Category Archives: Cinema

Cinema, Classic Film Reviews, Films That Got Away, Reviews

FILMS THAT GOT AWAY #13 – INCENDIES (2010)

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FILMS THAT GOT AWAY #13 – INCENDIES (2010)

Directed by: Denis Villeneuve

Produced by: Luc Déry, Kim McCraw

Screenplay by: Denis Villeneuve, Valérie Beaugrand-Champagne

Based on: Incendies by Wajdi Mouawad

Cast: Lubna Azabal, Mélissa Désormeaux-Poulin, Maxim Gaudette, Rémy Girard, Abdelghafour Elaaziz, etc.

Music by: Grégoire Hetzel

Cinematography: André Turpin

*** MAY CONTAIN SPOILERS ***

INCENDIES (2010) is the probably the best film you haven’t seen. If you have seen it then tell more people to see it. Spread the word on this incredible film. I watched Incendies (2010) for the first time a few years ago and it has stayed with me ever since. Given the lack of recent cinema releases, I felt compelled to watch it again and once more was blown away by the power of the characters and their stories. Not quite old enough to review as a classic movie, and as it stands as at No. 111 on the IMDB 250, it doesn’t qualify as an under-rated classic, I have therefore filed this contemporary classic under films that got away.

Based on a play by Wajdi Mouawad, Incendies (2010) was developed by Denis Villeneuve, who took five years developing and writing the screenplay. Villeneuve was attracted to the play because it was a modern story with Greek tragedy at its heart. It is set in both Canada and in an unnamed Middle Eastern country, with events in the narrative traversing between the these countries and different time periods. While the country where most of the action takes place is unnamed, given Mouawad is Lebanese, it is safe to say that this complex tale unfolds during the Lebanese Civil War. However, it is a masterstroke not to be specific about setting, as this ensures it is not place and politics one focusses on, but the thought-provoking human drama. And what drama it is!

Incendies tells the brutal but riveting story of Nawal (Lubna Azabal), a woman who lived through her country’s civil war.

After starting with a haunting scene from the past showing bedraggled children herded into an orphanage, the story quickly moves to the present. Twins, (Jeanne Mélissa Désormeaux-Poulin) and Simon Marwan (Maxim Gaudette) meet Jean (Remy Girard), a notary handling their deceased mother’s will. Their mother, Nawal Marwan (Lubna Azabal), has left two letters – one for the twin’s brother, and another for their father. If they can locate them and give them the letters, Nawal will allow her children to bury her with a casket and headstone. Jeanne, the calmer of the two siblings, agrees to the request. However, Simon is angry that secrets were kept and is against taking it any further.

Incendies (2010) then becomes two powerful narratives intertwined to structural perfection by Villeneuve and Valérie Beaugrand-Champagne’s exceptional screenplay. Firstly, we follow Jeanne as she travels to Daresh, in the Middle East, attempting to follow in Nawal’s footsteps. Here the film becomes a compelling detective story as Jeanne (and later in the film, Simon) slowly discovers her mother’s tragic life history before she moved to Canada. Running parallel to this the narrative flashes back to show Nawal’s life as she escapes village life to go to University, only for religious civil war to tear the fabric of the country apart. Villeneuve, who has subsequently directed many visually stunning big budget films, makes the most of the sun-scorched and battle-scarred landscapes. Moreover, he also delivers a stunning and suspenseful sequence when Nawal finds herself trapped on a bus surrounded by soldiers.

I genuinely do not want to say anymore about the plot of Incendies (2010), for fear of spoiling what is such a complex and well designed story. It drives me mad when I watch films or television shows and they gratuitously use flashbacks or fractured temporal structures to create mystery. Because what many ultimately do is confuse the audience and create emotional distance from the characters. Villeneuve directs in an intelligent way, retaining empathy and emotion for both protagonists and antagonists devoured by war. Nawal Marwan’s story is especially heart-breaking and she is given a moving portrayal by Lubna Azabal. Nawal’s story is one of astounding power as the character experiences the hell of loss, war, torture and death. Her final attempt at redemption from beyond the grave gives us a searing human drama. One which will shake you to the core for days and weeks and maybe even years!

Mark: 10 out of 11

Cinema, Netflix, Reviews

NETFLIX FILM REVIEW: MALCOLM AND MARIE (2021)

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NETFLIX FILM REVIEW: MALCOLM AND MARIE (2021)

Directed by: Sam Levinson

Produced by:  Kevin Turen, Ashley Levinson, Sam Levinson, Zendaya, John David Washington

Written by: Sam Levinson

Cast: Zendaya, John David Washington

Music by: Labrinth

Cinematography: Marcell Rév

*** MAY CONTAIN SPOILERS ***

The Oscar nominations came out this week and due to the ongoing pandemic situation and consequent lockdowns, there are a number of films on the esteemed list which have yet to reach these shores, either at the cinema or via streaming platforms. Having said that, and I am aware space for nominees are limited and it has been a pretty strange year for cinema, but I was extremely surprised that Delroy Lindo did not receive an acting nomination in lead or supporting category. Similarly, I was also bewildered that Sam Levinson’s striking romantic drama, Malcolm and Marie (2021), had not received nominations in either screenplay or acting categories. Further, I was utterly shocked that critic’s reviews for the intense two-hander had been pretty mixed. Hey, it’s just opinions but I was really gripped by this highly theatrical and gorgeously cinematic two-hour argument in black-and-white. Personally, I think most of the deriders are wrong. But that’s just my view.

