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Cinema, New Releases, Reviews

CAPTAIN MARVEL (2019) – MOVIE REVIEW

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CAPTAIN MARVEL (2019) – MOVIE REVIEW

Directed by: Anna Boden, Ryan Fleck

Produced by: Kevin Feige

Screenplay by: Anna Boden, Ryan Fleck, Geneva Robertson-Dworet

Based on: Captain Marvel by Stan Lee, Gene Colan

Starring: Brie Larson, Samuel L. Jackson, Ben Mendelsohn, Jude Law, Djimon Hounsou, Lee Pace, Lashana Lynch, Annette Bening, Gemma Chan etc.

**MAY CONTAIN SPOILERS**

Not only am I getting comic-book movie fatigue, but I’m also getting comic-book movie reviewing fatigue too. I mean, what else can be said about said collection of films mostly delivered by Marvel and DC over the last decade? Plus, don’t forget the cavalcade of Marvel TV adaptations too on Netflix and other channels.

On the whole I have enjoyed the journey into the Marvel universe and the studio does deliver mostly cracking entertainment within a very solid genre formula. Of course, I can choose NOT to watch them due to being jaded, but I feel invested enough to complete the superhero cycle, especially where the Marvel films are concerned. Thus, with one eye on the Avengers: Endgame (2019) epic that is due for release very soon, I approached Captain Marvel (2019) with relaxed expectations, just out for a bit of a blast before the final Avenger chess pieces all meet to save the world – AGAIN!

Captain Marvel is a 1990s set action-drama prequel which presents a fast-paced couple of hours set in space and on Earth. It comes at a weird release time in the franchise as this kind of origins story has been done ad infinitum, plus the time it is set means much of what occurs could be deemed dramatically redundant. Nonetheless, it begins with a galactic soldier named Vers (Brie Larson), training with Jude Law’s battle-hardened mentor, Yon Rogg. They are part of a crack team of Kree fighting a shape-shifting enemy called Skrulls. These terrorists threaten the Kree civilisation and must be stopped at all costs. Allied to the main conflict, Vers is suffering post-traumatic stress via flash memories which cause her to question her past and identity. Following a planetary raid which goes awry, Vers is conveniently stranded on Earth, with the villains in pursuit. Here she joins forces with, whom else, Agent Nick Fury (Samuel L. Jackson), and then her literal journey of discovery really gathers pace.

Putting aside Marvel narrative fatigue I still managed to enjoy the movie immensely. Despite the story and plot weaknesses the final hour of action and battles sequences are very impressive. The first hour though finds the screenplay broken and confused. Indeed, like the character, the film is caught between two identities and also has tonal issues. It’s somehow trapped between the character driven, indie style of directors, Boden & Fleck, and the usual Marvel gags, pop music, alien artefacts and explosions shtick.

I loved that Danvers’ character and Brie Larson were given the chance to show depth of emotion; however, by presenting the story in a flashback-non-linear-amnesiac-plot-style, all emotional resonance was lost in the mix. Thus, the story became broken-backed trying to cover too many bases in the wrong order. For example, the empowerment montage, near the end, of Danvers’ character finding strength from overcoming past failures is terrifically planned and shot. It’s a shame though that it does not carry the dramatic weight it could have.

Having said that, there’s loads of stuff to enjoy, notably: some clever plot twists; a committed cast including the effervescent Larson and Jackson double-act; Ben Mendelsohn as the head shape-shifter, Talos; the Gwen Stefani-driven-pop-kick-ass-action in the final act; loads of great gags, especially the cat ones; plus, a bundle of Marvel in-jokes, call-backs and inter-textual references. Ultimately, Captain Marvel, is a very solid work of entertainment which, while opening up the whole “where was Captain Marvel until now?” plot hole, manages to fill the gap enjoyably before the whole game finally comes to an end.

Mark: 8 out of 11

Cinema, New Releases, Reviews

BOY ERASED (2018) – CINEMA REVIEW

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BOY ERASED (2018) – CINEMA REVIEW

Directed by: Joel Edgerton

Screenplay by: Joel Edgerton – Based on: Boy Erased: A Memoir by Garrad Conley

Produced by: Joel Edgerton, Steve Golin, Kerry Kochansky Roberts

Cast: Lucas Hedges, Nicole Kidman, Russell Crowe, Joel Edgerton, Joe Alwyn, Xavier Dolan, Cherry Jones, Flea etc.

