Review #1,231: 'Miracle Mile' (1988)

Back in 1980's and early 90's, the threat of nuclear war still played on many people's minds. With the umpteenth Cold War kicked off by the rise to power of Mikhail Gorbachev in the USSR, an arms race commenced between the Soviets and the US under president Ronald Reagan, until the Soviet Union eventually collapsed in 1991. Miracle Mile takes these fears and ponders what the knowledge of an incoming nuclear strike and imminent death would do to a person while everybody goes about their business none the wiser. By leaving it until the very end to confirm whether or not World War III has officially commenced, or if it's all in the mind of its increasingly paranoid and desperate protagonist, Miracle Mile is a tense and often funny end-of-the-world (or not) thriller.

The film begins with a meeting between two singletons, trombone player Harry (Anthony Edwards) and coffee shop waitress Julie (Mare Winningham). It's love at first sight and they agree to meet up again later after Julie finishes her shift to grab a bite to eat. Harry oversleeps however, and by the time he makes it to the coffee shop, Julie is nowhere to be found. As he nervously waits outside, the phone rings in the nearby telephone booth. The man on the other line, who believes he is calling his father, informs Harry that an irreversible nuclear strike has been set in motion, and the U.S. has approximately one hour before complete annihilation. The man is cut short by machine gun fire, before another voice tells Harry to forget everything he has heard. After a bit of further investigation, the outlandish claim start to ring true. Deciding he would rather spend his last moments with the woman he loves, Harry begins his search, always clinging to the belief that they can somehow escape with their lives.

With much of the action dedicated to Harry's panicked dash across a sleeping Los Angeles, where he encounters many offbeat characters played by the likes of Mykelti Williamson, Denise Crosby, Eddie Bunker and Brian Thompson, Miracle Mile brought to mind the enthralling aimlessness of Martin Scorsese's After Hours, and the eerie emptiness of a nighttime city of Paul Thomas Anderson's Magnolia. There's real tension in the events leading up to the possible apocalypse, and even more so when word begins to spread and downtown turns into sheer chaos and lawlessness. At the film's centre is the romance between Harry and Julie, and there's a sweetness to the irony of meeting your true love on the day the world will be reduced to rubble. It's played nicely by the two leads, with Edwards reminding us that he is a solid character actor deserving of more movie roles. A true forgotten gem that leaves you wondering if you would rather be given the chance to make the most of your last moments on Earth, or remain blissfully ignorant.


Directed by: Steve De Jarnatt
Starring: Anthony Edwards, Mare Winningham, Mykelti Williamson, John Agar, Lou Hancock
Country: USA

Rating: ****

Tom Gillespie

Review #725: 'Zodiac' (2007)

You would be forgiven if you went into David Fincher's Zodiac expecting a routine serial killer flick, but, although it opens with two memorably brutal murders, it puts aside character and plot to simply document the case of the Zodiac killer in the late 1960's and into the early 70's. The problem is, he was never caught, so Zodiac draws you into the jigsaw puzzle that was the search for the killer, only to be frequently met with dead ends and red herrings. The three lead characters come and go throughout the film, but this is not about them, it's ultimately about the fear that gripped San Francisco when the Zodiac was on the prowl.

At the San Francisco Chronicle, a letter arrives from someone claiming to be the Zodiac killer, who has already shot a young couple in their car. The letter demands publication, and offers a puzzle involving strange symbols as a means of uncovering his identity. This draws in Chronicle cartoonist Robert Graysmith (Jake Gyllenhaal), who, despite his interest, is not taken seriously by the staff, who include crime reporter Paul Avery (Robert Downey Jr.). The Zodiac strikes again, attacking a couple in a park and shooting a taxi driver in the back of the head. Police detectives David Toschi (Mark Ruffalo) and William Armstrong (Anthony Edwards) are brought in to investigate, and liaise with Avery and Graysmith, whose lives start to be consumed by the case.