Maybe the film wasn’t liked because John David Washington’s, Malcolm, an up-and-coming filmmaker celebrating a successful premiere that evening, launches into a wonderfully eloquent rant about a review which he feels pigeonholes and patronises his film in purely political terms. I mean it’s actually a positive review, but who doesn’t enjoy ire toward professional critics. I mean, everyone has an opinion, or a view and the Internet has caused a mass proliferation and gaping spew of words and views and brain-thoughts in extremis. But Levinson’s script and Washington’s grandstanding acting spits that if you earn a living as a critic then you are essentially Satan! Perhaps some reviewers took umbrage with this? I loved the whole scene’s energy and Malcolm’s savage attack had me applauding throughout.

But Malcolm and Marie (2021) is more than Levinson getting back at those individuals who gave him bad reviews. It’s a sharp, funny, sexy and poignant exploration of a relationship close to breaking point. Malcolm and Marie may be different fighting weights, but they both punch hard and often. He is on a high after his film premiere success, but Marie is upset because he did not thank her during his speech. From there the conflict rises from light sparring to harsh emotional knockout blows. Both Malcolm and Marie tear at each other’s skin and flesh and figurative organs in an attempt to resolve the ever-increasing divide between them. Malcolm and Marie (2021), may not be for everyone, but any person who has been in a heated war of words with a partner or spouse, will identify with the inescapable tension on display. Levinson’s expert screenplay rides a rollercoaster journey of emotions as one moment you side with Marie and the next you’re with Malcolm. Yet, before you know it, you’re disliking both these complex, narcissistic, egotistical and infuriating humans.

Both Zendaya and John David Washington deserve so much praise for their performances in, Malcolm and Marie (2021). Washington has already demonstrated his massive talent in BlacKkKlansman (2018), while Zendaya excelled in recent HBO drama, Euphoria (2019). Levinson too directs with a deft skill. I was especially impressed by the way he balances the comedy and drama of these flailing humans, poking and picking at the scabs of each other’s past behaviour. Indeed, as well as containing some brilliant dialogue, the erudite script really sang to me. At times the coruscating repartee reminded me of Edward Albee’s acclaimed play, Who’s Afraid of Virginia Wolf. Nonetheless, for a dialogue and performance driven film, the precise framing and sumptuous black-and-white photography by Marcell Rév render the visuals wholly cinematic.

Sure, by the end of Malcolm and Marie (2021) is anything really resolved? And who is ultimately interested in this couple’s first world problems? Well, I’ve witnessed my parents fighting and also experienced such exhausting relationship arguments before. So, I must say that overall, I thoroughly enjoyed witnessing Malcolm and Marie’s nocturnal battle. Especially because I watched it all from the safety, warmth and comfort of my own home.

Mark: 8.5 out of 11

Cinema, Classic Film Reviews, Reviews

CLASSIC FILM REVIEW – THE GO-BETWEEN (1971)

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CLASSIC FILM REVIEW – THE GO-BETWEEN (1971)

Directed by: Joseph Losey

Produced by: John Heyman, Denis Johnson, Norman Priggen

Screenplay by: Harold Pinter

Based on: The Go-Between by L. P. Hartley

Cast: Julie Christie, Alan Bates, Margaret Leighton, Edward Fox, Dominic Guard, Michael Redgrave, etc.

Music by: Michel Legrand

The Go-Between (1971) is one of those expert works of understated cinema which I was sure I had seen before. Yet, I would come to discover I had never seen it when I caught it on the rather marvellous digital channel, Talking Pictures. But then I love that when you find a period classic and watch it for the first time. It’s like unearthing gold in your living room. Because the film is a heartfelt rites-of-passage drama which subtly pulls at the loose end of the knitted cardigan that is the British class system. Nevertheless, while the romance, lies and regret unfold under the surface, The Go-Between (1971) certainly retains much dramatic power.

Adapted by acclaimed playwright, Harold Pinter, from the esteemed novel by L.P. Hartley, The Go-Between (1971) stars Julie Christie and Alan Bates as secret lovers separated by the chasm of class and tradition. Bates’ Ted Burgess is a charismatic and muscular farmer with a reputation as a ladies man. Christie is the beautiful and slyly rebellious daughter of the Lord of the Manor, Marian, promised in marriage to Edward Fox’s Viscount Hugh Trimingham. With peering eyes and suspicion coming from Marian’s mother, the lustful affair requires stealth, thus they enlist the help of Dominic Guard’s intelligent but less-privileged, Leo Colston. He is there as guest of Marian’s young brother as both attend the same boarding school; Leo there on a scholarship. The narrative develops very much through Leo’s sweet innocent eyes. The outsider’s point-of-view is expertly presented as it is both objective and allows the audience to make up their own mind about the characters.

