Month: April 2023

“Blimey, girl! You ain’t as ugly as I thought.” —Alfie

Today’s quick review: Alfie. Alfie Elkins (Michael Caine), a serial womanizer, flirts with the idea of commitment when Gilda (Julia Foster), one of his girlfriends, becomes pregnant with their son. But as the months go by with no offer of marriage from Alfie, Gilda considers a proposal from Humphrey (Graham Stark), a much more faithful man. In retaliation, Alfie dives back into his old lifestyle, kicking off a series of unfulfilling flings.

Alfie is a romantic drama with comedic elements. Michael Caine stars as Alfie Elkins, a man whose charming exterior hides a selfish heart. Alfie uses and abandons the women he’s with, chasing short-term pleasure at the cost of stability and meaning. His wry, cynical narration helps keep the tone of the movie light while the story explores deeper themes of love and attachment, hedonism and fulfillment, and whether a cad has hope of redemption.

Alfie makes for a fascinating character study. Alfie Elkins has a knack for manipulating the women around him, preying on their vulnerabilities and turning their affections to his own ends. In his narration, he tries to make light of his relationships, painting himself as a man who cannot be tied down. But over the course of the film, it becomes clear that Alfie does have a conscience, even if he is too vain to admit it.

The result is a story that offers a mature and nuance take on love and commitment. Over the course of his romantic escapades, Alfie comes dangerously close to changing his ways, but his ego and hedonism keep him from taking the final step. The struggle between Alfie and his better nature makes for an interesting range of situations. The path he walks is a winding one, full of false starts that keep the story dynamic and his fate in question.

Still, Alfie will not match what some viewers have in mind. Those hoping for a classic romance with a light tone will find that the movie touches on some serious topics. Meanwhile, the main character’s abusive behavior will turn off viewers who are unwilling to embrace his flaws as a part of the story. But for the right viewer, Alfie is an insightful movie whose veneer of levity helps it deliver some truly effective drama.

For a lighter, more absurd comedy about a womanizer who’s trying to change his ways, try What’s New Pussycat. For a tongue-in-cheek comedy about a married man trying and failing at adultery, try A Guide for the Married Man.

[7.0 out of 10 on IMDB](https://www.imdb.com/title/tt0060086/). I give it a 7.0 to 7.5 for a thought-provoking character study.

Today’s quick review: Battle of Britain. In 1940, as British troops pull out of France, Air Chief Marshal Hugh Dowding (Laurence Olivier) prepares the Royal Air Force to defend Britain against an inevitable German assault. Squadron Leader Canfield (Michael Caine) leads a group of fighters stationed in southeast England. Meanwhile, Squadron Leader Colin Harvey (Christopher Plummer) tries to reconcile with his wife Maggie (Susannah York).

Battle of Britain is a historical war drama about the titular battle during World War II. Battered and outnumbered, the British air force attempts to counter German raids targeting their airfields and, eventually, London itself. Battle of Britain is a sprawling movie that chronicles an ever-changing tactical situation from a variety of perspectives. Impressive aerial combat, interesting subject matter, and an ensemble cast make the movie a solid hit.

Battle of Britain is notable for its scope. The movie covers several months of World War II, including the lead-up to the German assault, the initial raids against British airfields, and the British attempts to adapt to German tactics. As a chronicle of a pivotal segment of World War II, the movie is successful. Lavish aerial battles bring the action to life, while its expansive story allows it to cover major developments and more personal moments.

However, these strengths come with a price. Like other war movies, Battle of Britain gives the audience a lot to keep track of. The named cast numbers in the dozens, many of whom only have a minor role to play, and there are very few characters that the movie follows for any length of time. The result is a series of vignettes rather than a cohesive story. Battle of Britain has plenty of drama, but the drama is not as cohesive as it could be.

Battle of Britain is a strong choice for fans of war movies. It captures the key developments of a turning point in World War II, and its air battles give it plenty of spectacle. Still, Battle of Britain is not a very focused movie when it comes to its story, so fans of the more personal side of the genre may be disappointed.

For a similarly detailed portrait of a British military operation during World War II, try A Bridge Too Far. For a more in-depth treatment of the evacuation of Dunkirk, try Dunkirk.

[7.0 out of 10 on IMDB](https://www.imdb.com/title/tt0064072/). I give it a 7.0 to 7.5 for tense aerial battles and historical significance.

