Now here come two words for you: Shut the fuck up.

No 317 - Midnight Run

Director - Martin Brest

I have decided I don't like having a job anymore. Specially not one which goes mental busy for 2 or 3 weeks at a time. 2011 has been pretty shocking when it comes to film watching and blog updating. I promise to rectify this as much as I can.

Lets crack on

Midnight Run had me hooked from the moment the awesome score and '90's sitcom' style title credits came up (about 2min30 through here) - but then, it grabbed me either further, with music by Danny Elfman. But this music is different to the standard Danny Elfman fare (which stems from his Tim Burton work but is now in most of the scores that he does). I mean just listen to it!

Danny Elfman - Midnight Run Score Suite

So, we have something which sounds zippy and funky (from an unexpected source) and which sets the tone for this film. A film which is really both a buddy movie and an utterly farcical chase. This was back in the 80's when De Niro could be really funny without falling into terrible self parody:

Here, he plays on familiar ground. His Jack is a pent up aggressive wise guy with a dirty dirty poop mouth - playing the role with the same intensity that is there in his more serious films, but allowing the smart alec within Jack to really shine.

His character manages to share some great scenes and there is some excellent dialogue shared with Yaphet Kotto's FBI agent or with Joe Pantoliano's fabulously '80's Eddie Moscone.

The plot is simple. Jack has 5 days to retrieve a fugitive and bring him back to LA. Over the course of these 5 days, an ever growing and ever confusing list of other parties try and also get the fugitive.

This means we end up with manic chase sequences, moving from planes, trains and automobiles. It sets up some excellent set pieces and makes for a film which is really quite amusing. But where it shines are the little moments which change tone. After all, if this was just a madcap chase movie we'd end up with a far inferior product.... What we also get, is a pretty deep buddy relationship.

De Niro's Jack spends most of the film handcuffed to Grodin's John Mardukas. Despite Jack being in the top 3 bounty hunters I've seen, he clearly has issues, he clearly needs help from the far more peaceful Mardukas. As Jack tries to get his money, John seems to try and better Jack's complicated (and pretty sad) life.

Its those more sober moments, when the two genuinely bond, which are the film's strength. These moments of tenderness and the gentle unchipping of Jack's tough rough persona lie at the heart of everything, and make the complex tying up of plot strings into something really satisfying. Without ruining the awesome fun of the madcap moments throughout it all.

Bloody good film

I always thought the joy of reading a book is not knowing what happens next.

No 173 - Memento

Director - Christopher Nolan

I know that I have waxed lyrical about Christopher Nolan before - but I do think he has a very impressive track record of creating intelligent (and financially successful) films - we need more directors to play that line between success and intelligence. After all the cinematic market is based around rehashing the same ideas (watch this INCREDIBLE video by Kirby Ferguson - then check out his incredible site), so any new ideas should be embraced and celebrated. This is a film that is going to be hard to describe without ruining it. And I really don't want to ruin it.... however, it is also a film full of joyous moments.

Whats more impressive is how simple these moments are - even the simplicity of opening the film with a death, in reverse, is a glorious, beautiful WTF moment.

The entire story is then told in snapshots, working backwards, to tell the story of how Leonard got to this point.

It is a clever concept and it works really well. Of course, it should go without saying that ALL IS NOT AS IT SEEMS!

What is interesting is that we have a film in which character arcs and standard progression are all subverted, the things that make use relate to a character, or enjoy a film, are twisted and turned. It's as if Nolan is deliberately mocking our need for identification with the fictional characters in front of us. Not only is the film told backwards (meaning we meet people at the end of their narrative arc and watch them regress rather than progress) - but the film's hero doesn't have an arc. He can never have an arc as he can't remember anything - therefore his character can hardly evolve.

the only exception to this is the story of Sammy Jankis (played by the wonderful Stephen Tobolowsky) who appears in flashbacks, and who's story is told in a linear pattern. Sammy's story has to make sense as he suffers the same illness as our hero. Understanding Sammy's condition means that we'll understand Leonard.

Leonard becomes even easier to understand when we realise that he has his entire motivation (hell, the entire film's plot) - inked onto his body.

These tattoos are constant reminders of what is happening and what he needs to do. I find this kind of thing fascinating. Using tattoos to help you form a plan - its like series 1 of Prison Break, before it tried to get bigger and weirder and not about the initial plan anymore:

What's really interesting, is how easy it is for these things to be distorted, to be manipulated. Leonard discusses the problem with memories:

Memory can change the shape of a room; it can change the color of a car. And memories can be distorted. They're just an interpretation, they're not a record, and they're irrelevant if you have the facts.

But he suffers from the exact same issue. If he can't remember, he relies on notes - and notes, whether on temporary and on paper or permanently scarred on your body, can be manipulated. That is probably the message at the heart of the film.

And on that note I best end. I won't talk about the happy Matrix reunion between Trinity and Cypher - or the glorious inclusion of Callum Keith Rennie - because I already fear I'm getting too close to spoiler territory.

So go watch it, and prepare to be surprised by some great revelations.

Then, once you've seen it, find the special feature that lets you watch it in chronological order, and prepare for one of the most hopeless examinations on the futility of progress and the hopelessness of life.