Leo is pure of heart and believes he is helping by running notes back and forth between Burgess and Marian. He also makes friends with the cuckolded Viscount, as Fox gives a fine performance of a man who may or may not know whether his potential wife is being unfaithful. I think that is one of the strengths of the book and film, in that it explores the theme of duty versus passion. Burgess and Marian represent freedom, lust and nature, which are opposite to the “doing your duty” arrangements of the upper classes. Of course, dramatically speaking something has to give where the love affair is concerned. Sadly, tragedy intervenes, resulting in the loss of Leo’s innocence, and adding a layer of guilt which gravely haunts him in his later years.

Everything about The Go-Between (1971) reeks of quality. From the production design, locations, costumes, score by Michel Legrand and Gerry Fisher’s exquisite cinematography. Unsurprisingly, Harold Pinter would receive an Academy Award for his confident adaptation. Further, Joseph Losey is not a filmmaker whose work I am not particularly well acquainted with, but the performances from Fox, Bates, Christie and young Dominic Guard are assured testament to his stellar ability to convey meaning and emotion between the lines. Indeed, while some films smash you over the head with emotional melodrama, something I love too, The Go-Between (1971) instead slowly squeezes at your heart and mind. Lastly, this is not simply a damning indictment of the class system, but a lament for loss of innocence, illustrating how monolithic tradition dictates love, fate and tragedy are inextricably entwined.

Cinema, Six of the Best

SIX OF THE BEST #30 – FAVOURITE FILM MONTAGES!

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SIX OF THE BEST #30 – FAVOURITE FILM MONTAGES!

Who doesn’t love a film montage!? The passage of time edited and set to a memorable soundtrack is fine cinematic tradition. Not only is a montage a great way to tell a story visually, it can also give pace to a narrative, provide a perfect cinematic bridge to the final act or even supply emotional impetus at the start and middle of a film.

Here I choose six of my favourite movie montages. All have been selected due to both the style and content of the sequence, plus the music accompanying the montage. Of course, I could have chosen a more artistic aspect to montage by including examples from Eisenstein, Kubrick or the incredible editing in the The Godfather (1972), when Michael Corleone wipes out his rivals during his nephew’s baptism. That I will save for another day.

ROCKY (1976)

No film franchise has exploited the fight montage and training sequence to the max like Rocky. I could have chosen others, but the original remains the best. I love the urban locations and the Philadelphian streets are just so gritty as Stallone’s down-on-his-luck boxer gets a crack at the championship of the world! That music just soars too!

SCARFACE (1983)

With a combustible screenplay written by Oliver Stone, Scarface (1983), is a cocaine driven and incendiary viewing experience. Everything is ramped up to eleven, including: the violence, shouting, swearing, shooting, politicking, drug-taking, sex, killing, avarice, cocaine, money-making, decadence and corruption. It is an epic film with many classic scenes, but the 80’s pop-synth-driven montage here adds real pace to the brutal proceedings.

THE KARATE KID (1984)

Another fighting film and another John G. Avildsen pick! More than just a teenage Rocky rip-off, The Karate Kid (1984) is a terrific rites-of-passage drama that incorporates a love story and a boy overcoming bullies with the help of a wise mentor. Joe Esposito’s song, “You’re the Best” was originally chosen for Rocky III, but ultimately ended up here in the fantastic fighting tournament montage.

FERRIS BUELLER’S DAY OFF (1986)

John Hughes fast-paced-set-in-one-day-comedy-classic has some brilliant dialogue and is anchored superbly by Matthew Broderick’s cocky lead performance as mischievous Ferris Bueller. For all the craziness on show one of my favourite scenes is when Hughes slows the pace down at the museum. Here we get some wonderfully framed shots, sly humour and a beautiful instrumental version of The Smiths’ song, “Please, Please, Please, Let Me Get What I Want!”

UP (2009)

So many films struggle to establish empathy for their characters either through bad writing or poor creative choices. Pixar, however, are masterful at establishing both character identification and motivation. None more so than in this classic montage featuring the mostly blissful life of Carl and Ellie Fredericksen. With Michael Giacchino’s iconic score called “Married Life” providing energetic and poignant emotional support, this is one of the most moving four minutes in movie history.

DJANGO UNCHAINED (2012)

Tarantino’s epic Western runs the gamut of action, violence, comedy and drama, even throwing a buddy-buddy dynamic in there for good measure. While often known for his quotable dialogue, Tarantino’s films always feature crisp editing and a powerful visual storytelling too. I love this montage in Django Unchained (2012), with Django and King Schultz framed against the wonderful snowy vistas as Jim Croce sings his catchy tune.