**MAY CONTAIN SPOILERS**

It never fails to sadden me the horror that other human beings inflict on each other out of ignorance, intolerance and misguided indoctrination. Boy Erased (2018), is a film that highlights such negative practices committed by parents on their actual children because they are perceived to be abnormal in their eyes and the rules of their faith. I’m not religious but respect those who have different beliefs to me, unless of course those beliefs are used to castigate and punish other human beings. Surely, the basic tenet of any religion, including Christianity, should be kindness, understanding and forgiveness. When such integral ideals are broken then such doctrine should be shunned and held up for criticism.

Boy Erased is based on Garrad Conley’s memoir of how his religious parents send him for gay conversion therapy, and the film is structured around the sad events which occurred to Garrad. Conley’s persona and emotional strife is evoked brilliantly in the character of Jared Eamons. Portrayed with sensitivity by the talented Lucas Hedges, the humanity and empathy he delivers is highly impactful. Jared is an innocent who is undeservedly thrust into an unnatural and bullying environment, forcing him to change his sexual identity through shame and persecution.

The main thrust of the film finds Jared at the assessment centre and this brings about some harrowing scenes where young men and women are effectivelly imprisoned and vilified in the name of God. While certain scenes are emotionally charged and disturbing the film could have gone even further, however, director Joel Edgerton wisely opts for more subtlety rather than “fire and brimstone” tabloid filmmaking. Indeed, Edgerton and his cinematographer opt for a drained colour scheme and natural lighting style to evoke realism within the action.

Edgerton not only directs and writes with purpose, but also casts himself as the main antagonist and lead “therapist”, Victor Sykes. Sykes is seen as dominating but ultimately weak-willed, deflective and controlling. As Jared’s parents, Nicole Kidman gives a solid performance in the role of his conflicted Mother, while Russell Crowe imbues his preacher with both religious fervour and a sense of torn loyalty. Jared’s parents, in the end, are not bad people. They have just been faced with a difficult situation and are advised badly by their faith and Church.

Ultimately, this is a quietly compelling character drama which highlights very important issues in regard to faith, sexuality and family. I’m not sure why it wasn’t acknowledged more by the Academy Awards, notably in Lucas Hedges fine performace. Nonetheless, it is an important story which is constructed with care. Rather than demonize families and religion, it seeks to highlight and campaign for education, tolerance and love. These things, for me, are what true faith should be about.

Mark: 8.5 out of 11

Cinema, New Releases, Oscar Bingo, Reviews

VICE (2018) – CINEMA REVIEW & OSCAR BINGO #3

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VICE (2018) – CINEMA REVIEW

Directed by: Adam McKay

Produced by: Brad Pitt, Dede Gardner, Jeremy Kleiner, Kevin J. Messick, Will Ferrell, Adam Mckay

Written by: Adam McKay

Starring: Christian Bale, Amy Adams, Steve Carell, Sam Rockwell, Tyler Perry, Alison Pill, Lily Rabe, Jesse Plemons

**CONTAINS HISTORICAL SPOILERS**

Unlike the previous Oscar Bingo attempts for A Star Is Born (2018) and First Man (2018), this review has full knowledge of the nomonations. So, rather than be guess work this review of Vice (2018) is intended to be based on more constructive critiques of the Oscar nominated films I have seen.

BEST FILM CHANCES – 8/10

For starters, Vice is certainly worthy of its award nominations. I have seen some criticisms that it is cartoonish and simplistic and while I actually agree with this, it is also a brilliant and scabrous work of satire. Yes, 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.

While I believe Roma (2018) will win the Best Film, I enjoyed Vice more from a stylistic, educational and emotional perspective. I was drawn into the murky world of American politics by McKay and his fantastic ensemble cast, and was compelled by the machinations of Cheney’s manipulative puppet-master to Bush’s marionette President. McKay’s film, while certainly one-tracked, powers along picking apart and satirising one of the most shadowy political figures of recent years.

