GREAT ENSEMBLE FILM CASTS #6 – AUGUST: OSAGE COUNTY (2013)
Directed by: John Wells
Screenplay by: Tracy Letts
Based on: August: Osage County by Tracy Letts
Produced by: George Clooney, Grant Heslov, Jean Doumanian, Steve Traxler
Cast: Meryl Streep, Julia Roberts, Ewan McGregor, Chris Cooper, Abigail Breslin, Benedict Cumberbatch, Juliette Lewis, Margo Martindale, Dermot Mulroney, Julianne Nicholson, Sam Shepard, Misty Upham, etc.
Cinematography: Adriano Goldman
*** MAY CONTAIN SPOILERS ***
Unsurprisingly, the play, August: Osage County, from the typewriter of Tracey Letts – the formidable playwright behind Killer Joe and Bug – about a family suffering loss of a “loved” one was not going to be a feelgood and uplifting affair. Instead, over the period of a month we are introduced to a whole host of characters with a variety of anger, addiction and attitude issues. Brought together by apparent grief, when patriarch, Beverley Weston (Sam Shepard) drowns, the extended Weston family fight and vent spleen at each over current and past dramas, with many a secret soon to be revealed.
Winning the Pulitzer Prize for Drama in 2008, Letts play was subsequently adapted into the dark, feel-bad and tragi-comedy film in 2013. Directed by John Wells, August: Osage County (2013), brought together an unbelievable ensemble cast of actors who did spectacular work with Letts acerbic and razor-sharp dialogue. Given that many of the personalities in the narrative are dominant matriarchal characters, the casting of Meryl Streep and Margo Martindale in the roles of Violet Weston and Mattie Fae respectively, is certain to create sparks on the screen. So, it proves.
Streep has delivered so many memorable characterisations over the years, but as Violet Weston I’m not sure she’s been so bilious and cancerous, both literally and symbolically. Her daughters, portrayed by Julia Roberts, Juliette Lewis and Julianne Nicholson, all have their own issues to deal with, but with such a vicious mother it’s a surprise they aren’t in a psychiatric ward. As harsh truths and bitter revelations unfold over the dinner and kitchen table conversations, Letts shows the complex nature of family existence; how it traps us with people we have nothing in common with. Women are seemingly in charge of the Weston family as the men, represented by Ewan McGregor, Benedict Cumberbatch, Sam Shephard and Chris Cooper, appear more passive and bullied.
Altogether, August: Osage County (2013), is a difficult to watch as there’s not a lot of love shown in the Weston household. Nonetheless, as an acting and writing tour-de-force there are few films that can best it. I guess we all have family problems and many ups and downs to deal with in life. What we can learn from this play and film is that this is definitely NOT the way to behave to people you’re meant to love and care for.
Produced by: Arnold H. Bruck, Edgar Ievins, Tom Kaye
Cast: Kevin Van Hentenryck, Terri Susan Smith, Beverly Bonner
Cinematography: Bruce Torbet
Edited by: Frank Henenlotter
*** REVIEW CONTAINS SPOILERS ***
Being a massive fan of horror and cult movies, it is quite incredible that I had never seen Frank Henenlotter’s low-budget exploitation film, Basket Case (1982). So, when I saw it available via my Shudder subscription I dived straight into the basket, and found the insane premise, bad acting, zero-cash lighting style, lo-fi stop motion and monster effects, all combining to deliriously horrific and hilarious effect. Because, what it lacks in polished performances and filming style, it makes up for in riotous bad taste and shocking entertainment.
Henenlotter’s debut film was shot on grainy 16mm film and for a budget of around $35,000. The story finds the enthusiastic Duane (Kevin Van Hentenryck), visiting New York and staying at the low-rent fleapit called the Hotel Broslin. What makes Kevin so intriguing is he carries around a basket. What’s in the basket I hear you ask? Well, you soon find out that it is something quite disgusting and despicable. A grotesque freak which, when you learn it and Duane’s backstory, takes on a bizarre kind of empathy. As Duane begins to make friends, both with a prostitute neighbour and Doctor’s receptionist, his grisly telepathic and physical connection with the monster pushes him to the brink of insanity. Because the demon is driving Duane to assist him on a vengeful journey of bloodlust and murder.
