic story ... I think you ca lose your way with Terminator Salvation)

Identity

As previously mentioned, the film is less focussed on Capitalism and Industrialism and, instead, focusses its attention on identity. Who makes us who we are? Is John Connor only who he is through who his Mother was? Is Marcus human or not? Is his heart in the right place? And what decides who we truly are? Can we give murderers a second chance?

Ironically, identity is something the film lacks. We have alot of nods to the previous films - much like Terminator 3 - a similar look to The Terminator: industrial settings and boiling molten-metal that is used - the steam lit up by red light whilst we cut to huge chase sequences in (take a guess), the Nevada desert. I felt that the use of a CGI Arnie was appropriate and was a highlight - it reallt was effective and only rang false because we all know Arnie is not that young and will not star in a film for a long time yet. The classic theme is used briefly but is not overbearing - but I missed it a little bit if i'm honest.

Back to the identity issue - all the other films had a consistency regarding the anti-capitalist theme (I would say anti-technology - but in T2 and Terminator 3 - the technology that is Arnie, is what saves the day), but this is not explored in Terminator Salvation. Ironically, with such an epic-scale - end of the world, post-judgment day destruction - the themes are quite small: what makes us who we are? In contrast, The Terminator was actually quite a small-scale story: bad robot tries to kill innocent woman, but with an epic-theme: the progress of technology and the lack of foresight of these companies - ignoring the knock-on effects of their actions. McG brings to the table some nice continuous tracking shots - but its just not good enough. That perfect example of the bad script with a hard-working cast and crew.

John Connor tells us that this is not the future his Mother, Sarah Connor, warned him about - I don't think Terminator Salvation was the future James Cameron predicted either. Hence, Cameron has disassociated himself from the franchise. Forever.

Though, in a very capitalist way, I'm pretty sure he takes royalties from anything made associated with the franchise - going a little bit against the morals established in his two films... And like the franchise, the Terminator-world has turned to shit. Where do they go now? I reckon they will go back in time and reboot the franchise... its only a matter of time.

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Grindhouse (Robert Rodriguez/Quentin Tarantino, 2007)

"You see, we're both going left. You could have just as easily been going left too and if that was the case, it would have been awhile before you started getting scared. But since you're going the other way, I'm afraid you're gonna have to start getting scared... immediately!"

Introduction

Only recently was this released on blu-ray - the 'experience' with all the trailers (opposed to the separate releases which have been available for years). I was tempted to buy them both separately, but I held out - I bought it yesterday and watched it last night and I am whacking a analysis up now. Lets be perfectly honest - the 'experience' is the only way to view these films - don't you dare waste your time with the longer cuts! It made financial sense to break them up (damn you America! "three hours - no, I can't do it") but, artistically, this is the only way to view Planet Terror and Deathproof.

Last year, my favourite film of 2009 was Inglourious Basterds - some may disagree. I heard only recently how what was good about The Social Network was how classical it was in approaching the theme - no references to previous films, no constant pop-culture 'in' jokes - think of Scott Pilgrim VS The World - just static shots and clear story-telling built on an incredible script. Grindhouse was a labour of love from two filmmakers obsessed with film - and not just cinema as an art form, but self-referential cinema. I have a funny-feeling that could be a genre all unto itself. Scott Pilgrim, Pulp Fiction amongst many others are the starting points - the doors that reopen a genre again. What is different with Grindhouse is the deep love that both Tarantino have for the exploitation genre - blaxploitation in Jackie Brown, heist movies in Reservoir Dogs. Could you argue that the Grindhouse combo is taking those homages to the next level - verging on parody. I think so.

So, Machete trailer has passed and the Grindhouse experience has truly begun...

Planet Terror

I think that you split the two thus so - Planet Terror is a 70's exploitation film parody, whilst Death Proof is a 2007-movie with the attributes of an exploitation movie. This is a great way to explore the films (what a shame my 11-15 year old film-club can't enjoy this!) and, therefore, mentally analyse the genre. Without watching anything from the genre! You watch the Planet Terror and understand the nature of exploitation and, three trailers later, you get to see what would happen if such a film was made today - because the 70's nostalgia is much more apparent in Planet Terror than in Death Proof.

