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Cinema, Reviews

CINEMA REVIEW: HOUSE OF GUCCI (2021)

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CINEMA REVIEW: HOUSE OF GUCCI (2021)

Directed by: Ridley Scott

Screenplay by: Becky Johnston, Roberto Bentivegna

Based on: The House of Gucci: A Sensational Story of Murder, Madness, Glamour, and Greed by Sara Gay Forden

Produced by: Ridley Scott, Giannina Scott, Kevin J. Walsh, Mark Huffam

Cast: Lady Gaga, Adam Driver, Jared Leto, Jeremy Irons, Salma Hayek, Al Pacino etc.

Cinematography: Dariusz Wolski

*** MAY CONTAIN SPOILERS***

I’m not a fan of fashion. I wear clothes obviously and like to be smart and clean. Yet, the idea of believing one’s garments, shoes and accessories mean you are important, superior or worthy of adulation sickens me to be honest. However, fashion is a multi-billionaire industry and I get that people of variant social standing love it as a cultural phenomena. People either own or aspire to own over-valued garments and objects to inflate their ego or sense of importance is beyond me. Then again, I passionately enjoy watching human beings kick a ball into a net, so everyone has irrational passions. C’est la vie!

I didn’t go to see House of Gucci (2021) to look at the clothes though. My interest in this star-studded, big budget crime drama directed by the legend, Ridley Scott, was more because I did not know anything about the lives and personalities within the Gucci empire. Who would have thought that a wealthy family unit could have turned out so poisoned by greed and envy?

Covering a period of twenty or so years from the late 1970s into the 1990s, the story is structured around the relationship between Patrizia Reggiani (Lady Gaga) and Maurizio Gucci (Adam Driver). They fall passionately is lust, much to the chagrin of his spiteful father (Jeremy Irons) and marry against his will. Patrizia genuinely loves the sensitive Maurizio, but also has green eyes for the Gucci empire and the power that can bring. As her desire for influence in the family business grows, then so does cracks in their marriage. Crumbling relationships, business chicanery and family treachery dominate the narrative, all coming to a head with tragic results.

As a morality tale about how greed corrupts and drives human beings toward unnecessary tragedy, The House of Gucci (2021) is certainly worth a watch. Is there a sense the Gucci family were cursed by there wealth. Perhaps? But the film and screenplay as a whole present this theme without really drawing them out to full dramatic effect. However, the cast are absolutely fantastic throughout with Al Pacino, Adam Driver, and Lady Gaga on particularly exceptional form. Jared Leto dominates many scenes with his bald head, extra weight and screechy voice. While entertaining, the director could have reigned Leto in slightly to extract more pathos from the sad clown that is represented in Paulo Gucci.

I had a few issues with The House of Gucci (2021) inasmuch as it felt incomplete. At times it was as though I was watching a test screening version. The transitions between years were often confusing. What year is it, Ridley? Adam Driver’s arc from likeable young academic to selfish adulterer was rushed and unearned. I got the evocation of a Fredo and Michael Corleone dynamic between Maurizio and Paulo, but this really could have been developed further. The cinematography was grey and dull with the natural lighting style working against the expected colour and vibrancy of the 1980s era. I also wondered if the film had been graded?

While watching The House of Gucci (2021) I just kept thinking of more superior crime and gangster films. It is also mildly disrespectful to a genius like Ridley Scott to say Martin Scorsese would have knocked this story out of the park. I truly felt, while Lady Gaga was excellent in her role, her character could have been written and given a voice-over up there with that of Henry Hill’s. Nonetheless, I still enjoyed the film but wonder if there is a director’s cut out there which doesn’t feel rush released. Or even the possibility HBO or Showtime may adapt it into a longer drama series in time. Yet, does one want to spend more time with such avaricious and vain characters? Depends who is telling the story I guess.

Mark: 7.5 out of 11

Cinema, Netflix, Reviews

NETFLIX FILM REVIEW: DA 5 BLOODS (2020)

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NETFLIX FILM REVIEW: DA 5 BLOODS (2020)

Directed by: Spike Lee

Produced by: Jon Kilik, Spike Lee, Beatriz Levin, Lloyd Levin

Written by: Danny Bilson, Paul De Meo, Spike Lee, Kevin Willmott

Cast: Delroy Lindo, Jonathan Majors, Clarke Peters, Norm Lewis, Isiah Whitlock Jr., Mélanie Thierry, Paul Walter Hauser, Jasper Pääkkönen, Jean Reno, Chadwick Boseman etc.