While the story is certainly nuts and much of the acting is woeful, Kevin Van Hentenryck’s energetic performance makes Duane a likeable protagonist. You really root for him when he begins to fall in love, but the monster becomes jealous, wreaking havoc on Duane’s romance. Further, Henenlotter deserves so much credit for making the insanity on the screen work. I think he does this because he gives us a tragic lead character, moves the story along at a whip-crack pace, has a fantastic monster and devises many memorably gruesome deaths. All throughout I was both laughing and feeling sick at the same time. Lastly, I also just love that Henenlotter made up many of the names in the credits because only a handful of people were in the crew. Indeed, Basket Case (1982) is a true independently made gonzo-horror classic, which makes the most of the dirty-porno-sleazy New York streets it is set on. Dare YOU open the basket?
Cast: Donald Pleasence, Norman Rossington, David Ladd, Sharon Gurney, Hugh Armstrong, Christopher Lee etc.
Cinematography: Alex Thomson
***CONTAINS MILD SPOILERS***
In my last review I wrote with nostalgia about trips to the video shop. Yes, an actual shop where you could hire films existed! Imagine that. Now, I further lament the splintered streaming marketplace where you have to pay a subscription to watch a film when I used to be able to see it on telly for free. Plus, there are TOO MANY platforms. Those £5.99 and £4.99 and £7.99 per month fees soon stack up. I used to love turning on Channel Four or BBC2 or latterly Film Four and there would be a cult horror film, classic film noir, World cinema, art film or early directorial release from a now famous director on there late at night – FOR FREE! Thankfully, aside from all the streaming stems I have to manage, a channel on digital TV called Talking Pictures does show some genuinely great movies that time and humanity may have forgotten. One such is Deathline (1972).
Deathline (1972) – (AKA Raw Meat in the U.S.) is a genuine cult classic horror film which is gruesome, darkly witty and incredibly moving in equal measures. In this era of constant remakes I am surprised no filmmaker has decided to transfer this grimy and quintessentially British movie into the modern day. In many ways I am glad they haven’t as it, despite some glaring flaws in characterisation of two main protagonists, borders on being a bona fide under-rated classic. The premise involves a series of missing persons who are disappearing around the area of Russell Square underground station. The sarcastic Inspector Calhoun (inimitable Donald Pleasence) is tasked with cracking the case. He does so with gallows humour and gallons of cups of tea.
Pleasence is not the only person who gives a memorable acting performance in Deathline (1972). Because the screenplay and direction spends a lot of the grisly running time creating a thematic and visual mythology around the antagonist. Indeed, while the killer, described in the credits as the ‘Man’ (Hugh Armstrong), commits several brutal slayings and abductions, the ghastly backstory given and Armstrong’s emotionally charged portrayal really make you empathise with his situation. The combination of pustular make-up effects, the rat-infested underground lair he inhabits, plus the tragic circumstances surrounding the ‘Man’s’ plight ensure he one of cinema’s most empathetic monsters since Karloff in Frankenstein (1931).
It’s a shame therefore that more wasn’t done to develop the leading couple in the film, students Alex Campbell (David Ladd) and Patricia Wilson (Sharon Gurney). While she is at least sympathetic, he is completely unlikeable and mostly unheroic. So much so I was rooting more for the plague-pocked ‘Man’ at the end rather than him. But hey I’m watching this for the gore and deaths aren’t I? Well, there’s plenty of that in between Inspector Calhoun’s chirpy working-class snipes and demands for cups of tea. Plus, director Gary Sherman gives us a tremendous, long take which establishes the cavernous setting for the murder and horror, utilising the dank London underground tunnel system to maximum impact. While Christopher Lee is given poster billing, he’s only in one scene as a privileged MI5 agent. Finally, did you know Marlon Brando was originally cast as the ‘Man’. Well, I’m kind of glad that was an offer he did refuse. Because Armstrong’s tragic human monster lives on long in the mind, even after the film’s haunting final echoes have faded.
Produced by: Dave Franco, Elizabeth Haggard, Teddy Schwarzman, Ben Stillman, Joe Swanberg, Christopher Storer
Cast: Dan Stevens, Alison Brie, Sheila Vand, Jeremy Allen White, Toby Huss
Cinematography: Christian Sprenger
*** MAY CONTAIN SPOILERS ***
If you’re old like me you will remember the golden era of video rental stores in the 1980’s and 1990’s. I used to love going to the video shop at the weekend and choosing which films to watch. For example, on a Saturday afternoon at Blockbuster I would choose three films usually. One would be a banker like a high quality release or made by an acclaimed filmmaker whose work I was certain to like. Another would be a more commercial choice like a high concept action film or comedy; something to take the brain out for. Lastly, I would take a gamble on either an arthouse or foreign or indie character-driven film; OR an even bigger gamble on a lower-budget or unheard horror film or thriller with a back-of-the-video-box pitch that grabbed me. Often the latter choice would end up being a terribly arty bore or a schlocky B-movie disaster. However, every now and then I would find a film gem which totally gripped me.