BEST DIRECTOR CHANCES – 8/10

In terms of tone and narrative, McKay’s The Big Short (2015) was arguably a more cohesive film. Indeed, Vice is presented more as a non-linear monatge and sketch style recreation of key events in Cheney’s life. But I loved the style and McKay should be praised for his editing choices. He throws the veritable formalistic kitchen sink at the film using: direct address, Shakepearean monologue, cross-cutting montage, fake credits, voiceover, freeze frames, fake footage, stock footage, flashbacks, flash forwards, inter-titles, third-party narrator and many more stylised tropes. In my view his directorial bag of tricks are utilised without losing emotional impact too. While Alfonso Cuaron will probably win McKay certainly deserves kudos for enlivening his subject matter with such storytelling choices.

ACTOR IN A LEADING ROLE CHANCES – 10/10

Christian Bale should win. I have not seen Rami Malek, Viggo Mortensen or Willem Dafoe’s acting in their respective roles but Christian Bale is astonishing. Fair enough, he has taken a real person and delivered an emulation performance, but he also brings to Cheney to life with formidable cinematic style. Of course, the physical transformation could take the headlines but in terms of emotion and mentality he really raises the perfomance bar. Cheney may be an enigmatic character but Bale brings quiet menace, whispers and manipulation to the role. There is also a sly humour there too which makes Bale’s Cheney another memorable acting monster he’s created.

ACTRESS IN A SUPPORTING ROLE CHANCES – 8/10

Amy Adams is one of my favourite actors. Not quite a Lady Macbeth character, her Lynn Cheney pushes Dick forward mercilessly to make a better man of himself. She is the foundation and rock of their relationship and glues his life together when he faces health issues and political setbacks. Adams nails the role, and while Rachel Weisz will probably win for The Favourite (2018), Adams may finally get the Oscar she deserves.

ACTOR IN A SUPPORTING ROLE CHANCES – 5/10

Sam Rockwell is excellent in emulating George W. Bush but he only has a few scenes. While Rockwell dumbs down with the best of them I would have nominated Steve Carell instead. His Donald Rumsfeld, was a creeping, neurotic and conniving joy and definitely deserved the nomination in this category.

ORIGINAL SCREENPLAY CHANCES – 7/10

The film benefits from a sparky screenplay which keeps a potentially dull subject spinning along in an entertaining fashion. It takes a complex set of characters and scenarios, and despite simplifying to fit a leftist agenda, still constructs intelligent analyses of Cheney and Washington at large. Ultimately, Cheney is shown to be an opportunist and dangerous person who manipulated information and policy to finagle the USA and allies into a war for profit. Even worse he did so from the position of Vice President – boo Cheney! Boo! While McKay deserves praise for his brave creative choices, I would go for Paul Schrader’s exceptional First Reformed (2018) in the original screenplay category; Schrader deserves it more.

CONCLUSION

I am a big fan of satirical works such as: Private Eye, Yes Minister, Spitting Image, The Thick Of It, Veep and South Park. They seek to undermine and take critical shots at our leaders, illustrating the danger, absurdity and stupidity of those in power. They also, in an entertaining way, carry a message that those serving their country are often serving themselves more. Conversely, a film like Vice, however cartoonish or broad, still has the power to highlight the corruption and horror of a man like Cheney. While the script and direction are tonally scatter-gun, Bale’s incredible rendition, and the marvellous supporting cast, anchor the film and ensure this satirical ship rarely hits the rocks.

Mark: 9.5 out of 11

Cinema, New Releases, Reviews

STAN AND OLLIE (2018) – CINEMA REVIEW

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STAN AND OLLIE (2018) – CINEMA REVIEW

Directed by: Jon S. Baird

Produced by: Faye Ward

Written by: Jeff Pope

Cast: Steve Coogan, John C. Reilly, Shirley Henderson, Nina Arianda, Rufus Jones, Danny Huston etc.