Planet Terror presents a world whereby a gas has leaked out and is infecting - 28 days later style - the populace. I think what Roderiguez does so well is choose what he wants to pay homage to - and simply does it. The down-and-dirty nature of expoitation means that the use of a 'missing reel' adds comedic effect - and clears up multiple plot-points without actuall showing what has happened. How did Marley Shelton's Doc join the group? How did the strip-bar owner join the clan? why does Michael Biehn respect El Wray? What exactly was El Wray a part of? I might even go so far as to assume Roderiguez splits everyone up - purely to make the missing-reel that much more ridiculous.

Rose McGowan is well-cast too - her not-comedic comedian schtick, the whole idea of 'playing things straight' fits perfectly in the film - a film whereby everyone plays it straight. It does feel a little too much - a small part of me wishes the film ended on the escape from the texan grill ... but alas it does not - ploughing into a breakout-from-jail final act whereby we find Bruce Willis, has in fact, killed Osama Bin Laden. Well done to you Bruce. Ridiculous, tongue-in-cheek, exploitation at the height of parody.

Death Proof

I prefer Death Proof. I know not everyone agrees with this but I think it ties in with my [potentially misplaced] attitude to comedies. Planet Terror is clearly comedy, whilst Death Proof less so - as I said, this film played is neccessarily played straight in Death Proof not for comedic purposes but for the story. When an explosion happens in Planet Terror you laugh - it is so ridiculous. When Zoe Bell is on the front of the car  you are gripping to your seat. It is the type of crazy-stunt that, I assume, these type of films offer - and a modern take is so much more gratifying. The Tarantino-references are not a problem either. We know that Inglourious Basterds has a character who is a film critic, we are suprised at the knowledge Samuel L. Jackson may posess about television series - but it is clear that in an entire double-bill obsessed with exploitation films, we will get a reference to other movies. And we do - Vanishing Point amongst other motor-head fuelled-filled films - "Gone in Sixty Seconds - and the original not that Angelina-Jolie shit". I really am perplexed at how people didn't like this part of the film - its Tarantino at his best. He makes some fantastic references and points you, as a viewer, into a back-catalogue of films to watch post-viewing. Believe me, if Vanishing Point is on TV, it is Tarantino who has inspired me to watch it. Thank you QT. 

Spectacular Double Bill

What is brilliant about these films - is the playful attitude towards cinema. Cinema can be entertainment - believe me, my Dad see's film as purely entertainment. A lot of people think that contemplating philosophy is simply too much - the multiple layers in The Dark Knight, the socio-economical issues that underpin This is England is simply too much. Batman is action film. Horror is just a 'scary' movie - no deeper subtext. Well, I think this is where Grindhouse comes in... it expects nothing. It is purely entertainment - and its nice for us film-junkies to know the references and to explore them more - but these films do this without any force. Simply by watching - and enjoying - the movie, you are soaking in the references. It is just  zombie-movie, it is just a car-chase movie ... but those who care... know the history and this simply makes us love the films more. No waiting around, no expectation or neccessary prior-knowledge - you can get scared - "immediately". 

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TSAJFS: 19/12/2010 Catfish/The Girl Who Kicked a Hornet's Nest

Season's Greetings Simon and Jo Film Show listeners! This weeks vaguely festive offering comes to you from South London with reviews, news and random banter. Jo has finally caught up with Simon and seen the controversially weird Catfish. We will briefly discuss the film without spoilers during the episode and then go deeper into the issues at the very end, there will be plenty of warning if you want to avoid that particular spoilerific chat. Simon then shows his completist side by talking about the final part of The Girl trilogy as Lisbeth Salander kicks a Hornet's Nest, a film Jo avoided like the plague.

Hearty congratulations to Movies and Other Things by Julian Stark which is the Blog of the Week and features some intriguing Oscar predictions. The Prince Charles Cinema is awesome and has been running great some twitter competitions while Alistair Mills is our Favourite Facebook User. Listen to our take on that Scarlett Johansson news, which prompts Simon into an unlikely invitation.

The music this week comes from Catfish, including the version of Tennessee Stud by Suzanna Choffel which features in the film and is available to watch on YouTube;

Trailers

Alas we'll be away next week for Christmas but the weekend after we'll be right back with an End of Year show that will rank the stuff we've seen in the cinema this year. There will be the best and worst of 2010 which will undoubtedly result in some kind of argument. There will be blood. Probably.

Remember - you can always email The Simon and Jo Film Show directly using this email: simonandjoshow@gmail.com

We are also on Twitter and Facebook.