Music by: Terence Blanchard, Marvin Gaye

Cinematography: Newton Thomas Sigel

Distribution: Netflix

***MAY CONTAIN SPOILERS***

Shelton Jackson “Spike” Lee has been a prolific actor, director, producer and polemicist for some time now. An ultra-talented and outspoken cinematic artist, he has directed thirty fiction and documentary films since his debut feature film She’s Gotta Have It (1986). Plus, all manner of promos, commercials, music videos, short films and television series. An energetic firebrand of a director he has made films in many genres and is a risk-taker in subject, theme and style. Whether you agree with what he has to say he is a filmmaker who is always creating situations and characters who must be heard.  

His latest film, Da 5 Bloods (2020), is a timely Netflix film release which encapsulates crime, heist, political, war, drama, Blaxploitation, comedy, documentary, love and experimental film genres. Lee has never been afraid of taking risks and sometimes his films have not worked because of it. However, with BlacKKKlansman (2018) he succeeded in making one of the best films of 2018 and should have won Best Film Oscar in my view. Da 5 Bloods (2020) grabs the power baton of Lee’s prior film and runs with it, delivering an entertaining, funny, thought-provoking, stylish and brilliant genre-blending story full of sustainable socio-political arguments in the era of the Black Lives Matter movement.

The narrative begins by establishing four aging Vietnam veterans, portrayed by the magnetic ensemble of Delroy Lindo, Clarke Peters, Norm Lewis and Isiah Whitlock Jr. They meet in Ho Chi Minh City in order to venture into the jungle and locate the remains of their squad leader. During some very stylised, richly colour-saturated and impactful flashbacks, it is revealed their friend, “Stormin Norman” (the charismatic, Chadwick Boseman), was killed in combat. Furthermore, and this is the money reason they are back in ‘Nam – there is army gold in those hills. Thus, the comrades set out to locate their friend’s body, and the gold, in order to find reparation and hopefully some form of redemption.

The film begins warmly as we enjoy the company of these great actors portraying reunited friends on an old boys outing. However, the film, as it introduces further subplots involving Jean Reno’s suspicious businessmen, Desroche and Delroy Lindo’s Paul crumbling mental state, moves into far darker territory the further the men get into the jungle. Lindo himself gives arguably the best performance of his career as a soldier grieving for his lost friend and desperate to get compensation for the unjust loss of so many lives in Vietnam. His character’s downward mental trajectory is one of the most powerful elements of Da 5 Bloods (2020). No doubt Lindo will be nominated come awards time and so he should be.

The cinematic excellence on show too from Spike Lee and his production crew is to be applauded too. Lee’s box of magic tricks includes: jump cuts, aspect ratio switches, colour saturation, Shakespearean soliloquies, documentary footage, flashbacks, conveyor-belt camera tracks, stills photography, slow-motion, direct address and many other devices. The exceptional cinematography is drenched in an opulent score from Terence Blanchard and the incredible voice of Marvin Gaye. I guess my main reservations about the film would be the elongated running time, with some scenes indulgently over-running. Moreover, there were also a couple of convenient plot coincidences which could have been ironed out. Nonetheless, with Da 5 Bloods (2020), Spike Lee has delivered another bravura mix of genre and socio-political filmmaking which, like classics such as The Treasure of Sierra Madre (1948) and Apocalypse Now (1979), stare into the dark heart of humanity and find greed, war and death there. Unlike those two films though, Da 5 Bloods (2020), also contains hope, light in the tunnel, and the idea that togetherness brings strength in the face of adversity.

Mark: 9 out 11

Cinema, New Releases, Reviews

STAR WARS: THE RISE OF SKYWALKER (2019) – MOVIE REVIEW

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STAR WARS: THE RISE OF SKYWALKER (2019) – MOVIE REVIEW

Directed by: J.J. Abrams

Produced by: Kathleen Kennedy, J.J. Abrams, Michelle Rejwan

Screenplay/Story by: J.J. Abrams, Chris Terrio, Derek Connolly, Colin Trevorrow – based on characters created by George Lucas

Cast: Carrie Fisher, Mark Hamill, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Naomi Ackie, Domhnall Gleeson, Anthony Daniels, Lupita Nyong’o, Keri Russell, Richard E. Grant etc.