**CONTAINS HISTORICAL SPOILERS**

There are very few things as warming and pleasant as taking a trip down memory lane, recalling the fuzzy thoughts of a bygone childhood time when everything was laughter and escape. Escape in this instance came in the form of a black and white television box; while laughter came from watching arguably the greatest comedy double act in movie history on TV every early evening after school on BBC2. To be sure, my youth would have been a lot more depressing without Laurel and Hardy’s comedies to divert my mind away from family strife, school bullies and grey council estate existence.

Watching Stan Laurel and Oliver Hardy’s comedies was a formative part of my early years and I have continued to be a fan of there work to this day. It’s incredible that, when I was a kid, films made nearly forty years before had me in uncontrollable fits of laughter. Even now classics such as: Laughing Gravy (1931), Way Out West (1937), The Music Box (1932), Sons of the Desert (1933), County Hospital (1932), Busy Bodies (1933), Our Relations (1933), The Flying Deuces (1939) etc. to name just a few of their incredible output, retain the power to have me in stitches. Laurel’s skinny dumb man-child perfectly contrasted Hardy’s larger more confident, yet deluded leader of the two. Their comedy derived from their hapless misadventures, usually involving some new business venture or fish-out-of-water situation which resulted in anarchic chaos and silliness all round. But the comedy was not simple pratfalls but carefully constructed sight-gags, complex slap-stick set-pieces and constant battles with wives, girlfriends or authority figures.

After briefly establishing the characters of Stan and Ollie in Hollywood during 1937, the Jeff Pope scripted film moves to the United Kingdom in 1953. Here Laurel and Hardy’s star is on the wane and they have taken a music hall tour to try and make a few quid, while potentially getting a Robin Hood movie off the ground. With their health suffering, especially Hardy’s, due to excessive alcohol and food intake, the two begrudgingly go on tour while bitter acrimony simmers underneath. On top of that the tour is struggling due to a lack of promotion by Bernard Delfont and the whole thing looks like it could be a disaster. I must admit the film is not really that dramatic and stands more as a nostalgic tribute to the power of Stan and Ollie’s friendship and comedic relationship. Laurel is the workaholic always cracking wise and looking for the next gag, while Hardy is the more sociable and relaxed with an eye for the ladies and horses.

Jon S. Baird directs with a deft hand, yet he has two incredible actors in the lead roles. Steve Coogan and John C. Reilly are absolutely perfect as Stan and Ollie. Their mannerisms and comic timing in capturing the comedy duo are a joy to watch. Moreover, there’s a wistful pathos in the fact a great life journey is about to come to an end. Here, Coogan and Reilly bring a real warmth to the roles and as they resolve their tensions the over-riding emotion ultimately is love. As the tour continues they are joined by their wives, portrayed by Shirley Henderson and the scene-stealing, Nina Arianda. Their relationships at times reflects the hen-pecking women Stan and Ollie would find themselves chained to in their movies, but there’s clearly a lot of love on screen too. Lastly, despite their health issues Stan and Ollie are born entertainers, fully committed to the ethos that the show must go on.

Overall, Stan and Ollie is a wonderful paean to two of the greatest comedic actors that ever lived. It’s gentle in pace and drama but anchored by two mesmerising performances by Coogan and Reilly. Despite the low budget, the period locations and costumes are brilliantly designed, and I especially enjoyed seeing many recognizable London locations. The biggest highlight though throughout is the hilarious re-enactments of many of Laurel and Hardy’s famous sketches, songs and movie moments. These took me back to my youth and days of watching Stan and Ollie on that small black and white box at home, laughing my silly head off without a care in the world.

Mark: 8.5 out of 11

Cinema, New Releases, Reviews

SORRY TO BOTHER YOU (2018) – CINEMA REVIEW

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SORRY TO BOTHER YOU (2018) – CINEMA REVIEW

Directed by: Boots Riley

Produced by: Nina Yang Bongiovi, Kelly Williams, Jonathan Duffy, Charles D. King, George Rush, Forest Whitaker

Written by: Boots Riley

Starring: Lakeith Stanfield, Tessa Thompson, Jermaine Fowler, Omari Hardwick, Terry Crews, Danny Glover, Steven Yeun, Armie Hammer

**SPOILER FREE REVIEW**

Just when you think the well was drying up somewhat in regard to favourite films of the year, Sorry To Bother You (2018) comes along and jumps straight into my top twelve. Written and directed by activist and musician Boots Riley, this really is a humdinger of an absurdist comedy and must surely be a contender for best original screenplay of the year.