With streaming now there’s not so much of a gamble as you haven’t had to walk or drive to the video shop. Even better there’s no need to return the tapes on time and risk getting fined. You switch on your streaming device and choose your film. If you don’t like it you can turn it off, although I do tend to see things through to the end on most occasions. But hey Paul, enough about comparing the past with the present – WHAT’S YOUR POINT! Oh yes, the Dave Franco directed The Rental (2020) is one of those films which I took a chance on because of the cast and the back-of-video-box-pitch (i.e. the Amazon online trailer). I’m glad I did watch it, as it is a terrific thriller with a tension-filled script which leads and misleads you through a series of compelling twists. It’s a simple premise, involving two couples spending the weekend at a beautiful rural property where poor choices destabilise their harmony, only for all hell to break loose when a serious crime escalates the action.
The cast of Dan Stevens, Alison Brie, Shiela Vand and Jeremy Allen White are arguably punching below their weight where the B-movie material is concerned. Yet, they bring quality to the proceedings as the initial peace between the characters descends into chaos when first infidelity and then murder rears its ugly head. One of my favourite character actors, Toby Huss, is excellent here too as the suspicious property manager. I’ve seen some so-so reviews for The Rental (2020), but it’s the kind of tightly plotted suspense thriller I really thrive on. What starts as an idyllic getaway for two relatively wealthy couples is carefully unravelled by Dave Franco’s well-paced direction, complimented by Brie and Steven’s committed performances, has wonderful locations and a seriously proper killer ending.
THE HORROR OF IDENTITY: DOUBLE BILL FILM REVIEWS – DEERSKIN (2019) & POSSESSOR (2020)
“Be yourself; everyone else is already taken.”-Oscar Wilde
We’ve all wanted to exist outside our own skin. Or perhaps inhabit someone else’s? Or, maybe even change our own identity, both literally and psychologically. Or is that just me? At the least we have all thought about it. Even losing weight and going down the gym or giving up alcohol or changing our hairstyle is a means of basic transformation. We may make a more defiant change and leave that job we hate or break out from a negative relationship. Arguably though, personality, attitude and mental changes in one’s life are the most difficult. After all, it is incredibly difficult to change the very fabric of one’s personality or character.
We can find an alternative source of transformation in a vicarious sense through storytelling mediums such as literature, television and cinema. The horror genre especially is replete with monstrous visions of identity switches, psychotic breakdowns and physical transmogrification. I personally take great pleasure in seeing altered identities occur on the screen and am especially drawn to characters who experience mental and corporeal metamorphosis. That simply isn’t because I cannot change who I am or what I do on a daily basis, but it’s quite scary to attempt to reshape one’s existence and identity. It’s bloody hard work without much guarantee of success. Horror films, while also frightening when done well, are far more satisfying and give a more immediate hit than the grind of reality.
Two films I have seen recently both relate to mid-life crises and exhibit themes that illustrate two characters changing their appearance to bring about a shift in identity, behaviour and personality. They also show characters spiralling out of control in incredibly violent, bizarre and entertaining ways. Those films are Deerskin (2019) and Possessor (2020) and here are my reviews.
*** MAY CONTAIN SPOILERS ***
Directed and written by Quentin Dupieux
Main Cast: Jean Dujardin, Adele Haenel
Have you ever seen the film Rubber (2010)? It is a gonzo horror-comedy about a murderous-tyre called Robert killing birds and people with telekinetic powers. Beneath the insanity of the pitch there is in fact a subtextual satire on the nature of Hollywood filmmaking and an audience starved of originality; I think!It came from the mind of Quentin Dupieux, so I was intrigued that he had nabbed for a subsequent production the grand talents of Jean Dujardin and Adele Haenel for the obsidian killer comedy, Deerskin (2019).