Music by: John Williams

**SPOILER FREE REVIEW**

The J. J. Abrams directed Star Wars: The Force Awakens (2015) reboot broke not only the internet, but also box office records worldwide. It was a safe, entertaining and impressive spectacle which combined a mix of older characters we knew and loved, plus some bright young new things too. The action was breathtaking and brilliantly done, however, the story was a retread of A New Hope (1977) (with a female Luke), plus a series of glaring plot holes. Still, loads of action and great bad guys made this a fun blockbuster. 

Director Rian Johnson’s, sequel Star Wars: The Last Jedi (2017) was, of course, another massive hit across the galaxy too. However, having watched it again recently, I felt it was racked with inconsistencies in tone and suffered weak storytelling. Indeed, the whole trilogy ground to a virtual standstill with Rey’s central story standing still and Poe and Finn’s mission proving to be a redundant decoy and wild goose chase rolled into one. Furthermore, I was shocked that a meta-filmmaker like Rian Johnson was given the Star Wars gig. To me, his filmmaking choices are too genre subversive and so it proved. Because, while The Last Jedi (2019) had some memorable moments, (mostly Adam Driver) and Luke’s emotionally charged arc, yet overall it failed as a Star Wars story.

Thus, it was not surprising when genre specialist, J. J. Abrams, was brought back to save the trilogy with The Rise of Skywalker (2019). In returning to the safe, fast-paced, spectacular blockbuster style of The Force Awakens (2015), we may have lost idiosyncratic moments of character and humour, but at least this story has plot cohesion, punchy pay-offs and emotional impact. What The Rise of Skywalker (2019) also has is incredible visual set-pieces throughout. The J. J. Abrams led production army of special effects wizards have given us some memorable light-sabre and space battles. One in particular on the moon of Endor, that finds Kylo-Ren (Adam Driver) and Rey (Daisy Ridley) facing off, took my breath away.

Another major strength of this final episode is that Rey’s narrative arc is finally given the development it should have got in The Last Jedi (2017). Daisy Ridley’s performance too in this film is excellent. While she was a bit lightweight in the first two films, I felt she really came into her own here. This is helped by the revelation as to who her real parents were. Having said that, Abrams and his co-writers desperately scrabble around in the first hour of the film trying to set this up. At times the pace was too hectic. However, once it settled and all the flashbacks and back stories were in place, Rey’s character faces a very ominous choice. Conversely, her deadly psychic link with Kylo Ren continues to be a fascinating duel of mind, spirit and body. These developments are assisted by another compelling performance by Adam Driver. Kylo Ren’s internal struggle comes to the fore too, with a number of heart-pounding pay-offs at the end.

I’m also pleased to say that Poe (Oscar Isaac), Chewbacca, and Finn (John Boyega) are given a real meaty mission to get their teeth into. One that in fact links to the main story and themes of the whole film too. The standard plot McGuffin here is a Sith “wayfinder”, which the rebel team and Rey set out to recover. Let’s be honest, it’s no more than a “Treasure Hunt” plot structure, however, at least it allows for the more emotionally charged aspects of the story to develop and leads us perfectly to the incredible battle sequences in the final act. Moreover, plot predictability aside, there are other weaknesses in the film. I didn’t mind the CGI-driven rendition of Leia Organa (Carrie Fisher), however, by the ninth episode in the franchise I felt maybe they’d waited too late to introduce new aspects of the Jedi mind-trickery. But, hey it worked well in the story and was so cool that you just accept ‘the force’ as is.

Ultimately, The Rise of Skywalker (2019) is a return to genre form following the idiosyncratic subversion of The Last Jedi (2017). In fact, it was so entertaining it is the most enjoyable one (excluding the prequels) of the new trilogy. Despite a rapid start to the narrative, which tries to recoup the ground lost by the prior film, once it finds a rhythm there are some amazing action set-pieces, impressively cinematic visuals and thrilling emotional moments. While it may adhere to cookie-cutter, franchise genre expectations, overall, The Rise of Skywalker (2019) is delivered with incredible force and made for perfect holiday blockbuster entertainment.