Amazon Prime, Cinema, Comedy, Films That Got Away, Reviews

FILMS THAT GOT AWAY #12: THE DAY SHALL COME (2019) + SIX OF THE BEST #29 – CHRIS MORRIS THINGS YOU MUST WATCH!

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THE DAY SHALL COME (2020) – FILM REVIEW

Directed by:  Chris Morris

Produced by: Iain Canning, Anne Carey, Emile Sherman

Written by: Chris Morris, Jesse Armstrong

Cast: Marchánt Davis, Anna Kendrick, Danielle Brooks, Kayvan Novak, Denis O’Hare, Jim Gaffigan etc.

Chris Morris is a bona fide genius. A natural prankster, a fearless satirist, writer, actor, producer, director and enfant terrible of radio, television and more recently cinema. He has been suspended by Greater London Radio and by the BBC and described by the Daily Mail as “the most loathed man on TV.” Which to me is a highly positive thing. Moreover, Morris is genuinely one of my cultural heroes and certainly one of the funniest artists to have graced the planet.

Morris’ latest cinema release is called The Day Shall Come (2019), and given I am such a fan of his work it did not make any sense why I have only just seen the film. Perhaps I had seen some negative reviews or maybe it was released at the same time as the London Film Festival in 2019? Thus, it meant I could not find time to watch it. Anyway, the story is somewhat of a mixed bag and definitely not as focussed or blisteringly funny as Morris’ prior directorial masterwork, Four Lions (2010). Centring on the idiotic efforts of the F.B.I’s terrorist taskforce to bring down targets that threaten United States security, operative Kendra Glack (Anna Kendrick) and her boss, Andy Mudd (Denis O’Hare) pull focus on Marchánt Davis as Moses Al Shabaz, an impoverished preacher, running the hapless ‘Star of Six’ commune. Moses, who is possibly bi-polar, is a likeable fool with delusions of grandeur, however, the FBI decide he is a threat and try to fit him up in many farcical scenes of entrapment.

There are funny moments and some delightfully bizarre dialogue exchanges. Furthermore, Davis excels in his role as the eccentric Moses and the under-used Danielle Brooks brings much needed humanity to her role as his wife. However, the film is full of mostly unlikeable and unlikely characters, meaning Morris’ satirical bullets rarely hit their target. Kendrick is miscast and while there are a few laugh-out-loud moments throughout, I just felt like the script was continually trying to squeeze square blocks into round holes. I even watched it twice to see if maybe I had missed something first time round. Goes to show even for a creative magician such as Chris Morris, certain tricks don’t always come off.

Mark: 7.5 out of 11

SIX OF THE BEST #29 – CHRIS MORRIS THINGS YOU MUST WATCH!

NEWSREADER: The main stories so far: Jimmy Savile drops dead at the Stoke Mandeville Boxing Day bash—but the patients are far from mourning.

CORRESPONDENT: The majority, if not all of them, are extremely relieved that he’s now dead, although I suspect that some of them will be sorry that he didn’t suffer a great deal more.

— The Chris Morris Music Show, 16 December 1994

While The Day Shall Come (2019) does not reach the dizzy heights of Chris Morris’ best output, it is still a highly thought-provoking critique of American law enforcement practices. Arguably though it misses more marks than it hits. Here are six of the best things that Chris Morris has been involved in and I urge you to try and find them on a streaming platform or on DVD or online somewhere. If you love obsidian black and controversial comedy then Chris Morris is your man!

CHRIS MORRIS RADIO SHOWS!

Morris’ creative career really formed on radio. He worked at Radio Bristol, Greater London Radio and made the The Chris Morris Radio Show on BBC Radio 1. He gained notoriety and was suspended from the BBC for announcing Conservative politician Michael Heseltine was dead. In fact, fake obituaries were one of his early favourite pranks. Later, Morris joined forces with another comedy legend, Armando Iannucci, to help create the seminal spoof news show called, On the Hour. The rest they say is history.

THE DAY TODAY (1994)

The Day Today was a TV comedy show that parodied current affairs programmes. Broadcast in 1994 on BBC2, it was created by Armando Iannucci and Chris Morris and an adaptation of the radio programme On the Hour. The genius and surreal satire The Day Today found Morris winning the 1994 British Comedy Award for Best Newcomer. The rest of the cast including Steve Coogan, Rebecca Front, Doon Mackichan, Patrick Marber and David Schneider were incredibly good too. I wonder what happened to them?!

BRASS EYE (1997)

Chris Morris took the ferocious journalistic character he created on The Day Today (1994) into Brass Eye (1997), with one of the most scurrilous and controversial works of television ever. Once again, Morris was lampooning current affairs shows and the often hysterical way the media sensationalise issues such as drugs, sex and crime. Morris fooled many celebrities and politicians during the filming of Brass Eye (1997), getting them to commit to absurd, but fake media campaigns. A 2001 special was planned but cancelled due to fear of further controversy and litigation against Channel 4.