Dujardin is Georges, a middle-aged loner, recently dumped by his wife whose only aim now it appears is to purchase a deerskin jacket. Buoyed by the confidence the jacket has given him, and armed with a video camera thrown in with the deal, George plots up at a rural hotel and befriends Adele Haenel’s bar server and enthusiastic film editor. Their budding friendship threatens to turn this into a relatively conventional love story, however, a series of twisted turns tip the story into a hilarious series of murderous set-pieces, with Georges determined to get money to make a movie, but most importantly buy deerskin trousers, hat and gloves.
The story of a middle-aged man altering his outer look in order to transform his life and fortune is a staple of Hollywood comedies and romance films. Deerskin (2019) is that kind of film on the surface. Yet when filtered through Dupieux’s iconoclastic imagination the premise is an altogether different kind of demented animal. Ultimately, it is a low-budget gem of a black comedy with some fantastic ideas and fascinating character study of a man attempting to shift skin, but falling deeper and deeper into psychopathy. It’s a wacky journey with committed performances, yet, it felt like the ending was just too sudden, as if the filmmaker either ran our of money or just wanted to screw with audience expectations right up until the final sudden frame.
MARK: 7.5 out of 11
Directed and written by Brandon Cronenberg
Main Cast: Andrea Riseborough, Christopher Abbott, Sean Bean, Tuppence Middleton etc.
Whereas Deerskin (2019) finds a literal and figurative metamorphosis when a character buys a jacket, Brandon Cronenberg’s vicious horror film, Possessor (2020), is an altogether more cerebral, violent and psychologically stunning journey. Andrea Riseborough is as intense as ever portraying an assassin named, Tasya Vox, who through some incredible technology is able to inhabit the mind and body of another individual and use them as a human puppet to commit murder. It’s a perfect set-up for the assassination agency led by Jennifer Jason Leigh’s handler, Girder. Yet such murder by scientific proxy comes at a cost to Vox’s family life and mental stability.
After a glorious opening scene featuring an astoundingly brutal stabbing, Vox attempts to reconnect with her partner and son, but finds herself becoming ever more disconnected. The pressure of taking over another individual’s identity is causing Vox to discombobulate as her mind begins to fracture. Despite this she takes the next job, a contract to kill John Parse (Sean Bean), using Christopher Abbott’s Colin Tate as a conduit. As Vox struggles with her splitting psyche, Tate himself is having personal issues also and this leads to some mind-bending and psychedelic montage scenes as the two battle within Tate’s brain. If this all sounds a bit weird, it is and it isn’t because the filmmaking is of such a high quality one believes the process. Further, the director never loses his grip on the narrative and Cronenberg gets a compelling performance from Abbott as his character confronts the invasion into his soul.
Overall, Possessor (2020) has a stunning concept at its heart but I just kept wondering how a genre filmmaker like Leigh Whannell may have handled the idea. He certainly would have made the characters more empathetic because it is so tough to warm to either Vox or Tate. Indeed, Tate’s character should have been developed more at the beginning in my view as he would have made an ideal “innocent/wrong man” type character so often used by Hitchcock. Nonetheless, Brandon Cronenberg has crafted one of the most visually impressive and shocking psychological horror films I have seen in a long time. Like Whannell’s Upgrade (2018), it contains some memorable gore and violence. It is also very intelligent as the fantastic ideas explore what it means to not only inhabit another person’s skin, but rip through their very soul.
SIX OF THE BEST #32 – CINEMATIC STATEMENTS OF INTENT!
This is a dive into the world of punchy dialogue that sums up a film or character or a relationship in a few key words. Because sometimes you just don’t want to think and sometimes you don’t want subtle hints to a character’s intentions. On occasions you want the whole plot and cinematic situation summed up succinctly and in an emotionally impactful way. I like ambiguous or complex characters, but from time to time I just gots to know, in a few words, what the character wants or their plans or capabilities. How do they do that? Well, through a good old-fashioned statement of intent.
I would categorise a statement of intent as generally involving the words “I” or “me” and has a character telling another character or group, plus the audience, what they intend to do or how they feel about a particular moment in their life. Or indeed their life as a whole. There is no ambiguity, but rather a direct proclamation of where the character stands and what he or she wants. Actually, I should say this is an extremely masculine list, but la-di-da, it is what is and so it goes. Thus, here are six of the best, of what I call statements of intent from film.
*** CONTAINS SPOILERS ***
QUINT – JAWS (1975)
“I’ll catch this bird for yer – but it ain’t gonna be easy. . . bad fish!”
