dave bumsh uk Reviews

The Choirboys (1977)

Offensive and Reactionary

[14 December 2003]

Now, before you think I'm just part of some uptight moral majority that posts disgust at any film that goes beyond the pale, let me just state for the record that I'm really not easily offended. It's not so much the constant homophobia, racism & sexism in 'The Choirboys' that really got my goat (reprehensible though much of this is). It's the sheer, unabashed hypocricy that this film displays that really got this viewer steaming...

'The Choirboys'' would simply LOVE to convince you that it's a wild, anti-establishment, anarchic comedy-drama a la Robert Altman's 'MASH', when in reality it's simply one of the most morally conservative, shockingly reactionary and damned mean-spirited movies released to theatres during the 1970's. I'm surprised that William Friedkin's movie 'Cruising' is still remembered today as the ultimate in offensive stereotyping - viewing it now, it just seems too arch, OTT and plain ridiculous to really take seriously. But 'The Choirboys' does indeed remain as repugnant today as the day it was released (and disavowed by it's author).

*SPOILERS* The tone in the movie is chaotic, to say the least: from the sub-'Police Academy' comedy sequences (painful) to the soap-opera level intelligence of the supposedly raw, dramatic moments (which range from mildly offensive to "what the hell were they thinking?"). And the ending? Well, a Vietnam Vet cop (who feels guilty about causing the suicide of his 'pervert' friend, just coz the poor guy liked a bit of private, consensual S&M), freaks out and shoots "a park fag" in the neck, and we then witness the central character (Charles Durning) get everyone off of the ensuing murder charge - and director Aldrich swiftly makes it clear that we're supposed to be cheering these b**tards on! - (cue end titles, which run to a soundtrack of the main cast sneering and laughing maniacally in turn... which is disturbing on WAAAAY more levels than the film-makers planned, let me tell you). *SPOILERS END*

No doubt the filmmakers themselves, alongside a handful of critics, will have you believe that 'hey - this is the way it really is', and that 'The Choirboys' is in fact some gritty, underrated urban classic that refuses to pull it's punches. Balls. 'The Choirboys' is a rabid dog of a movie - a cackling, vitriolic excercise that seems to hate modernity, reality and humanity itself. Don't degrade yourself by giving this disowned puppy two hours of your time...

Ted Bundy (2002)

Not Close And Definitely No Cigar

[1/10 · 6 May 2003]

Okay, the reviews on this messageboard seem to be either strictly pro or

against, so I'll try and tread the middleground. I'm a big fan of

Matthew Bright after seeing his previous movies 'Dark Angel', 'Freeway 1

& 2' and 'Shrunken Heads'. But I didn't think he was the right person to

script and direct such sensitive material. I was right. I had no problem

with the violence in this movie - you can't make a sanitised account of

what was one of the most shocking outbreaks of singular rage the USA has

ever seen. But scanning just the basic facts of the Bundy Case shows up

what a sloppy job Bright did with his material: Bright portrays Bundy as

a outwardly disturbed man who randomly attacked any woman who came

across his path. This is to over-simplify one of the most

psychologically interesting cases in US crime history. His teenage

sweetheart who spurned his love could be seen as a catalyst for his

murderous spree, although any one emotionally unsettling episode in his

life may well have resulted in the same bloodbath. But what Bright

really misses out on is the fact that many of Bundy's murderous attacks

were even more shocking, whilst his outward persona was even more

charming. It is that juxtaposition, along with some amazingly inept

police work (which is touched upon in the film, but should have been

explored further) that led to Bundy being able to carry on his

depravities for such a long period of time. And it's not good enough

just to have a coda in which Bundy's long-term partner claims to have

never suspected that Bundy was capable of such crimes: she had actually

reported Bundy as a suspect as early as 1974. In short, there is a still

a great movie to be made out of the Ted Bundy case. But this isn't

it.......

Magic (1978)

I want my dummy

[10/10 · 18 January 2002]

For me this is one of the quintessential psycho-dramas of the seventies....I'm old enough to be able to look at the original poster that is currently being sold by Nostalgia Factory, and feel instant shivers down my spine. 'Fats' is one scary muvver - every scene that he's in grabs my attention in a way I can't consciously explain.....

Sure, the production values are surprisingly rough for a 'big talent' Hollywood movie, but few films carry the atmosphere that 'Magic' has in spades. As other IMDb reviewers have mentioned, the 'keep Fats quiet for 5 minutes' scene involving Hopkins and Burgess Meredith is a minor classic. And for all those who complain about Hopkins' American accent, it should be noted that a) he was supposed to be the pseudo-American son of a limey, and b) he also did a far more convincing (if over the top) American accent for his alter ego 'Fats'. There was an obvious reason for this: to make all scenes between the 'two characters' as dramatically smooth as they ultimately proved to be.