Centring on Oakland-based Lakeith Stanfield’s downtrodden everyman, Cassius Green, we find him unemployed and desperate to find work. So much so he takes a soulless commission paid job at RegalView selling encyclopaedias. So far so normal but very quickly events take many left field turns and Cassius is catapulted into a world of corporate greed, worker rebellion, romantic difficulties and some very weird science.

I do not want to give too much away but I had a blast with this film. Indeed, it’s best watched when you know as little as possible about the story. All throughout writer and director Riley has managed a great balance between believable situations and ridiculously surreal humour. His screenplay manages to satirise both the greed of corporate America and racial profiling, while at the same time never preaching or getting heavy. The tone of the film reminded me of so many films and TV shows I love, including: Being John Malkovich (1999), Atlanta, TheMighty Boosh and Monty Python’s Flying Circus. It’s also a thematic sibling to Jordan Peele’s massive horror hit Get Out (2017); which found white people exploiting Afro-Americans to nefarious ends.

The cast jump on board the many hyper-real and absurd concepts with abandon. Lakieth Stanfield, who is brilliantly deadpan in the show Atlanta, shows what a gifted actor he is. Again, Tessa Thompson proves what a brilliant actress she is as Cassius’ energetic artist and activist girlfriend; while Jermaine Fowler, Danny Glover and Steven Yeun provide really solid support. Special mention for Armie Hammer who really amps up the comedy with his representation of avaricious corporate megalomaniacs who care more for profits than they do for human life.

Incredibly, this is Boots Riley’s debut feature film and what a fantastic job he has done.  Sorry to Bother You is brimming with hilarious comedic scenes, on-point parody, textured style and credible social commentary. Cassius’ journey throughout is believable too as he is tempted by the promise of money but at severe and Faustian cost. Riley, within the hyper-reality of the world he presents, never strays far from the idea that the collective must join forces to overcome the paymasters. Ultimately, the film may be messy and chaotic at times but this project-mayhem-gonzo-style, along with the colourful design and moody cinematography combine to deliver one of the most memorable films of the year.               

Mark: 9 out of 11

Cinema, New Releases, Oscar Bingo, Reviews

FIRST MAN (2018) – OSCAR BINGO #2 AND FILM REVIEW

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FIRST MAN (2018) – OSCAR BINGO #2 AND FILM REVIEW

Directed by: Damien Chazelle

Produced by: Wyck Godfrey, Marty Bowen, Isaac Klausner, Damien Chazelle

Screenplay by: Josh Singer

Based on First Man: The Life of Neil A. Armstrong by James R. Hansen

Starring: Ryan Gosling, Jason Clarke, Claire Foy, Kyle Chandler, Corey Stoll, Ciarán Hinds, Christopher Abbott

Music by: Justin Hurwitz

Cinematography: Linus Sandgren

Edited by: Tom Cross

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I’m probably not the best person to review this film. I do not like flying. I am not a fan of the concept of space travel. I’m firmly in the camp that we should sort our problems out on Earth first. Plus, the geo-political reasons of the era for going into space, such as the Cold War including the “space-race” with the Russians, seem such an alien concept to an idealist as me. Rather naively I just wonder why they couldn’t have just got on with each other.

Having said I am very much aware that in terms of scientific breakthroughs and sheer feat of human achievement, NASA, its staff and the astronauts involved, deserve unlimited praise for their work. Aside from the financial cost and loss of lives, getting into outer space remains an amazing feat of science and technology. But, what of Damian Chazelle and Ryan Gosling’s rendition of Neil Armstrong – is it all that? I will consider the film with a view to its Oscar potential while reviewing the movie as entertainment too.