One of the great character introductions of all time and an incredible statement of intent too. In a way Quint did catch the “bird”, but that big bird caught up with Quint too! What a speech! What a film!
HOWARD BEALE – NETWORK (1976)
“I’m as mad as hell and I’m not going to take this anymore!”
Acclaimed playwright Paddy Chayefsky arguably wrote one of the greatest cinema speeches of all time with Peter Finch’s newscaster, Howard Beale, reaching the end of his tether with society and life! The saddest thing about this statement of intent is that NOTHING has changed – the world is still nuts and it gets crazier by the day!
T101 / T800 – THE TERMINATOR (1984)
“I’ll be back!”
Sometimes three simple words can say more than a lengthy monologue, as James Cameron and Arnold Schwarzenegger combined to amazing impact in this classic sci-fi action film! Arnie lived up to his promise too, coming back again and again in a series of sequels and prequels and, aside from Terminator 2: Judgement Day (1992), rarely equalled follow-up films.
MARTIN RIGGS – LETHAL WEAPON (1987)
“Do you really wanna jump… Well, that’s fine by me!”
Amidst all the mullets, bullets and B-movie baddies of Shane Black’s over-the-top 1980’s script, there is in fact a moving buddy relationship in here too. There is also a compelling character arc of a suicidal man finding a reason to live through an adopted family. Mel Gibson’s Riggs has so many great scenes to demonstrate his wild-man acting style and the “jumper” scene is probably the best of them.
HAWKEYE – THE LAST OF THE MOHICANS (1992)
“You stay alive no matter what occurs – I will find you!”
This statement of intent comes later than they usually might in a film. But, under the fall of water and with the majestic score swelling Daniel Day Lewis’ Hawkeye powerfully declares his love and intentions to Madeline Stowe’s Cora Munro in Michael Mann’s incredible romantic war drama.
BRYAN MILLS – TAKEN (2008)
“I have a particular set of skills… I will look for you. I will find you. And I will kill you!”
Despite the xenophobic undertones within Pierre Morel and Liam Neeson’s rapid-paced action thriller, it does have one of the most iconic statements of intent in recent film history. Neeson delivers it brilliantly and what’s great is he does find the kidnappers and he does kill them! Just like he said he would! Nothing I like more than a man who keeps his word!
Produced by: Sisse Graum Jørgensen, Kasper Dissing
Written by: Thomas Vinterberg, Tobias Lindholm
Cast: Mads Mikkelsen, Thomas Bo Larsen, Magnus Millang, Lars Ranthe
Music by: Janus Billeskov Jansen
Cinematography: Sturla Brandth Grøvlen
***MAY CONTAIN SPOILERS***
“First you take a drink, then the drink takes a drink, then the drink takes you.” – Francis Scott Key Fitzgerald
I love drinking alcohol. Perhaps TOO MUCH at certain periods of my life. Indeed, for many years I bordered on addictive reliance or at the very least some form of functioning alcoholism. I’ve binge drunk in my life, abstained for weeks and months on what one would call being “on the wagon”, and in a personal experiment I gave booze for almost twelve months in 2019. It was the longest year of my life. Thus, the old adage of doing everything in moderation certainly works for me where alcohol is concerned. It is all about balance.
In the Danish film, Druk (2020), four middle-aged Danish men attempt their own experiment with alcohol. Apparently, stuck in a rut and suffering inertia where work, family and relationships are concerned, they decide to follow a theory by psychiatrist Finn Skårderud, who has posited that having a blood alcohol content of 0.05 makes you more creative and relaxed. So, the rules are put in place as Martin (Mads Mikkelsen), Tommy (Thomas Bo Larsen), Peter (Lars Ranthe) and Nikolaj (Magnus Millang) — all teachers of variant levels at the same school — set about drinking a specific amount of booze to see if their lives improve over time. Fun and games are certainly had as they begin their “theorizing”, with Martin especially finding his teaching and home life improving. Have the four friends found the secret to happiness, or are these just false victories, with alcohol providing a screen to hidden existential pain?
The film is structured well in establishing the various, admittedly privileged, white males in crisis. Martin’s marriage is crumbling, and his students hate his teaching methods. Tommy lives alone, seemingly overcoming the loss of his partner. Peter appears the most together, but he suffers from a lack of love, while the more academic, Nikolaj, struggles with being an adequate father and husband. As their drinking increases the relative first world problems are not really solved, but become exacerbated as the alcohol exerts a tight grip on them. There are some hilarious scenes where the four get blind drunk and make fools of themselves. However, as they take drink after drink, the demon liquor begins to take them. As the film moves toward the final act, their previous drunken joy leads to both emotional and physical pain. In fact, tragedy is not far away for the friends.