TSAJFS: 12/12/2010 Monsters/The American/Harry Potter and the Deathly Hallows

You lucky things! This week we have three new releases to discuss! New releases a-plenty! Jo watched The American, Simon watched Harry Potter and the Deathly Hallows whilst both Jo and Simon watched Monsters, the small-film-that could ... costing only £500,000 and making millions!

The usual film news includes discussion of the winners at the British Independent Film Awards whilst we run through the UK Box-Office (damn you Time Out for not updating your London Box-Office in time!) and discuss two mechanical trailers: Real Steel and Transformers 3: Dark of the Moon.

Trailers

Links

Blog of the week is the four-years old Blog Cabins, run by Mr Cabin or everyones favourite Fletch.

Facebook fan of the week is Mr Mike McKenney who runs his own blog, Destroy Apathy (though he hasn't written there for 8 months...),  but more importantly, writes for the Films and Festivals blog too.

Finally, Twitter-er is Charlie Brooker, TV-critic and not a big fan of The American.

Music

The vast majority of music is from the soundtrack to Monsters by Jon Hopkins - an easy find on itunes. Though, the music sprinkled around the Potter review is (new to the potter franchise) Alexandre Desplat's score for Harry Potter and the Deathly Hallows. Not to forget the little bit of Bon Jovi, Livin' on a Prayer ... (Greatest Hits now available!)

Remember - you can always email The Simon and Jo Film Show directly using this email: simonandjoshow@gmail.com

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Simon (without Jo) Prepares For 'Catfish'...

Jo and I have every intention of releasing more videos but, for obvious reasons, they take a little time to put together. We have a few stalled and ready to release at the appropriate time and, it has got to the point, whereby this video has purpose.

The release of Catfish is upon us in England and, luckily, Simon managed to see it a little earlier than young Jo. But Jo has every intention of seeing it ... and indeed he will see it soon enough ... and together we shall discuss it ...

But, as a way of preparing for our review of Catfish ...

Remember - you can always email The Simon and Jo Film Show directly using this email: simonandjoshow@gmail.com

We are also on Twitter (simonandjoshow) and Facebook.

TSAJFS 05/12/2010 Brighton Film Festival and Harry Potter 5 and 6!

So, we are outside in the snowy streets of London. It really is freezing cold and you can hear it in our stuttery voices. Luckily we get inside to review the films as we finish our coverarge of The Brighton Film Festival by discussing Fleurs du mal and Patagonia starry pop-star Duffy.

The news, feedback and Top London Box-Office (thank you to 'Time Out' for updating your London Box-Office details!) follow and, to finish, Simon has watched and analysed the fifth and sixth Harry Potter years in Harry Potter and the Order of the Phoenix and Harry Potter and the Half-Blood Prince.

Trailers

Links

Facebook following is Nick Jobe from Random Ramblings of a Demented Doorknob - 'indeed', this is the second week we recommend him so, hunt him down!

Twitter follower Graham Linehan who has his own blog, if you click here, is worth checking out and do follow him on twitter.

Finally, big recommendation for Film Squish for reviving the 1001 Movie Club - a great site for all your classic film needs!

Music

All music is from the Harry Potter films discussed Harry Potter and the Order of the Phoenix and Harry Potter and the Half-Blood Prince composed by Nicholas Hooper.

And, then we also feature Duffy's hit song Mercy and a little bit of Ira Newborn's theme for The Naked Gun trilogy.

Remember - you can always email The Simon and Jo Film Show directly using this email: simonandjoshow@gmail.com

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Favourite Film Faces #15: James Earl Jones in 'The Lion King'

Unlike most people, I first saw James Earl Jones not as Vader or Mufasa - but as the presenter of 'The Making of Jurassic Park' documentary. A VHS copy hunted down in a Virgin Megastore back in the day.

After that, I knew James Earl Jones as Mufasa.

Then, in 2005, as Darth Vader. Well, I knew he was Vader, but I only watched the 'original' trilogy for the first time in 2005 across three days, as I watched all six Star Wars films chronologically.

Amazing how such a booming voice can be so useable (a better word? anyone?)... because, no-one watches The Lion King and thinks that Vader's voice doesn't work because it sure as hell does work.

Remember - you can always email The Simon and Jo Film Show directly using this email: simonandjoshow@gmail.com

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