JAM (2000)

Ever pushing the boundaries of radio and television genre form and style, Morris’ cult sketch show Jam (2000), is a truly dark and twisted experience. Unsettling and bleak it presented unconnected and surreal sketches, unfolding over an ambient soundtrack. Buried late at night on the Channel 4 schedule it was incredibly striking in style and content with a superb cast including: Amelia Bullimore, Julia Davis, Mark Heap and Kevin Eldon.

NATHAN BARLEY (2005)

This absurdist comedy found Morris working with another comedy genius in Charlie Brooker. Here they took inspiration from Brooker’s TVGoHome – a 2001 E4 TV show parodying television – as the focus of a fly-on-the-wall documentary called Cunt. With energetic fool and influencer Nathan Barley as the lead idiot, the sitcom delivered six delicious episodes which skewered hipster characters and pretentious Shoreditch-based culture. The cast included: Julian Barratt, Ben Whishaw, Richard Ayoade, Nicholas Burns, Claire Keelan etc. and Nathan Barley is a highly recommended comedy that seems as vital now as it did in 2005.

FOUR LIONS (2010)

Oh my word! How the hell this film did NOT get banned is something that still shocks me. It is one of the the funniest and controversial films ever about the darkest subjects, namely terrorism and radicalised Jihadis. How Morris and his co-writers, Jesse Armstrong and Sam Bain, managed to successfully satirise, demonise and humanise Muslim fundamentalists is beyond belief. The wicked script and unbelievably good performances by Riz Ahmed, Nigel Lindsay and Kayvan Novak help make Four Lions (2010) one of the finest socio-political comedies of all time. It’s hilarious and actually moving at the end as I pitied, recoiled and felt for these poor misguided fools. Deservedly, Chris Morris won the award for Outstanding Debut by a British Writer, Director or Producer at the BAFTAS in 2011.

Cinema, disney, Reviews

DISNEY + FILM REVIEW: SOUL (2020)

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DISNEY + FILM REVIEW: SOUL (2020)

Directed by: Pete Docter

Produced by: Dana Murray

Written by: Pete Doctor, Mike Jones, Kemp Powers

Cast: Jamie Foxx, Tina Fey, Graham Norton, Rachel House, Alice Braga, Richard Ayoade, Phylicia Rashad, Donnell Rawlings, Questlove, Angela Bassett etc.

Music by: Trent Reznor, Atticus Ross, Jon Batiste[a]

Cinematography: Matt Aspbury, Ian Megibben

*** MAY CONTAIN SPOILERS ***

Death, the loss of childhood innocence, grief, mid-life crises, missing children, the end of the word due to human greed, ghosts, female emancipation within patriarchal society, the afterlife, use of fear as energy, neuropsychological exploration of emotions, oh, and death again are all heavy themes and subjects for a film. But they are not just from the works of heavyweight filmmakers such as Werner Herzog, Akira Kurosawa, Ingmar Bergman or Stanley Kubrick. They are subjects investigated and probed and rendered entertainment in a fantastic style by the ever-impressive Pixar studio. Their latest film Soul (2020) is yet another extravaganza of high concepts, existential themes, and scintillating visual world-building.

Soul (2020) centres around Joe Gardner (Jamie Foxx), a music teacher who longs to immerse himself in a career as a jazz musician. It’s not necessarily suggested in the opening scenes as to why Joe hasn’t made it as he clearly has musical talent. However, his dominant mother Libby (Phylicia Rashad) objects to his frivolous desire to play piano, plus Joe, like many artists out there just cannot get a break. A chance arises though when he gets an opportunity to audition for esteemed singer, Dorothea Williams (Angela Bassett). Joe’s exquisite piano playing wins over Dorothea, but then tragedy strikes as an excited Joe falls down a manhole and dies. Being a Pixar film committed to venturing into the afterlife, as it did previously with Coco (2017), Joe finds himself, not in the ‘Land of the Dead’ but rather the ‘Great Before/Beyond’ instead.

As Joe moves toward the light with the many other souls he refuses to accept this is the end. He rejects the unknown glowing light of the ‘Great Beyond’ and escapes to a world full of young, old and lost souls called the ‘Great Before’. Here he meets a cynical soul called 22 (Tina Fey), who is refusing to claim the badges required to begin her own life on Earth. This is where the story gets a bit sticky for me. I mean I enjoy narratives about life, death and the afterlife including the brilliant A Matter of Life and Death (1946) and both excellent versions of Heaven Can Wait (1943 / 1978). However, Soul (2020) I think tries to do too much as 22’s story threatens to dominate Joe’s pursuit to get his life and career back. Moreover, the ridiculous sight of Joe’s soul ending up in a therapy cat also felt like a contrived lean toward giving the kids something to laugh at. Indeed, I felt this water-and-oil decision, while funny, undermined the more intrinsically vital themes within the narrative.