It’s not surprising there are reports of a Hollywood remake because Druk (2020), has a perfect hook and set-up for a classic mid-life crisis comedy. However, with Thomas Vinterberg’s expert direction, evocative natural cinematography, and Mads Mikkelsen giving yet another acting masterclass, the humorous narrative soon leaves the laughs behind to become a bittersweet, yet still uplifting, work of Nordic cinema. I must admit I was slightly disappointed there wasn’t more debate and exploration of the alcoholic experimentation. Because ultimately the theory is used as more of a springboard for the examination of men, friendship and their issues. While Martin is a fine character to lead the journey, overall his story dominance meant the other three, especially Tommy’s arc, were mildly undercooked. Yet, I am nit-picking here, as overall I really enjoyed going a few rounds with my Danish peers and one probably won’t see a more joyous end to a film in many a year and many a beer!
“Essentially, I’m untrained, so I just go with my imagination and try to put myself as solidly as I can into the shoes of whatever person I’m going to be playing.” — Christian Bale
It’s easy to forget that Christian Charles Philip Bale was only thirteen years old when he was chosen out of thousands of young actors for a starring role in Steven Spielberg’s war drama, Empire of the Sun (1987). From there on in he has become one of the most formidable actors of a generation. Unlike many young actors he has not fallen by the wayside, but rather delivered a series of tour-de-force and award-winning performances in both independent and big budget Hollywood blockbusters.
So, for my occasional look at the major talents of cinema I have turned to one of the greatest actors of the last twenty-something years, and chosen five of his best roles to illustrate that. An intense and natural talent he has been in many outstanding films and some not so good. However, whatever role Christian Bale chooses he is usually never less than powerfully magnetic. I must say, I have not selected any of his portrayals of Bruce Wayne and that very fine Batman performance, notably from a physical perspective. Even though in, Batman Begins (2005), he created a stirring existential vision of a wealthy child growing out of grief into the dark saviour of Gotham City. I just think he has given five better acting transformations on screen. Here they are.
***CONTAINS FILM SPOILERS***
AMERICAN PSYCHO (2000)
Having tread water in a career-sense attempting to traverse the difficult bridge from child actor to the leading man we have come to know, Christian Bale got a break in Mary Harron’s adaptation of Bret Easton Ellis’s notorious novel, American Psycho. And boy – did he make the most of it! I watched the film again recently and I have to say, other than perhaps Leonardo DiCaprio (who was originally cast in the role), no other actor could have delivered such an unhinged, evil and funny (yes he’s hilarious) portrayal of the Wall Street banker-turned-serial killer, Patrick Bateman. It’s a dangerous and sick character who Bale somehow manages to make you despise, yet simultaneously humanise.
THE MACHINIST (2004)
Possibly the greatest Christian Bale performance that hardly anyone has seen. Oh you have seen it? Wow, what an intense performance Bale gives as lonely blue collar worker, Trevor Reznik. Reznik is a haunted man who cannot sleep. He is also anorexic as Bale reduced his weight to 62kg for the role, demonstrating, not for the last time, a dangerous method of obsessive physical transformation. It works too as the skeletal Reznik struggles to overcome a slow descent into madness, with Bale, once again, showing incredible commitment to his craft in this under-rated and haunting noir nightmare of a film.
THE FIGHTER (2010)
While Mark Wahlberg was excellent as the lead actor in David O. Russell’s profile of tough Massachusetts fighter, Micky Ward, Bale absolutely steals the thunder with an incredible acting performance as Ward’s half-brother, Dicky Eklund. As a study of the nefarious curse of addiction, Bale makes the charismatic, but unreliable, Ekland both a loathsome and somehow empathetic character. Because while his crack cocaine addiction drives him to make bad choices for both him and his brother, there is at his heart a loving person battling to win over his illness and make his brother a champion. A story about family and human beings overcoming the odds, Bale punches out another memorably flawed individual in The Fighter (2010), deservedly winning an Oscar in the process.