Mark: 8.5 out of 11

Netflix, New Releases, Reviews

MARRIAGE STORY (2019) – NETFLIX FILM REVIEW

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MARRIAGE STORY (2019) – NETFLIX FILM REVIEW

Written and Directed by: Noah Baumbach

Produced by: David Heyman, Noah Baumbach

Cast: Scarlett Johansson, Adam Driver, Laura Dern, Alan Alda, Ray Liotta, Julie Hagerty, Azhy Robertson, Merrit Weaver etc.

Cinematography: Robbie Ryan

Distributed by: Netflix

**MAY CONTAIN SPOILERS**

I think one of the trickiest things that can hinder a writer, is that doubt whether it is worth telling one’s story. This is especially true of privileged or first world narratives involving wealthy characters or those deemed not having to struggle daily. For me the way to beat such doubt is to write the hell out of your story. Moreover, you’ve got to make the story relevant to all audiences by concentrating on universal themes and creating empathetic characters. Noah Baumbach achieves this by writing and directing the hell out of Marriage Story (2019); a moving drama that focuses on something we can all relate to — a relationship break-up.

The film centres on a couple of creatives, Nicole and Charlie Barber, portrayed by Scarlett Johansson and Adam Driver. Charlie is a New York theatre director; Nicole is a Los Angeles actress. They have both been committed to forging successful careers. The film opens brilliantly as they attend relationship mediation, attempting to divorce amicably without the use of lawyers. Baumbach’s superb script starts strongly with each character delivering bittersweet monologues that describe what attracts them most to each other. Sadly, for them and their young son, Henry (Azhy Robertson), mediation fails and it’s not long before they are drawn into the Kafkaesque, manipulative and financially draining American legal system.

This is a gem of a film which finds a seemingly suited couple learning that their differences have slowly been driving a wedge between them. Charlie is a controlled and respected director who has worked his way up from nothing. Nicole is a more privileged, but equally talented actress; however, her free-spirited nature is locked in his shadows. Geographically too they are very different. While he is originally from Indiana, he has made New York his home. Moreover, while his avant garde plays have gained him critical acclaim, she yearns for the sunlight of Los Angeles and the offer of TV work. Thus, through sheer brilliance of the writing we, in a short period of time, understand and empathise with both characters’ situations.

As the narrative develops Baumbach’s script is brought to life with two incredible central performances by Adam Driver and Scarlett Johansson. They imbue Nicole and Charlie with a humanity and warmth, that even when we do not agree with their actions, we are still with them. As the story was inspired by his own divorce, Baumbach cares very much about these people. Indeed, he gives each actor the chance to shine during a number of fine monologues, bitter exchanges and heartfelt scenes of acceptance and potential reconciliation. Further, the supporting cast members are also really great too. Ray Liotta as a bitter shark of a lawyer and Laura Dern, as his legal adversary, have some wonderfully biting lines of dialogue. Meanwhile, Alan Alda, as Charlie’s other legal representative, is arguably too nice and avuncular for this cutthroat business. Together these collective legal minds, while shining a plausibly negative light on divorce proceedings, added strong energy to the comedy and drama of the film.

Ultimately, I have always respected Noah Baumbach’s films because he is a very solid independent writer and director. However, with Marriage Story (2019), he has matured beyond belief to create a compelling and funny relationship drama. It is full of standout scenes, with Adam Driver ever impressing and Scarlett Johansson delivering the best performance of her career. Lastly, as someone who has experienced a very difficult break-up involving a child, I felt every moment of grief, heartache, humour, love and relief on the screen. Yet, it’s worth reliving those moments because you know you survived; and so will Charlie, Nicole and their son, Henry.

Mark: 9.5 out of 11

Amazon Prime, Cinema, Reviews

THE REPORT (2019) – AMAZON FILM REVIEW

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THE REPORT (2019) – FILM REVIEW

Written and directed by: Scott Z. Burns

Produced by: Scott Z. Burns, Jennifer Fox, Danny Gabai, Eddy Moretti, Kerry Orent, Steven Soderburgh, Michael Sugar

Cast: Adam Driver, Annette Bening, Ted Levine, Michael C. Hall, Tim Blake Nelson, Maura Tierney, John Hamm, Douglas Hodge etc.