Ultimately though, having succumbed to the cultural pressure of signing up to Disney +, I did thoroughly enjoy Pixar’s Soul (2020). Jamie Foxx and Tina Fey create a fine double act with their brilliant comedic timing and performances. Moreover, Graham Norton and Richard Ayoade provide humorous voice support, and of course, the animation is incredible. Although I would actually have preferred to stay on the exquisitely drawn streets of New York more than the ‘Fantasiaeque’ lysergic acid look of the afterlife. Still, once again, Pixar have been clinical in delivering an intelligent film that delves into existential themes relating to the meaning of life. Joe’s journey, like his music, is full of verve, beauty and many surprising twists, ensuring his soul is certainly one that is worth saving.

Mark: 9 out of 11

Articles, Cinema, My Cinematic Romance

MY CINEMATIC ROMANCE #22 – MARTIN SCORSESE

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MY CINEMATIC ROMANCE #22 – MARTIN SCORSESE

Cinema is a matter of what’s in the frame and what’s out.
— Martin Scorsese

I recently had a three-week career break while I was looking for a new job. I have since gratefully located employment and that would explain why I have not been as active on this blog as before. Because looking for work is more time consuming than an actual job! Anyway, aside from spending the day on the computer searching for gainful employment I also caught up on some TV shows and films that had been on my planner for a while. One of the those I watched was the HBO produced TV drama called VINYL (2016). Created, directed (first episode only) and produced by, among others, Martin Scorsese.

Vinyl (2016) was an incendiary, nostalgic and snorting cavalcade of 1970’s rock and roll music centred around a drug addicted record executive, portrayed by Bobby Cannavale, whose business and personal life are collapsing due to his addictive and self-destructive behaviour. Overall, the ten episodes were scintillating entertainment: loud, over-the-top, ballsy, in-your-face and darkly hilarious. The characters were despicable scumbags at best, yet Scorsese’s sensational style ensures the audience enthusiastically rubber-necks these human car crashes.

Alas, due to low ratings, poor critical response and the huge budget, HBO did not renew Vinyl (2016) for a second season. Thus, Scorsese’s blistering TV rock and roll creation was no more. However, in my latest piece in the My Cinematic Romance series, I have selected five of Scorsese cinematic classics. I could’ve, of course, chosen many, many more but have challenged myself to pick only ONE film from each of the last five decades of the master filmmaker Martin Scorsese. Don’t worry Marty – I thought Vinyl (2016) absolutely rocked. F*ck the critics! You are a true genius.

Vinyl – Co-Creator/Executive Producer Mick Jagger with Bobby Cannavale and Co-Creator/Executive Producer/Director of Pilot of Martin Scorsese on the set ©2016 HBO, photo by Niko Tavernise

TAXI DRIVER (1976)

Paul Schrader’s incredible screenplay about a lost soul travelling the mean streets of New York while on the edge of insanity, is given dark life by Scorsese’s evocative direction and Robert DeNiro’s fearless performance. One of the most memorably nightmarish thrillers and character studies of the 1970s; a period which arguably represents the most exceptional decade of American cinema. Having both the writer and director admit to substance addiction in the 1970’s, lends further to the monstrously illusory vision of urban decay within the pores of this amazing work of cinema.

RAGING BULL (1980)

Boxing champion Jake La Motta represented another morally complex vision of masculinity in crisis for both Robert DeNiro and Martin Scorsese. Both in and out of the ring he is man in pain who hurts those he loves and, above all else, himself. Each battering jab and uppercut and hook is felt by the audience via incredible editing and sound design. Overall, Scorsese delivers a brutal profile in stark black-and-white and a knockout box of cinematic tricks. Unsurprisingly, DeNiro won a Best Acting Oscar at the 1981 Academy Awards. Rather surprisingly, Ordinary People (1980) was winner of Best Picture. Go figure!

GOODFELLAS (1990)

As far back as I can remember, this has been one of my favourite films of all time. Ray Liotta’s voiceover introduces and tells the story of the rise and fall of gangster, Henry Hill, while expertly supported by Scorsese’s selection of memorable shots, music and sequences. Further, Scorsese’s major skill here is too, is to make us both enamoured and disgusted by the actions of these charismatic criminals and killers. There are so many classic scenes in this incredible epic and the cast of Liotta, DeNiro and scene-stealing, Joe Pesci, make it one of those films that can be watched over and over. Did I forget to mention that it also has one of the greatest cinema soundtracks ever!

THE DEPARTED (2006)

A truly remarkable remake of Infernal Affairs (2002), the film is shot and edited, as expected, with immaculate precision; crammed with unrelenting and bone-crushing thrills and violence. Thematically, it’s powerful too. Throughout, honesty and truth are obliterated by lies and death. Costigan and Sullivan are no more than pawns at the hands of a corrupt system that lets people down from a great height. This is literally the case where Martin Sheen’s Captain Queenan is concerned. An immense cast including DiCaprio, Damon, Wahlberg and scenery-chewing, Jack Nicholson, take a twisting Kafkaesque plot where criminals and cops collide; ultimately chasing their shadows and souls to a treacherous, bloody and bitter end.