This revisionist Western did not get nearly enough attention on release. Yet buried in here is another quietly intense acting performance from Christian Bale. His other Western, 3:10 to Yuma (2007) is the more entertaining film, but in Hostiles (2017), he gives a much more complex characterisation as Captain Joseph Blocker. The weight of guilt and pain and death hang heavy on Blocker following years of brutal conflict. Scott Cooper’s film conveys the depressing murderous times borne out of the greedy need for progress. Hatred and white man’s guilt drives his character as Bale’s soldier initially refuses to take Chief Yellow Hawk back to his homeland. Is it more because of the deaths of his own men on the battlefield or because he does not want to face up to his own crimes against the Native Americans? The film explores this question superbly with Bale at the heart of the conflict from savage beginning to bloody end.
While I agree with critics of Vice (2018), that it is cartoonish and simplistic, it is also a brilliant and scabrous work of satire. Yes, sure it’s preaching to the liberal and left-winged Hollywood choir, but it definitely presents a fascinating snapshot of Dick Cheney’s rise from alcoholic wastrel to powerful political figure. I mean let’s face it, Cheney, based on his reign in U.S. politics, is arguably one of the most dangerous men who ever existed. In Adam Mckay’s black political comedy Cheney is shown to be a manipulative puppet-master to Bush’s marionette President. McKay’s film, while certainly one-tracked, powers along picking apart one of the most shadowy political figures of recent years. But what about, Bale? Why take a role where he had to live on doughnuts for year to gain the weight required for the film? Well, because he likes to challenge himself and Bale should have won the Best acting Oscar! Rami Malek was decent as Freddie Mercury, but Christian Bale is astonishing. Fair enough, he takes a real person and delivers an emulation performance, but he also brings to Cheney to life with such intelligent style. Of course, the physical transformation takes the headlines, but in terms of emotion and mentality he really raises the bar. Cheney may be an enigmatic character but Bale brings menace, whispers and evil to the role. There is also a sly humour there too which makes Bale’s Cheney another unforgettable monster he’s brought to the screen.
Produced by: Michael Bay, Andrew Form, Brad Fuller, John Krasinski
Written by: John Krasinski
Based on characters created by Bryan Woods and Scott Beck
Cast: Emily Blunt, Cillian Murphy, Millicent Simmonds, Noah Jupe, Djimon Hounsou and John Krasinski
Music by: Marco Beltrami
Cinematography: Polly Morgan
*** MAY CONTAIN SPOILERS ***
Ah, the difficult second album. Well, how do you follow up a genuine classic horror thriller such as A Quiet Place (2018)? I mean, it had everything, including a simple but devastating premise and an imaginative set of rules for the monstrous dangers facing the Abbott family. With hardly any fanfare or major marketing campaign the original film really got audiences flexing their “word-of-mouth” muscles. Throughout A Quiet Place (2018)my heart was literally living in my mouth, as my fingers and knuckles clenched and whitened during the whole tense escapade. Plus, Emily Blunt and John Krasinski’s “every-couple” and their three children brought a believable humanity to the characters, with Blunt especially on phenomenal form in her reaction and character work.
The sequel opens with a prequel sequence which illuminates how the world descended into chaos. Sadly, and not surprisingly, we only get a short time with John Krasinski’s action-dad, Lee Abbott, before he dives back behind the camera to direct this rattlingly good and highly tense horror/sci-fi mash-up. Thus, the weight of part two is left with Emily Blunt, Millicent Simmonds and the less effective, Noah Jupe character. Once again, the trio, plus baby, rely on dead silence in an attempt to remain uneaten by the blind-but-deadly alien creatures hellbent on making Earth’s inhabitants lunch. Along the way they bump into an apparent loner, Emmett, portrayed by Cillian Murphy. His jaded, shell of a man, hides a tragic secret and the last thing he wants is other people around to attract more devourers.
The story develops as the relationship between the Abbott’s and Emmett, while initially distrusting, becomes less hostile. However, he still wants them gone, much to Emily Blunt’s frustration. After all, any good mother wants to protect her children, as evacuating the factory setting could mean certain death. I have to admit I felt Emily Blunt’s major acting talents were not as well utilised as the first film. Indeed, it was Simmonds’ character, Regan, who had more development and heroic moments. It is Regan who is determined to discover a way out from the dark recesses of the filthy basement and clanking pipes. She may be foolhardy to some, but Regan has guts and makes important life-changing decisions for her family. Simmonds is compelling as she gives another mature performance in the role.