**CONTAINS REAL EVENT SPOILERS**

The Report (2019) is in the vein of recent films such as, Kill The Messenger (2014), The Post (2017), and Oscar winner, Spotlight (2015). It is based on true events and forensically documents a period of U.S. history which is both illuminating and engrossing. Adam Driver is cast as U.S. Senate staffer, Daniel J. Jones and given the task by Senator Feinstein (Annette Bening) to lead a team to investigate the 2005 destruction of interrogation videotapes. He begins the work in 2009 and is faced with six million pages of CIA materials to work through. It soon, unsurprisingly, becomes an obsessive and ordered job for Jones and it takes him years to ultimately finish the report.

I won’t give anymore away about the narrative events, but first and foremost this is a film about torture and admin. Writer and director, Scott Z. Burns cleverly structures the story between Jones’ researching the CIA materials and the actions of the Counter-Terrorist Centre staff led by the likes of Maura Tierney and George Fumusa’s characters. As the story proceeds, and details of extreme torture of terrorist subjects is revealed, Burns takes us further up the CIA food chain. Here we get a very damning critique of the horrifying lengths CIA operatives went to in order to secure information from suspects.

The Report (2019) is an engrossing film which I thought was going to go down the conspiracy thriller route or even the obsessive character breakdown study. There are elements of this, but essentially it is an extensively researched drama set in enclosed offices, in meetings, in Senate hearings, at desks and computer screens; all with flashes of interspersing violence. I’m not acutely educated in regard to American foreign policy and politics in general, but a potentially dry subject is made so engrossing by a fine script and brilliant cast. Adam Driver essentially goes to Washington, proving once again that he is one of the best actors around at the moment. Above all else though, the film stands as an impressive visual document and precis of the original seven thousand-page report by Daniel J. Jones.

Mark: 8.5 out of 11

Cinema, Films That Got Away

FILMS THAT GOT AWAY #3 – PATERSON (2016)

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FILMS THAT GOT AWAY #3 – PATERSON (2016)

Directed and Written by Jim Jarmusch

Produced by: Joshua Astrachan, Carter Logan

Cast: Adam Driver, Golshifteh Farahani, Barry Shabaka Henley, Cliff Smith, William Jackson Harper, Chasten Harmon, Nellie the Dog etc.

Music: Carter Logan

Cinematography: Frederick Elmes

**MAY CONTAIN SPOILERS**

I’ve recently been working on a screenwriting development programme with someone studying at the National Film and Television School. The idea is to further develop one of my feature film scripts and hopefully improve it. The Script Developer is assessed on the work we do together.

I tell you this because we discussed my script, which is a slice-of-life-bittersweet comedy, in relation to character journeys and arcs. I was keen to present a script made more of humorous and dramatic situations that do not necessarily bring about change in the character. I wanted to go against the general rules of screenwriting manuals to create something more akin to the works of Mike Leigh or Jim Jarmusch.

Eventually, I have decided that the screenplay did need a bit more narrative impetus, however, a film such as Paterson (2016), brilliantly shows what cinematic beauty you can achieve without having a critical character journey or narrative arc. It is cinema of poetry, repetition, small moments, character interaction, and subtle performance full of emotional impact. I’m not sure why I missed it at the cinema, but there you go.

Paterson (2016) is set in Paterson, New Jersey. Adam Driver is a bus driver who has the same name as the place he lives in. This amusing coincidence is mentioned a few times throughout the film. Paterson lives with his wife Laura (Golshifteh Farahani), who spends her days working on her art and has a love for black and white patterns. Farahani and Jarmusch fill this character with an idealised innocence and energy which perfectly complements Paterson’s more deadpan insouciance. I sensed that perhaps Paterson was depressed but I think he was happy deep down. The couple themselves are very content with their simple existence.