THE WOLF OF WALL STREET (2013)

The Wolf of Wall Street (2013) feels like a greatest hits package combining all of the finer ingredients from Scorsese’s other films. You’ve got the classic swooning camera moves; the direct address to camera; cat-and-dog couples fighting as seen in Casino (1995) and Goodfellas (1990); the boat-in-peril sequence as seen in Cape Fear (1991); the multi-character voiceovers; the dumb criminals putting themselves in the shit; characters turning on each other and ratting each other out as seen in The Departed (2006); plus many more. But whereas Scorsese used to deal with outsiders, oddballs and working class criminals like Travis Bickle, Rupert Pupkin or Henry Hill, he presents via Jordan Belfort a white-collar criminal and venal member of the “Master-Race”, getting his just desserts in an incendiary morality tale of major power.

Cinema, Netflix, Reviews

NETFLIX FILM REVIEW – MA RAINEY’S BLACK BOTTOM (2020)

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NETFLIX FILM REVIEW – MA RAINEY’S BLACK BOTTOM (2020)

Directed by: George C. Wolfe

Produced by: Denzel Washington, Todd Black, Dany Wolf

Screenplay by: Ruben Santiago-Hudson

Based on: Ma Rainey’s Black Bottom by August Wilson

Cast: Viola Davis, Chadwick Boseman, Glynn Turman, Colman Domingo, Michael Potts etc.

Music by: Branford Marsalis

Cinematography: Tobias A. Schliessler

*** MAY CONTAIN SPOILERS ***

The spectre of death hangs over us all as time effortlessly drains the life from us. It is an unstoppable force that will quicken on occasion to take a human being way before they deserve. What if said individual has knowledge of their end? Aside from the fear they must be feeling, there is clearly a moment of clarity and strong focus. Something that makes their work gather an altogether unique power. Both player and audience feel such power palpably. This is most certainly the case where Chadwick Boseman’s acting performance is concerned in the screen adaptation of August Wilson’s powerful play, Ma Rainey’s Black Bottom (2020). As talented, hustling and arrogant musician and songwriter, Levee Green, Boseman is a charismatic vision of drive, confidence, energy and naivety, ready to take on the world, not quite knowing the odds are stacked against him.

Boseman steals the film from under the lungs of the formidable Viola Davis as the titular blues legend, Ma Rainey. Her laconic singer with a voice that stops the clocks is being paid to record a series of songs at a Chicago recording studio in the year 1927. Much conflict is derived from Levee Green’s desire to spice up Ma Rainey’s more traditional blues arrangements. Ma Rainey will not give in to what she perceives as ideas of populism and selling out to white producers who want to water down the blues for a white audience. As Ma Rainey, Viola Davis, excels as this irascible and world-weary diva, fighting off her exploitative manager and record producer. Rainey and the other band members try to dampen Levee Green’s enthusiastic ardour, however, the younger trumpeter will not listen to the advice of more experienced musicians. This eventually comes at a grave cost to those within the play.

Events of Ma Rainey’s Black Bottom (2020) are set mainly within a day and in the confines of the recording studio. The mix of a hot day, tempestuous characters and colliding personalities all combine in the enclosed space to create much dramatic tension. Given the screenplay is based on August Wilson’s acclaimed play, what the film loses in cinematic visuals, it more than makes up with sensational dialogue and stellar acting performances. Indeed, the supporting cast including: Colman Domingo as Cutler, Glynn Thurman as Toledo and Michael Potts as Slow Drag provide sterling contributions as Ma Rainey’s band. They banter and battle and spar, especially with the argumentative Levee, desiring to simply play the music and get paid. Safe to say therefore the wonderful blues songs performed are beautifully played. They fill the screen with humour and pathos, puncturing the fizzing dialogue of Wilson’s many fine soliloquys with poignant joy.

Amidst the conflict and music, August Wilson’s original text also contains great thematic power within the words. At the heart of the drama and eventual tragedy there is the underlying critique of the black musicians’ songs and style being stripped away from them by unscrupulous record producers. Ma Rainey stands strong rejecting attempts to assimilate her work and personality and voice into the mainstream. Those songs are her lifeblood, and she refuses to entirely sell her soul. Levee Green does not see the bigger picture and is sucked in by the promise of money, women and fame. He is blinded by the bright city lights and the closer he gets to them the easier it is for the record producers to pick his pocket. In such a tragic character August Wilson has created a memorably complex persona, perfectly rendered by the acting genius, Chadwick Boseman.

Mark 9 out of 11

Articles, Cinema, Classic Movie Scenes

CLASSIC MOVIE SCENE #15 – X-MEN: DAYS OF FUTURE PAST (2014) – QUICKSILVER BREAKS OUT MAGNETO!

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CLASSIC MOVIE SCENE #15 – X-MEN: DAYS OF FUTURE PAST (2014) – QUICKSILVER BREAKS OUT MAGNETO!