Today’s quick review: Zulu. On January 23, 1879, a thousand British troops are wiped out in a disastrous battle with the Zulu in South Africa, leaving only a few dozen men to guard the British outpost. Following his last orders, Lieutenant John Chard (Stanely Baker) takes over command from Lieutenant Gonville Bromhead (Michael Caine) and mounts a hopeless defense against an army of four thousand Zulu warriors sent by King Cetewayo (Chief Buthelezi).

Zulu is a historical war drama about the Battle of Rorke’s Drift. Badly outnumbered and cut off from reinforcements, Lt. Chard and Lt. Bromhead fortify a British outpost and attempt to hold off the Zulu assault for as long as they can. The film’s strength lies with its scale and its historical detail. The ebb and flow of the battle comes to life as two disciplined armies test each other and fight to overcome the other’s advantages.

Zulu pays close attention to the tactics of the battle. The film shows step by step as the British prepare their fortifications, make the most of their limited troops, and react to the Zulu offensive. The asymmetry between the armies makes for a fascinating battle. The Zulu have an enormous advantage in numbers, but the British have defensive structures to man. Seeing the way the armies adapt to one another is one of the highlights of the film.

The other major draw is the way Zulu handles the personal side of the battle. Lt. Chard is an engineer who happened to be the ranking officer present, while Lt. Bromhead is a commanding officer who has never seen a real battle. The men must put aside their differences, settle on a course of action, and keep their soldiers in line in order to have any chance of survival. Along the way, the film explores the ethos and protocols of the British army.

Still, there are aspects of Zulu that will diminish some viewers’ enjoyment. The action is large in scale, with a massive army of Zulu extras, but the fight choreography is clumsy by modern standards. The supporting cast adds some flavor to the film, but there are too many characters to easily keep track of. Finally, the kinds of resistance Chard and Bromhead meet can be frustrating, as the inhabitants of the outpost are reluctant to fight.

Zulu is a solidly constructed war drama that captures a fascinating moment in history. Fans of historical dramas, the minutiae of military life in the late 1800s, or war movies in general will want to give Zulu a shot. Viewers who are looking for either modern-style action or an in-depth story should approach with caution.

For a war drama about a desperate British military operation, this one during World War II, try A Bridge Too Far. For a modern war drama chronicling a pivotal British retreat in World War II, try Dunkirk. For a more personal story about a displaced missionary in Colonial Africa, try The African Queen. For a more elaborate application of the British military ethic to a tense situation, try The Bridge on the River Kwai.

[7.7 out of 10 on IMDB](https://www.imdb.com/title/tt0058777/). I give it a 7.0 to 7.5 for capably handled war drama.

Today’s quick review: Ashanti. David Linderby (Michael Caine) and his wife Anansa (Beverly Johnson) are doctors for the W.H.O. While on an aid trip to West Africa, Anansa is kidnapped by Suleiman (Peter Ustinov), a notorious slaver, and taken across the continent to be sold. David travels across jungles and desert to get her back. But to reach his goal, he will need the help of Malik (Kabir Bedi), a vengeful man who lost his family to Suleiman.

Ashanti is a dramatic adventure about a doctor who journeys across Africa to rescue his wife. The movie follows the winding route of a slave caravan as it travels 3000 miles to the Red Sea, with David Linderby in hot pursuit. Ashanti draws its strength from its supporting cast. Anansa’s tribulations, Malik’s hunt for revenge, and Suleiman’s misfortunes as a slaver all contribute to a rich dramatic tapestry held together by a solid plot progression.

Ashanti’s weak point is its protagonist. David Linderby has no real knowledge of Africa, no skills that help him on his journey, and no opportunity to grow. Instead, he relies on helpful strangers to do most of the heavy lifting, especially Malik. As such, David gets overshadowed in his own movie. The story moves along fine without him, and whatever character development or emotional arc he could have had is largely skipped over.

Ashanti has something to offer with its story and setting, but it struggles to follow up on them. The supporting cast’s plot threads are interesting on their own, but David’s is lacking. The journey to catch Suleiman sets up some solid drama, but there’s not much action to serve as payoff. And while the movie showcases several regions of Africa in passing, it treats them as stopovers on the way to catch Suleiman.

