The Scarlet Letter (1995)

Ludicrous adaptation of the classic 1850 novel by Nathaniel Hawthorne. You can virtually hear him turning in his grave.

Demi Moore is wildly miscast as Hester Prynne, who begins an affair with the Reverend Dimsdale (Gary Oldman) in a small settlers community in 1667 Massachusetts. Hester believes her cruel and abusive husband is dead – until he shows up (in the form of Robert Duvall). 

The film unnecessarily adds a plot about a war between the settlers and natives. It also adds a quite dodgy montage scene when the couple first consummate their relationship. Moore is absolutely out of her depth as an actor.

The DVD box has some weird marketing messages on it. Two of the quotes refer to "fun". The film is many things, but fun isn't one of them.

Open Range (2003)

Awkward and stilted western directed by and starring Kevin Costner. 

Costner and Robert Duvall play a pair of nomadic cowboys known as “freegrazers”. 

It’s slow and the thin plot doesn’t warrant the extended 139-minute running time. Costner proves the general rule that actors cannot direct (the only exceptions being Clint Eastwood and Woody Allen). He has little sense of moving things along or building character. Instead, it’s like a fifth-rate homage to Butch Cassidy and the Sundance Kid. 

The one saving grace is Annette Bening as the doctor’s sister.

Joe Kidd (1972)

Western written by Elmore Leonard. 

Clint Eastwood stars as a former bounty hunter who helps a landowner (Robert Duvall) track down the Mexican revolutionary leader Luis Chama (John Saxon). 

The landscape cinematography by Bruce Surtees is extraordinary. You could turn almost any frame into a poster. The soundtrack by Lalo Schifrin is perfectly judged, mixing western motifs with funkier elements. 

Clint Eastwood is great, as ever. He’s essentially playing the same part he always plays, and you wouldn’t want it any other way.

Crazy Heart (2009)

A moving drama about a country singer "Bad" Blake (Jeff Bridges) whose career is on the way down and who is struggling with addiction. But when Bad meets a divorced young journalist named Jean (Maggie Gyllenhaal), things start to change. 

It’s a touching romance that never gives in to mere sentimentality. The two leads are remarkable, with a very real chemistry. The music is excellent, too. Bridges seems every bit the grizzled country singer. You can truly believe him, whether he’s at his public best on stage or at his private nadir, passing out drunk in his hotel room. 

There are parallels with A Star Is Born, and particularly the Streisand/Kristofferson version from 1976, but Crazy Heart seems like a more credible attempt to present a fading performer in a desperate situation.

The Godfather (1972)

This came with all the baggage of being a celebrated “masterpiece”. Maybe that’s why I didn’t enjoy it as much as I was supposed to. The mafia plot threads are engrossing, if complicated, and Al Pacino is terrific as Michael. Also, James Caan, Robert Duvall and Diane Keaton are all persuasive in their roles. However, I found Marlon Brando slightly ridiculous as Vito Corleone. His almost indecipherable speech didn’t help (it’s obvious he has something stuffed inside his cheeks), and clarity is unnecessarily sacrificed for “character”. 

Surprisingly, Francis Ford Coppola’s direction doesn’t seem especially notable. I far, far prefer the vision he brings to Apocalypse Now and Peggy Sue Got Married. 

The drab, washed-out visuals are presumably deliberate, but these are another turn-off.

My loss, I know.

Apocalypse Now Redux (2001)

Francis Ford Coppola’s astonishing film deserves all the acclaim it has received. Set during the Vietnam War, but not really about the conflict as such, it details a mission by Captain Benjamin L. Willard (Martin Sheen) to locate and kill a rogue officer named Colonel Walter E. Kurtz (Marlon Brando). Kurtz has built an entire religion around himself and is seen as a threat to US forces. The story picks up on Heart of Darkness by Joseph Conrad.

It’s a stunning piece of cinema. The visuals are remarkable – again and again I was left wondering how something was filmed and how it could look so realistic.

The acting is terrific. Sheen is great as the troubled captain becoming obsessed with tracking down Kurtz. Robert Duvall is fascinatingly bonkers as the lieutenant colonel who just wants to go surfing, despite the explosions going off around him that he doesn’t even seem to notice. His scenes have rightly become iconic, from “I love the smell of napalm in the morning” to the moments when his men blast out Wagner’s “Ride of the Valkyries” from their helicopters as they invade the Viet Cong.

The soundtrack is also remarkable: I love the spooky electronic sounds that so perfectly set the ominous tone of the trip upriver.

You get to see a young Harrison Ford as Colonel G. Lucas – a nod to George Lucas, who nearly ended up directing the film. Thank goodness he didn’t. And Dennis Hopper plays a photojournalist who has been inducted into Kurtz’s cult.

I haven’t seen the original 1979 edit of the film so I can’t tell how different the Redux version is. But you can see that certain scenes – such as meeting the French colonials – weren’t needed for narrative purposes. That said, I do like the way they further enrich the experience of the film. It’s so rich and compelling that there’s space for additional material.

Certainly the best war film I have seen. It hammers home the point that no one is left undamaged by conflict.