As IMDb reviewer Wilbur-10 mentioned, there is, perhaps, an overall ratio of too much melodrama to real horror, but most scenes involving Hopkins and 'Fats' the dummy are resonant enough to stay with you for years. And all this before Hopkins started acting like a dummy himself (basically meaning you can stick your Hannibal shtick up ya pipe!).

Prime for a revival, then.

The Wicker Man (1973)

Cat among the sacrificed pigeons

[10/10 · 4 January 2002]

As an earlier comment by my good self stated, 'The Wicker Man' is one of the all-time great films. This view was, however, based on the supposedly butchered British Lion cut that has been the most commonly viewed version over the past few decades. Having since seen the extended director's cut, shown recently on Channel 4, I must say that this seems to be restoration for restoration's sake (not unlike the bum-numbing pointlessness of 'Apocalypse Now Redux').

Much of what has been placed back into the film is simply unnecessary. the audience does not need to see any of Sgt. Howie's scenes before his arrival on Summerisle (i.e. preaching in the church, and that awfully acted opener in the Police Station). Elsewhere, plot points that were perfectly legible in the shorter cut are hammered home in a way that begins to border on the patronising.

And although Christopher Lee complained heavily that many of his supposedly 'character building' scenes were omitted from the 80-odd minute cut, these seem to amount to little more than a few brooding looks and a spot of poetry. Other scenes involving the inhabitants of Summerisle did benefit from being slightly extended, but for me there was probably 5 minutes maximum of film that marked a true improvement.

Having studied both cuts of the film now, I'm willing to put my neck out and say that perhaps British Lion had a point.......

Bob & Rose (2001)

This ain't no 'Will & Grace'

[2 October 2001]

I'm only a few episodes into 'Bob & Rose' as I write this, but the programme is already shaping up to be a far superior product to Russell Davies' last TV hit 'Queer As Folk'. Daring and provocative (and just damn-well needed) as that series was, it always smacked of 'preaching to the converted'.

'Bob & Rose' is a far more more mainstream affair than 'QAF', but in many ways is slowly proving to be more subversive. The characters in 'QAF' lived almost exclusively in the gay ghetto and thus the series sometimes seemed to avoid addressing the more common truth about those of us who attempt to live an open gay lifestyle whilst also operating in the 'real' world. By making 'Bob & Rose' a gay/straight affair, Davies has succeeded in telling a few home truths about the strained relations that exist within the supposed 'liberal' masses, who may be comfortable with gay lifestyles in the abstract, but who often react somewhat differently when faced with the less glamourised reality. The writer has, as a result, produced a far more profound and touching study of (shifting) sexuality than his - perhaps in retrospect - overrated last work.

Moreover, the language is frank and realistic throughout, avoiding the overbearing coyness that other gay/mainstream programming ultimately suffers from (I'm talking to you, 'Will & Grace'!)

One minor quibble, though, in relation to Alan Davies' character. I've been 'out' for almost 5 years now, and I have yet to have met any self-respecting gay man sporting a 'wet-look' shaggy perm. We're talking 'meek suburban white boy sporting early-eighties Rick James jeri-curls' here. Please sort your barnet out in time for series 2, sweetheart....

The Wicker Man (1973)

Coolest Film Ever

[10/10 · 20 August 2001]

Er, like the summary says - coolest film ever. If you need to be told why then you you're probably the type of filmgoer who's attention span lasts a good few words less than this particular sentence. Still with me? Good. Film gets extra kudos for having the spookiest soundtrack since the dawn of, er, soundtracks (and for those who are interested, a cover of the song played during the 'Britt Ekland getting nekkid' scene was done not so long ago by the rather thoughtful Sneaker Pimps). Oh, and my Dad is the absolute spit of Edward Woodward, so that's gotta pump up my vote by a couple of points. So, 12 out of 10 then.

Chuck & Buck (2000)

A complete original

[10/10 · 29 July 2001]

Very original movie, in that it initially appears to be both mysoginistic, and to have a strangely old fashioned & repressive view of what it is to grow up today as a gay man. But the film has the courage to hold it's cards close to it's chest right up until it's denouement. And as such it avoids both being being overly PC about it's subject matter (that of a grown man's love for his childhood friend), and equally has an emotional punch unusual for a modern, low budget 'indie' film - most of which are more concerned with appearing visually adept to the casual viewer, rather than honestly appealing to the heart. In fact the camcorder-like production values only add to the feeling of personalisation. Overall, possibly the best film I've seen in the past 18 months.