Overall, A Quiet Place – Part 2 (2021) is not as much as a surprise as the original film. How could it be?! I mean we now know what defeats the monsters, yet that doesn’t stop them being fierce predators and foes. Moreover, the use of sound design that was so brilliant in the first film is presented equally superbly in the sequel. While the film lacks for a decent plotline, as anyone who has their fill of zombie apocalypse films could testify, there remains some incredibly exciting chases and well directed set-pieces. Krasinski clearly had the Spielberg playbook to hand and that is certainly not a criticism, because I think he is definitely a talent to keeps tabs on. Thus, as my first film back at the cinema after yet another lockdown, I can definitely recommend A Quiet Place – Part 2 (2021), to take one’s mind off the horrors of real life for ninety-odd pulsating minutes.
Based on: Guantanamo Diary by Mohamedou Ould Slahi
Cast: Jodie Foster, Tahar Rahim, Shailene Woodley, Benedict Cumberbatch, Zachary Levi etc.
Music by: Tom Hodge
Cinematograph: Alwin H. Kuchler
***CONTAINS MASSIVE SPOILERS***
“…a writ requiring a person under arrest to be brought before a judge or into court, especially to secure the person’s release unless lawful grounds are shown for their detention.” — Basic definition of Habeus Corpus
Mohamedou Ould Slahi is a Mauritanian man who was held for fourteen years from 2002 to 2016 without charge in the Guantanamo Bay detention camp. FOURTEEN YEARS without a trial. Let that sink in.
If ever there was a living embodiment of a Kafkaesque experience then this is that. Surely, whatever crime you have or haven’t committed you should be presented to a court of law and evidence be brought to try you for the alleged crimes. Clearly, the United States have, in this singular case against Mohamedou Ould Slahi, by denying him a trial — plus torturing him for years too — committed a heinous war crime. Yes, the 9/11 atrocities were abominable acts of violence, but that does not give anyone the right to wreak revenge against other human beings without concrete evidence to justify such acts. It’s a basic tenet of existence that separates us from the beasts in the jungle, every person deserves a fair trial! To be honest the U.S. administration who were responsible for this and and many other crimes are worse than animals.
The Mauritanian (2021) is an adaptation of Mohamedou Ould Slahi’s best selling memoir, Guantanamo Diary. It opens with Ould Slahi (Tahar Rahim) attending a wedding in his place of birth. He is then picked up by local Mauritanian police and after that is imprisoned indefinitely, unknown to him, by the American military. The structure of the film compellingly builds his experiences in jail and the brutal torture he endures as the Americans attempt to gather intelligence to prove that he is a key member of the terrorist cells who organised the 9/11 attacks. As the story reveals his horrendous ordeal, lawyers represented by Nancy Hollander (Jodie Foster) and Teri Duncan (Shailene Woodley) take up his case to, at the very least, enable Ould Slahi to get a fair trial.
As well as highlighting the horrors of how Ould Slahi was treated this film is a damning indictment of American foreign policy, notably under the George Bush administration. The fact that Ould Slahi and his lawyers were successful in achieving a win against his imprisonment was not the end of his entrapment. You honestly won’t believe what occurred even after he won his case. But what about the film you may be asking? Well, I am just staggered this and many other sitautions occur in the world so this is more of an emotional review than a cinematic appraisal.
Overall, The Mauritanian (2021) is an exceptional drama which is directed effectively by seasoned filmmaker, Kevin Macdonald. As Ould Slahi, Tahar Rahim is absolutely exceptional. He brings a humanity and humour to the character’s struggle. What I absorbed most from his portrayal, and this is reflected in a moving credits sequence excerpt, is how Ould Slahi retained his humour even in the most trying times. Furthermore, while their character’s smack of white saviour personalities, the legal team — based on the real people — are expertly represented by Jodie Foster and Shailene Woodley. Foster especially shows her usual sterling gravitas in the role. Benedict Cumberbatch, arguably miscast as the military lawyer suffering a crisis of conscience, gives his usual excellent performance.
Lastly, The Mauritanian (2021), because of a slightly choppy screenplay, I felt the book deserved a longer telling via a television series. Yet, the film remains an important narrative about how bloodlust, greed and desire for revenge means humans commit horrific acts in the name of war. Mohamedou Ould Slahi was denied his freedom and human rights for crimes never proved. How he survived is an incredible feat of human endurance. Thus, whether he was innocent or guilty his freedom was earned and then some.