The Pink Panther (1963) review “A totally average start to a funny franchise”

The Pink Panther poster

Color is something we often talk about with movies. Movies like The Grand Budapest Hotel and Blade Runner 2049 are movies frequently discussed for their beautiful color palettes, but before we were talking about colorful movies, we talked about their colorful titles. Many of my favorite movies have colors in the title. Soylent Green’s political intrigue, R.E.D’s hilarious moments and witty dialogue, or the combination of all of those things in Primary Colors, which is a great movie which has not been thought of at all during this very fun campaign year in America.

However, if you ever asked someone to name a movie with a color in the title, they’d say The Pink Panther. A classic comedy which gave us a franchise that lasted almost fifty years before Steve Martin brutally murdered it with two very unfunny films. So how good was the starting point in order to form an eleven film franchise?

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Retro Review – Goldfinger: The blueprint for spy films

Goldfinger posterNo Time to Die was originally supposed to be released at the end of April. I had my tickets and everything. During my time in Quarantine, I’ve tried to satisfy my Bond craving in many ways. Watching the 1967 Casino Royale, which was actually the only Bond film that I hadn’t seen, listening to the Bond soundtrack while getting groceries, and writing my own script for a Bond film called More Time to Kill, but after the death of Honor Blackman last month, I rewatched 1964’s Goldfinger.

I have a ton of memories involving Goldfinger, for the most part involving the levels in the videogame 007 Legends, but it was always one of the few Connery’s that actually grabbed me. I also want to preface this review with the fact that I don’t want to use the word iconic too many times in this review, so I replaced every time I say “Iconic” with a song from Abba. So, to prevent us from killing more time, let’s start on Goldfinger. Continue reading

Retro Review – Reservoir Dogs: Tarantino at his raw, unrefined best

Reservoir Dogs posterAfter last year’s bitterly disappointing Once Upon A Time in Hollywood, which presumably only received an Oscar nomination because of its subject matter, I decided it was time to revisit some of Tarantino’s classics. I’ve always been a huge fan of his work, but Once Upon A Time in Hollywood was such a drab, underwhelming, damp squib of a movie, I actually started to question my Tarantino loyalty.

Reservoir Dogs is a film that I have always hugely enjoyed though and, having not seen it for a good few years, what better place to start? The film was initially released in 1992 and the story behind production is a quite an interesting one. Made on a meagre budget ($1.2 million), Tarantino had to beg, borrow and steal to get his debut film made. Continue reading

Retro review – The Shining: Stanley Kubrick’s almost masterpiece

The Shining movie posterIn the words of Stanley Kubrick himself, it’s easy to make a good film, difficult to make a great one, and it takes a miracle to make a masterpiece. For many, The Shining (1980) sits firmly in that third group, a true masterpiece both of the horror genre and cinema at large.

You can imagine my excitement then, when I heard that my local Cineworld were hosting a limited screening of the remastered director’s cut of the film. Having been thoroughly terrified by The Shining during my first viewing well over 10 years ago, and with the upcoming release of its sequel Doctor Sleep only days away, I relished the chance to recapture the terror of the Overlook Hotel in remastered 4k. Continue reading

Retro Review: A.I Artificial Intelligence

AI movie posterIn the early 1970s, Stanley Kubrick acquired the rights to the 1969 short story by Brian Aldiss titled ‘Supertoys Last All Summer Long.‘ Intellectually obsessed, Kubrick began working on a screenplay to turn Aldiss’ short story into a modern-day Pinocchio, hiring a team of writers to work on a script for over 20 years including the original author, sci-fi author Bob Shaw and eventual screen-story credit Ian Watson.

The film stagnated in development for years. Kubrick felt that a child actor would make David too human and that the CGI capabilities of the day weren’t quite up to scratch. Rather than give up on the project, Kubrick chose to wait for technology to catch-up with the demands of the film. Attempts were even made to create automated, robotic version of David, though efforts were quickly stopped as the robot was described as ‘too creepy’ by the production team. Continue reading