The end result is a decent movie that struggles to find an audience. Ashanti has the setup of an action movie, the setting of an adventure, and the barest hints of a political drama with its depiction of the modern slave trade. But its limitations are such that fans of each genre will be somewhat disappointed. Those curious should give Ashanti a shot, but it is best approached with tempered expectations.

For a darker political thriller about a British diplomat in Africa, try The Constant Gardener. For an action thriller about modern-day slavery, try Rambo, Skin Trade, or Taken. For an action drama about an attempt to rescue an American doctor from a war-torn region of Africa, check out Tears of the Sun.

[5.4 out of 10 on IMDB](https://www.imdb.com/title/tt0078801/). I give it a 6.5 for a decent story and an interesting journey, hurt by a weak protagonist and mediocre action.

Today’s quick review: Blame It on Rio. On a vacation to Rio de Janeiro, Matthew Hollis (Michael Caine) lands in hot water when he sleeps with Jennifer Lyons (Michelle Johnson), the daughter of his best friend Victor (Joseph Bologna). As Jennifer tries to continue their affair, Matthew looks for a way to let her down gently. Meanwhile, Matthew’s daughter Nicole (Demi Moore) reluctantly helps him keep the incident a secret from Victor.

Blame It on Rio is a romantic comedy about a fling between a teenage girl and a much older man. Michael Caine stars as Matthew Hollis, a reserved man whose one mistake jeopardizes his relationships with his daughter, his best friend, and his wife Karen (Valerie Harper). The movie has wry dialogue and a playful tone, making it a passable comedy. However, its racy subject matter and dubious character work keep it from getting very far.

Blame It on Rio’s main sticking point is its premise. The age gap between Matthew and Jennifer is inescapable, fueling both the plot and much of the comedy. To its credit, Blame It on Rio manages to keep the tone light while still showing the fallout of Matthew’s actions. But for many viewers, the setup will be distasteful at best. The movie also does a mixed job with its resoluiton, suggesting character development that never quite happens.

For those willing to look past its salacious content, Blame It on Rio is a decent pick. It has a knack for sneaking jokes into its dialogue, and Matthew’s attempts to manage the situation give it plenty of material to work with. However, in terms of overall quality, the movie still finds itself outclassed by other comedies. For most viewers, the combination of a dicey premise and mediocre payoff will make Blame It on Rio one to skip.

For a lurid thriller about an affair between an older man and a younger woman, try Chloe. For a comedy about a more caddish middle-aged man trying to relive his youth, try Solitary Man.

[5.8 out of 10 on IMDB](https://www.imdb.com/title/tt0086973/). I give it a 6.0 to 6.5 for decent humor stapled to a hit-or-miss premise.

Today’s quick review: Dear Dictator. Tatiana Mills (Odeya Rush), a rebellious teenager, becomes pen pals with General Anton Vincent (Michael Caine), a reviled dictator whom she looks up to. When rebels overthrow Anton, he escapes to Tatiana’s house to prepare his counterattack. While Tatiana works to keep Anton a secret from her mother Darlene (Katie Holmes), the dictator gives her lessons on how to take control at her school.

Dear Dictator is a comedy about a deposed dictator hiding out in an American suburb. Anton Vincent befriends Tatiana, learns about American culture, and helps Tatiana and her mother improve their chaotic lives. Dear Dictator gets its comedy from the juxtaposition of a ruthless revolutionary with his mundane surroundings, while its emotional heart is the relationship between Tatiana and Darlene. However, its execution falls well short of the mark.

Dear Dictator never quite finds its rhythm. Anton should be a steady source of humor, an out-of-touch dictator who is incongruously kind in his personal affairs. However, the movie never figures out the right way to use him, shying away from too many dictator jokes and skimping on his side of the plot. Tatiana and Darlene have similar problems, with character arcs that are too exaggerated to be sympathetic and not dynamic enough to be funny.

Dear Dictator offers some modest amusement for anyone in the mood for straightforward comedy wrapped around a mother-daughter story. But the humor isn’t sharp enough, the story isn’t rich enough, and the premise of the movie largely goes to waste. Accommodating viewers may still find it fun, but viewers who are looking for a more impresive comedy should look elsewhere.