We spend a week with Paterson, his wife and Nellie the Dog and his days are pretty much the same. While some may wonder where the story is and when something will happen, I was hypnotised by the repetition. Jarmusch infuses the bus driving, dog walking and quiet moments of reflection with excerpts from Paterson’s and other poets’ works. These are recited by Driver with a laconic charm and mesmeric power.

Personally, I could watch Adam Driver all day. He has such a subliminal and easy acting style, yet you feel such empathy for his character. I thought the back-story of Paterson being a marine was underplayed, but also intriguing. The performance is so good we do not need to know what happened in Paterson’s past, because we can feel it in Driver’s face and being. Moreover, via Paterson we get introduced to another set of eccentric Jarmusch characters which dip in and out of his days.

In conclusion, Jim Jarmusch has created another exquisite character study where very little happens in terms of plot or character development. But that’s the point with this beautifully rendered slice-of-life. The care and love he pours into the lead protagonists, supporting characters and his passion for poetry, make this a modern mini-masterpiece. It is also a charming tribute to all those creative people who work a regular day job but aspire to express their vision of the world around them.

Mark: 9.5 out of 11

Cinema, New Releases, Reviews

HORROR DOUBLE BILL: THE DEAD DON’T DIE (2019) & ANNABELLE COMES HOME (2019) REVIEWS

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HORROR DOUBLE BILL REVIEWS

THE DEAD DON’T DIE (2019)

Written and directed by: Jim Jarmusch

Cast: Adam Driver, Bill Murray, Chloe Sevigny, Tilda Swinton, Steve Buscemi, Caleb Landry-Jones, Danny Glover, Selena Gomez, Tom Waits and many more.

As a big fan of Jim Jarmusch films and a big fan of zombie films I was really looking forward to the Dead Don’t Die (2019). Interestingly though, it neither works as an arthouse horror film or dramatic zombie film. There’s a lot to enjoy, especially with the deadpan wit, but overall the film felt underwhelming to me.

Set in the fictional American town of Centerville, we find out fracking or some similar stupid human being industrial act has caused a global disaster. Suddenly we get a disparate set of townsfolk including hermits, Republican farmers, waitresses, cops, morticians, College kids, all fighting the living dead. The acting led by Adam Driver, Bill Murray and Tilda Swinton is the best thing about the film. Yet, while I was chuckling at many of the dry lines of dialogue, the film falls flat with a plodding and disappointing ending. Jarmusch, in his inimitable style essentially undermines the raft of intriguing archetypes he has established with a deconstructive and knowing final act.

I think the main problem is Jarmusch, while paying lip service to the likes of George A. Romero, did not commit fully to making a proper zombie film. This is a comedic parody and satire which lost me when Adam Driver’s character become overly self-reflexive. Jarmusch sets up some great characters to fight the dead but throws them away for clever-clever-Godardian-oh-we’re-in-a-movie references which undermine the comedy, drama and horror. I love Jarmusch’s style and he has made some cult cinema classics. This, alas, is not one of them.

Mark: 6.5 out of 11

ANNABELLE COMES HOME (2019)

Directed and written by: Gary Dauberman

Cast: McKenna Grace, Madison Iseman, Katie Sarife, Patrick Wilson, Vera Farmiga etc.

Having watched the Dead Don’t Die (2019), I decided to make the most of my Odeon Limitless card and watch the next instalment in a franchise which shows absolutely no sign of dying. I really liked The Conjuring and Insidious franchises, which involved horror experts including James Wan and Leigh Whannell. However, the monstrous creations such as Annabelle and The Nun are pretty thin in terms of credible horror threat and cinematic quality. Having said that this latest film Annabelle 3 film already made $200 million at the box office, so what do I know!?

The story is pretty threadbare, but it concerns Ed and Lorraine Warren’s demonic spirit room which, for some bizarre reason they entrust a teenage babysitter, Mary Ellen (Madison Iseman) and their daughter, Judy (McKenna Grace), NOT to open while they’re away. Guess what happens? A friend of Mary Ellen, Daniela (Katie Sarife), opens the spirit room and all hell breaks loose due to Annabelle the evil doll causing all the devilish spirits to rise up and frighten the characters half to death.