Directed by: Bryan Singer

Produced by: Bryan Singer, Lauren Shuler Donner, Simon Kinberg, Hutch Parker

Screenplay by: Simon Kinberg

Story by: Jane Goldman, Simon Kinberg, Matthew Vaughn

Based on: X-Men by Stan Lee, Jack Kirby and Days of Future Past by Chris Claremont, John Byrne

Cast: Hugh Jackman, James McAvoy, Michael Fassbender, Jennifer Lawrence, Halle Berry, Anna Paquin, Elliot/Ellen Page, Peter Dinklage, Ian McKellen, Patrick Stewart, Evan Peters etc.

***CONTAINS SPOILERS***

“We need your help, Peter.”

“For what?”

“To break into a highly secured facility…and to get someone out.”

“Prison break? That’s illegal, you know.”

“Um…only if you get caught.”

“So, what’s in it for me?”

“You, you kleptomaniac, get to break into the Pentagon.”

―Wolverine, Quicksilver, and Professor X

After loving the venture back in time to the 1960’s in X-Men: First Class (2011), I recall genuinely looking forward to the follow up X-Men: Days of Future Past (2014). I wasn’t disappointed as it gripped me from the brilliant opening scene which established a set of all-conquering villainous machines called The Sentinels which had taken over the earth and were wiping out both mutants and humans alike.  Cue Wolverine being sent back in time by Magneto and Professor X to convince the two respective younger versions of them to change the events which caused the Sentinels to rise to power. If it seemed a bit Terminatoresque it’s because it was completely the same story with some Back to the Future nods thrown in too.  But Simon Kinberg’s screenplay (from Matthew Vaughan/Jane Goldman’s story in turn inspired by 1981 Uncanny X-Men comic book narrative by Chris Claremont and John Byrne) wears its influences proudly and gets us into the story so quickly that the time travel element becomes structurally very satisfying.

Usual X-Men favourites get some wonderful moments including Wolverine (Hugh Jackman) going back to the past and finding his powers are altered somewhat. Moreover, Mystique (Jennifer Lawrence) is on impressively vengeful form. We are also introduced to a “new” character called QuickSilver, portrayed with cheeky charisma by Evan Peters. He gets his chance to shine when the film goes all Mission Impossible.  Magneto is being held a mile underground at the Pentagon penitentiary and QuickSilver utilises his speedy skills brilliantly. The rescue scene gives rise to probably the best set-piece I saw at the cinema that year. The majestic use of slow motion, special effects, sight jokes, folk music by Jim Croce etc. had my heart in my mouth and adrenalin rushing throughout. It also reveals character as Quicksilver’s playful jabs, hat-knocking and wedgy show him as a mischievous force of nature.  

Furthermore, the scene continued to highlight the ongoing battle between Magneto (Michael Fassbender) and Charles Xavier (James McAvoy) with Magneto having little consideration for life. As the adults argue, the “child” in the scene is the one who saves the day breathing a hurricane of humorous fresh air into the scene and film. Finally, QuickSilver is also speedy in mind as all his set-ups pay-off with a litany of fantastic punchlines at the end of the scene. Thus, avoiding any deaths and getting the X-Men out of a difficult situation in the blink of an eye. The interesting thing about the scene is Quicksilver steals the film and then is not really involved afterwards, leaving a gaping hole in any further potential action. I guess the writers were trying to avoid easy resolution, given he could just save everyone with his impressive powers. Still, quality over quantity, I guess.

Cinema, Six of the Best

SIX OF THE BEST #28 – KAFKAESQUE FILM NARRATIVES!

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SIX OF THE BEST #28 – KAFKAESQUE FILM NARRATIVES!

According to the Merriam-Webster online dictionary, to describe a book or film or life situation as Kafkaesque relates to:

“Franz Kafka (1883-1924) – a Czech-born German-language writer whose surreal fiction vividly expressed the anxiety, alienation, and powerlessness of the individual in the 20th century. Kafka’s work is characterized by nightmarish settings in which characters are crushed by nonsensical, blind authority. Thus, the word Kafkaesque is often applied to bizarre and impersonal administrative situations where the individual feels powerless to understand or control what is happening.”

Moreover, it especially relates to characters and events which could be described as:

“. . . relating to, or suggestive of Franz Kafka or his writings, especially having a nightmarishly complex, bizarre, or illogical quality.”

Such narratives are abundant throughout cinema history and in this occasional strand I would like to suggest six of the best films which could be described as ‘Kafkaesque.’ Interestingly, I have not selected the purer surrealist work of say David Lynch or Luis Bunuel, but concentrated on films dominated by characters utterly lost to a nightmarish fate, bureaucracy or a scenario entirely not of their making. I guess one could draw parallels with the world’s current situation in regard to COVID-19, as many of us have found ourselves powerless and at the mercy of bureaucracy, sickness and unknown external forces. However, I am not going to dwell on that; just keep going and hope we all get through safely to the other side of it.

AFTER HOURS (1985)

THE HUNT (2012)

I, DANIEL BLAKE (2016)

NORTH BY NORTHWEST (1959)

THE TENANT (1976)

THE TRIAL (1962)