For a more introspective comedy about a listless teenage girl, try Juno or Lady Bird. For a more developed comedy about a dysfunctional family, try Little Miss Sunshine. For a goofier and more violent movie that puts a darkly comedic spin on a bad person, try Killing Gunther.

[5.0 out of 10 on IMDB](https://www.imdb.com/title/tt5779540/). I give it a 5.5 for cheap humor that largely misses the mark.

“Probably just another Sunday driver.” —Noel Holcroft

Today’s quick review: The Holcroft Covenant. Noel Holcroft (Michael Caine), an architect living in New York, learns that his father, a German general, embezzled $4.5 billion from the Nazi regime and left it to Noel to distribute as reparations. But to access the money, Noel needs to find the heirs of his father’s partners, beginning with Johann Tennyson (Anthony Andrews) and his sister Helden (Victoria Tennant).

The Holcroft Covenant is a crime thriller based on the novel by Robert Ludlum. Michael Caine stars as Noel Holcroft, an ordinary man swept up in a web of murder and intrigue when he inherits a Nazi fortune. Hunted by assassins and unsure of whom to trust, Noel must rely on his wits to stay alive. The movie features a decent setup and a healthy serving of espionage, but its overall execution leaves something to be desired.

The Holcroft Covenant has the makings of an engrossing thriller, but it handles its mystery poorly. Instead of unfolding its plot gradually, with only one or two open questions at a time, the movie tosses Noel in the deep end, with around half a dozen parties interested in killing him, protecting him, getting him to sign for his inheritance, or keeping him from doing so. To make matters worse, none of these parties are especially trustworthy.

As a result, The Holcroft Covenant doesn’t have a foundation to biuld on when it comes to its plot twists and mysteries. Too much of the setup relies on uncertainty. The truth of Noel’s inheritance, the question of who wants him dead, and the secrets kept by his parents are all intriguing questions that fall flat because there are too many unknowns. Finally, when the answers do come, they are poorly motivated and cannot hold the story together.

The Holcroft Covenant is a swing and a miss for fans of espionage and thrillers. The plot tinkers with some good ideas, and it has one or two plot twists for viewers who are willing to invest in it. But the way these things play out in practice shows none of the tension and finesse associated with the genre, making The Holcroft Covenant an easy movie to miss.

For another Michael Caine thriller about the legacy of Nazi regime, try The Statement. For an artistic noir thriller in the same vein, try The Third Man.

[5.7 out of 10 on IMDB](https://www.imdb.com/title/tt0089283/). I give it a 6.0 for lackluster execution of a serviceable premise.

Today’s quick review: Harry Brown. Harry Brown (Michael Caine), a retired widower, watches from the sidelines as his neighborhood descends into gang violence. But when his only friend is murdered by a group of hoodlums, Harry embarks on a quest of revenge against those responsible. His vigilante activities catch the attention of Detective Inspector Frampton (Emily Mortimer), who belatedly tries to stop the situation from spiraling out of control.

Harry Brown is a crime drama about an aging ex-Marine who cleans up his neighborhood by force. Harry is not a typical action hero. Physically frail and reluctant to fight, he evens the odds using intelligence, cunning, and sheer determination. The dark appeal of the movie comes from seeing Harry punish the criminals who have been terrorizing his neighborhood. Personal stakes and violence with dramatic weight make Harry Brown an effective film.

Still, Harry Brown makes for a dark watch. The gang members in his neighborhood are destructive, murderous, and utterly unrepentant. Harry’s mission of revenge is just as brutal, only more methodical. The movie complements its outright violence with drug use, sexual abuse, and the inability of the police to fix the situation. These oppressive elements are put to good use setting up Harry’s actions, but they may be too much sensitive viewers.

Harry Brown is a cleanly executed revenge story with everything it needs to succeed. Hateful villains, a resourceful protagonist, and a smattering of realistic action make the movie captivating in all the right ways. Harry Brown’s dark tone and modest scope will not appeal to everyone, but fans of the violent side of the crime genre will find that it’s worth a watch. Steer clear if you’re looking for something lighter or more action-packed.

For another drama that pits a grizzled veteran against a dangerous gang, try Gran Torino. For a more action-oriented movie about a retired soldier taking revenge for the loss of a loved one, try The Foreigner. For another tale of vigilante justice, try Death Wish, The Brave One, Rage, or Acts of Vengeance. For a darker, more surreal commentary on British gang violence, try A Clockwork Orange.