I actually liked the cast of young actors here, most notably McKenna Grace, who is very talented. Daniela’s character also had some decent motivation for her ridiculous actions as she sought closure with her dead father. At times I was quite fearful due to some decent jump scares, deadly creatures and creepy use of lighting tricks. However, the whole thing seemed like a cash-in with new monsters being introduced to expand the franchise further. Even fine actors such as Patrick Wilson and Vera Farmiga seemed happy, laughing all the way to the bank with their book-ended cameos.

Mark: 5.5 out of 11

Cinema, New Releases, Reviews

BLACKKKLANSMAN (2018) – CINEMA REVIEW – Spike Lee delivers one of the best films of 2018!

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BLACKKKLANSMAN (2018) – CINEMA REVIEW

Directed by: Spike Lee

Produced by: Jason Blum, Spike Lee, Raymond Mansfield, Sean McKittrick, Jordan Peele, Shaun Redick, Jordan Peele

Written by: Charlie Wachtel, David Rabinowitz, Kevin Willmott, Spike Lee

Based on: Black Klansman by Ron Stallworth

Starring: John David Washington, Adam Driver, Laura Harrier, Topher Grace

Music by: Terence Blanchard

Cinematography: Chayse Irvin

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Let’s just say right off the bat that films like Black Klansman (2018) are the reason I still go to the cinema. Even from the trailer I’m like wow: a black police officer goes undercover and infiltrates the Ku Klux Klan!!  That is a story I need to know about!  How the hell did he do that?  What follows then is the how, who, why and what-the-fuck-happened story of Ron Stallworth and how he managed to get between the “sheets”, as it were, of one of the nastiest clubs every to deface the fabric of society.

Racism or prejudice of any fashion is deplorable. There is no place for any oppression within a civilised society. Rising up out of the poisonous embers of defeated Confederate army members, in or around the 1860s, the Ku Klux Klan has sought to manifest hatred and bile since then. Murder, violence, vandalism, hangings and burning crosses became its’ nefarious stock and trade as it sought to make toxic the societal waters. In more recent decades, from the 1950s on, the Klan found a politicised voice seeking power through government. It is here that the story of the Black Klansman (2018) joins. It is 1979 and the civil rights movement continues seeking justice and equality for all. The Ku Klux Klan does not agree. They want purification. They are hatred.

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Already a trailblazer as the first black detective in Colorado Springs, Ron Stallworth proves he is an intelligent and reliable undercover officer. Then having seen an advert in the local newspaper for the KKK’s desire to recruit new members, he, rather incredibly, calls to make an appointment. From then on his unbelievable scheme gathers pace and a team is assigned to infiltrate the Klan. These include Flip Zimmerman, a Jewish cop, portrayed with his usual laidback brilliance by Adam Driver; and it is Zimmerman who provides the physical version of Ron Stallworth to the Klan members. Indeed, Driver and John David Washington, as the real Stallworth, form a great double-act during the operation. While Zimmerman takes his life in his hands spying on the fascistic group, Stallworth himself builds relationships on the phone with the head of the Klan Charter, David Duke. Duke is the political arm and portrayed with efficient zeal by Topher Grace.

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Black Klansman (2018) is a complex film which expertly mixes many genres and tones. The humour of Stallworth’s phone calls to the KKK members are hilariously delivered by the charismatic Washington; while the horrific language of the Klan and danger Zimmerman finds himself in levies this humour, creating a flux of emotions. Moreover, Spike Lee, a tremendously confident director, infuses musical, thriller, Blaxploitation and documentary genre styles within the film, making it a joy to experience. One could argue the romantic subplot doesn’t quite flourish amidst the main plots but Laura Harrier gives a fine performance nonetheless within a great ensemble cast. Plus, I must not forget the killer soundtrack which bleeds soul and verve into every shot.

Spike Lee has never been afraid of experimenting with cinematic style and with this film his alchemy perfectly combines form and content. Overall, this is one of the best films I have seen in 2018, both entertaining and thought-provoking; as the final reels of news footage demonstrate that fascism is still among us and as dangerous as ever. Yet, this film is never preachy for the sake of it and uses humour most often as a weapon to undermine the senseless ideologies of the KKK. Indeed, in ridicule there is hope they may eventually be side-lined to the shadows of history.