Fincher is obviously comfortable in this setting, having already brought to life the eternally drizzly and grim world of Se7en (1995) and the miserable confines of modern corporate life in Fight Club (1999). Zodiac is a mixture of both, here filmed digitally, and here combines a grimy brown colour palette with Fincher's recognisable eye for the stylish. It takes pride in its detail, grinding out excitement within the most mundane of activities. In Zodiac, a close-up of handwriting or the discovery of a previously ignored newspaper clipping become just as tense as any action scene. After all, this is a film about the case, so such close observation is as vital as it is entertaining.

The acting is top class across the board, with Mark Ruffalo, a character actor who has gone underrated for far too long, standing out in the least showy role of the lead trio. Downey Jr. brings his natural charisma to the boozy, erratic Avery, and Gyllenhaal, given the most screen-time (his character wrote the book the film is based on) is a likeable underdog. The characters aren't given much time to breathe between the fast-talk conversations and the digging for clues, but its the Zodiac himself that looms largest over the film. He is barely seen outside of the opening half hour, but his presence is never far away in Fincher's nervous San Francisco. And there lies the film's genius. Impeccably directed, brilliantly written, and utterly terrifying.


Directed by: David Fincher
Starring: Jake Gyllenhaal, Mark Ruffalo, Robert Downey Jr., Anthony Edwards, John Carroll Lynch, Chloë Sevigny, Elias Koteas, Brian Cox
Country: USA

Rating: *****

Tom Gillespie

Review #552: 'Top Gun' (1986)

Following his shocking suicide earlier this year, director Tony Scott's legend was cemented, with actors and fellow directors flooding to pay tribute to the man that delivered the likes of The Last Boy Scout (1991) and Crimson Tide (1995). Personally, with the greatest respect, I feel his death has overshadowed what was a relatively average career, in which his finest achievement, the Tarantino-scripted True Romance (1993), was possibly his most low-octane film, given that he is most fondly remembered for his work in the action field. Therefore, it seemed the perfect time to re-visit his most popular film, Top Gun, the high-fiving homoerotica-fest that cemented the careers of both Scott and star Tom Cruise, a film that they are still, 26 years later, best remembered for.

With top fighter pilot Cougar (John Stockwell) losing his nerve during a dogfight and dropping out of the Air Force, hot-shot pilot Pete 'Maverick' Mitchell is offered the chance to join the Top Gun flight school. Fancying himself as the best of the best, Maverick, along with his RIO lieutenant Goose (Anthony Edwards), sets about establishing a name for himself with grand stunts and a cocky attitude, almost coming to blows with his fellow elite students, namely Iceman (Val Kilmer). He even finds time to romance instructor Charlie Blackwood (Kelly McGillis). But when a tragic accident occurs, Maverick must do a bit of soul-searching, and question his ability to live up to the legend of his father.

For a film that remains so immensely popular, Top Gun is shockingly bad. The almost unbearable swagger of the now slightly creepy Scientology dwarf Tom Cruise leads to many moments of teeth-grinding anger-inducement, with the much-imitated You've Got That Lovin' Feeling karaoke moment being simply embarrassing. But with most square-jawed, Reagan-era 1980's action films comes much hilarity, with the best-selling soundtrack proving to be the king of synthesised cheddar, and the near-constant homoeroticism questioning the era's view of a 'man's man'. The volleyball scene is especially jaw-dropping, with slow-motion arse-slapping and greased-up torso's aplenty, playing out like a pre-sex ritual by Cruise and Kilmer.

The film is real justification of Tony Scott's reputation as a great action director. The dogfight scenes are filmed beautifully, with rapid editing and spectacular framing generating real excitement between all the crud (especially impressive given the cost of flying these machines and the heavily-restricted time-frames in which the crew had to shoot within). Yet whenever the film is in danger of getting quite good, it delves into another cliche or shifts the focus back to the uninvolving romance between Maverick and Charlie, with scenes involving Maverick's inner-demon fighting especially causing the fists to clench. With a film having the ability to be so bad and rather good in equal measures, it's hard to really justify it's massive fan-base and endless imitations, yet it's also difficult to deny.


Directed by: Tony Scott
Starring: Tom Cruise, Kelly McGillis, Val Kilmer, Anthony Edwards, Tom Skerritt, Michael Ironside
Country: USA

Rating: ***

Tom Gillespie