[7.2 out of 10 on IMDB](https://www.imdb.com/title/tt1289406/). I give it a 7.0 for tense and well-handled drama.

Today’s quick review: Shadow Run. Edward Joffrey (Matthew Pochin), a bullied schoolboy, learns a dangerous secret when he stumbles across the aftermath of a botched armored car robbery. Haskell (Michael Caine), the brutal criminal behind the robbery, swears him to secrecy and sends him on his way. But their paths cross again when Haskell scopes out Joffrey’s school as part of a follow-up robbery targeting the same armored car route.

Shadow Run is a crime drama about the intersecting lives of a teenage boy and a ruthless criminal. Shadow Run splits its time between Joffrey’s school life and Haskell’s latest crime. Joffrey is an ostracized boy who latches onto Haskell as the only source of excitement in his life. Haskell is a killer who will do anything to protect his next payday. But in spite of this elaborate setup, Shadow Run has a hard time making anything of its premise.

Shadow Run has a number of issues, but chief among them is that the movie does a poor job of tying together the two halves of the story. Joffrey sees almost all of the major developments in Haskell’s plan, but never plays an important role in it. Aside from one or two brushes with danger, he is just an observer. Neither half of the story works individually either. Joffrey’s bullying plotline goes nowhere, while Haskell is an unsympathetic brute.

Shadow Run also has subtler issues with its direction and presentation style. The story should be a ripe opportunity for drama, with Joffrey undergoing a period of transition in his life and Haskell forced to take greater and greater risks to pull off his latest job. But the impact of these events is somewhat limp. Joffrey’s involvement is mishandled, Haskell’s crimes are matter-of-fact, and key moments of tension are underplayed.

As a result of these issues, Shadow Run is a movie with very limited appeal. The setup is a promising one, tossing a dark complication into the life of an ordinary boy, but the execution is lacking and the setup largely goes to waste. Even the presence of Michael Caine is not enough to salvage the movie. Fans of unusual crime movies may want to give Shadow Run a shot for curiosity’s sake, but most viewers should steer clear.

For a more successful drama about a pair of boys who witness a crime, try Cop Car. For a more meaningful interpersonal relationship between a boy and a fugitive, check out Mud. For Michael Caine as a more charismatic criminal, try The Italian Job.

[4.3 out of 10 on IMDB](https://www.imdb.com/title/tt0133197/). I give it a 4.5 for a lackluster story and unappealing characters.

Today’s quick review: Flawless. Repeatedly passed up for promotion, Laura Quinn (Demi Moore), the London Diamond Corporation’s first female manager, agrees to help Hobbs (Michael Caine), a kind janitor, break into the vault and steal a small fortune in diamonds. Quinn steals the combination and Hobbs uses it to get into the vault. But when the heist doesn’t go as planned, Quinn ends up as one of the prime suspects in the ensuing investigation.

Flawless is a crime drama set in London in the 1960s. Demi Moore stars as Laura Quinn, a career woman who has worked hard to get where she is, only to have her advancement blocked by the maneuverings of executives. Michael Caine plays opposite her as Hobbs, whose harmless demeanor hides a sharp mind and iron resolve. Flawless has a limited premise but plays it out well, throwing some interesting complications in an otherwise simple plan.

Flawless’ narrow focus ends up costing it. Quinn and Hobbs are the only characters of note. The supporting cast does play a role, especially in the aftermath of the heist, but their personal connection to the main characters is tenuous. And while the heist itself is satisfying, with a plausible setup and a clever mystery, there’s not much else to the story. Even Quinn’s hunt for respect is only half-resolved by the time the movie ends.

Flawless works when you’re in the mood for a straightforward heist movie with one or two twists. The movie sticks to its premise admirably, and it does a good job of maneuvering within its limitations. But it’s also missing a lot of the scaffolding that helps draw the viewer in, gambling everything on two mediocre characters and the heist itself. Fans of the genre should give it a shot. Viewers looking for a more emotional story should skip it.

For a crime comedy with a similar premise, try Mad Money or Ocean’s Eight. For another Michael Caine diamond heist, try King of Thieves.

[6.8 out of 10 on IMDB](https://www.imdb.com/title/tt0780516/). I give it a 6.5 for a well-constructed plot with a few limitations.