(Mark: 10 out of 11)

Cinema, Essays and Theory, Reviews

SILENCE (2016): REVIEWED BY A RELIGIOUS OUTSIDER

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SILENCE (2016): REVIEWED BY PAUL LAIGHT

Rather than review every single thing I have seen in one monthly instalment I have decided to theme my reviews concentrating on quality rather than quantity in 2017. So, here I go with a light essay on the nature of the existence of God, the relevance of religion in today’s world and at the same time give my humble opinions on Martin Scorcese’s passion project Silence (2016).

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In my mind I do not believe in God. I do not believe in a higher-power that created Earth and oversees our everyday lives. I believe Jesus, Buddha and Mohammed existed in some form or another in the past and their philosophies and teachings laid the groundwork for Christianity, Islam and Buddhism; plus many of the other religions that are followed today. Personally, I believe in all that I see and hear and experience in life and while I respect other people’s faith, commitment to an all-powerful being is not for me. Each to their own I reckon.

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A belief in Heaven and God certainly explains many things such as why are we here? And what happens when we die? Because let’s face it the threat of a never-ending abyss of no consciousness is a terrifying thought after all. I mean, I lived and studied in Stoke-on-Trent for three years so have seen the void and it is frightening. So, I get that people need some comfort and answers to difficult questions. It’s just a shame that religion, organized or otherwise, has been used historically for not only good but also something that has caused: torture, war, murder, inquisitions, control, heartache and division etc. But, hey, that’s more of a critique of humanity rather than faith.

Thus, while I respect individual’s choice of faith or politics or ideology, religion and prayers are not for me. Having said that, I’m not a fundamental atheist looking to attack those believers and when reputed filmmakers such as Martin Scorcese embark on personal journeys into their own faith it certainly makes one have a look and reconsider your own perspectives. Indeed, Silence features a lead character which clearly acts as Scorcese’s personal conduit as Rodrigues journeys into the heart of darkness and faces a horrific test of faith.

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Like The Last Temptation of Christ (1988) and Kundun (1997), Martin Scorcese is no stranger to broaching heavy and powerful subjects relating to religion. Of course, it’s easy to say I prefer his stylised, violent and darkly humorous gangster films as they are eminently watchable with kinetic camerawork, great soundtracks and brutal men taking each other out in all manner of bloody ways. Having said that these films still ring true to Scorcese as he grew up in a tough Italian neighbourhood where more often than not the choice was to become a gangster or a priest. What a choice!

Silence is set as far away from New York as you could get: in 17th century feudal Japan. It concerns two priests Rodrigues and Garupe (brilliant portrayed by Andrew Garfield and Adam Driver) who venture into the heart of darkness to attempt to find their mentor, Father Ferreira (Liam Neeson). It is a long film which requires much stamina in both heart and mind and at times certainly tested my faith in the director. However, after it had ended it left me with so much to think about I knew it was worth the journey. It’s a story that you absorb through your psyche and physicality. It does not strike any easy notes as it discordantly pulls at your cerebral sinews.

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The first act quickly establishes the drama but I felt that the second thirty minutes was arguably too slow as I was very keen for the quest to find Ferreira gain some pace. Yet, when the film focusses on Andrew Garfield’s character and the testing of his faith Scorcese really got to the heart of the narrative. Moreover, there was much in the film which reflected today. The priests are captured, humiliated and tortured in a Japanese equivalent of Guantanamo Bay. But the Japanese were not stereotypical or evil for evil’s sake. Their motivations of protecting their culture and own religion were well argued. In fact, it’s an important theme in the film where, in testing Rodrigues’ faith, are they not perhaps right to protect their way of life? Especially given they may have some knowledge of the violence committed by Westerners and Christians in the name of God.

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Overall, Silence is a reflective and personal film about faith and culture clashes. Over the running time Scorcese, through the characters, questions his beliefs and how he should best go about praising the Lord. Scorcese’s soul is in many characters notably Rodrigues but also Neeson’s Ferreira. Most importantly he is also present in a fascinating sin-confess-repent-Judas character called Kichijiro (Yōsuke Kubozuka). While moving at a meditative pace Silence possesses some wonderful cinematography, sterling performances and a brooding score. Ultimately, faith is a personal choice and whether you believe in God or not an individual must choose their own path of faith even if it is silence.