**CONTAINS HISTORICAL SPOILERS**

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BEST FILM CHANCES – 7/10

As a work of technical excellence First Man is a wonderfully striking film. The visuals and scientific renditions relating to space travel are incredible. The human story works mainly as a biopic from Armstrong’s perspective as he, and his team, prepare to go into space. Moreover, it also works well as a study of grief and obsession. Armstrong is shown, via Ryan Gosling’s minimalist presentation, as an intelligent and steely individual who buries his life in his work to overcome a deep family loss. Given we already know how the story ends then it is to the film’s testament that the drama is maintained throughout. The dangerous nature of space travel and lives lost while shooting for the moon are powerfully highlighted. Yet, when we reach the lunar destination suspense had peaked before that point. Thus, the story relies on the stunning visuals more than drama to carry it to towards the final credits.

BEST DIRECTOR CHANCES – 8/10

Chazelle, as he showed with Whiplash (2014) and La La Land (2016), is a young film director of some force and intelligence. Having directed Miles Teller and J.K. Simmons with an aggressive jazz-style, he would imbue La La Land with an optimistic, colourful and uplifting energy. First Man is completely different though. It is methodical, slow-burn and restrained in performance and shows Chazelle’s expert range. Here is a filmmaker who designs his films dependent on the subject matter. First Man is a confident cinematic work and Chazelle creates his own vision while also echoing the likes of Terence Malick and Stanley Kubrick.

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BEST ACTOR – 8/10

I’m a big fan of Ryan Gosling. He has been in a number great films of recent years such as: Bladerunner 2049 (2018), The Nice Guys (2016), Drive (2011), Half Nelson (2006), Lars and the Real Girl (2007), Blue Valentine (2010) and more. He is a crafty performer as he doesn’t seem to be doing much. His acting style is like an iceberg; little on the surface but extreme depth below. This makes him perfect for a role such as Neil Armstrong and Gosling’s rendition is pure cinema. His face rarely moves but in his eyes and stillness a real gravitas is brought to the screen. I would expect he will go close to winning the Oscar if only for his accumulation of impressive acting work.


BEST SUPPORTING ACTRESS – 8/10

Claire Foy delivers a sterling performance as Janet Armstrong. She is shown to be a caring mother but also a fiery protector of her husband. Foy’s acting actually transcends a mildly underwritten role as her intensity deserved more scenes than she is given. Nonetheless, it confirms Foy as an actor of some power and magnetism.

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BEST SCORE CHANCES – 9/10

The best scores, in my view, not only stand alone as fine works of music but also blend with the visuals to excellent effect. Justin Hurwitz’s score for First Man is a wonderful achievement and surpasses his work on La La Land in my view. While the moon landing is an incredible visual feat and silence is used to great effect, Hurwitz’ score never fails to shine throughout.


BEST TECHNICAL AWARDS – 9.5 out of 10

In terms of technical achievement in emulating the era in space and on Earth, First Man, is unforgettable. I’d fully expect it to win some or all technical awards for editing, sound, visual effects, design, etc. – it truly is a technical marvel!

Mark: 8.5 out of 11

Cinema, Film Festivals, Netflix, Reviews

LONDON FILM FESTIVAL REVIEW – THE BALLAD OF BUSTER SCRUGGS (2018)

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LONDON FILM FESTIVAL REVIEW – THE BALLAD OF BUSTER SCRUGGS (2018)

Directed by: Joel Coen & Ethan Coen

Produced by: Joel Coen & Ethan Coen, Megan Ellison, Sue Naegle, Robert Graf

Written by: Joel Coen & Ethan Coen

Starring: Tyne Daly, James Franco, Brendan Gleeson, Bill Heck, Zoe Kazan, Liam Neeson, Tim Blake Nelson, Tom Waits and many more.

Music by: Carter Burwell

Cinematography: Bruno Delbonnel

**SPOILER FREE REVIEW**

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Soon to be appearing on the streaming behemoth Netflix, the Coen Brothers latest film is a difficult one to recommend to those not familiar with their quirky vision of humanity and existence. Set within the Western genre the film presents six stories seemingly unconnected but those which resonate resoundingly on the theme of death. The stories are called:  The Ballad of Buster Scruggs; Near Algodones; Meal Ticket; All Gold Canyon; The Gal Who Got Rattled; and The Mortal Remains respectively.

The closest film this anthology resembles from recent times is the riotous black comedy Wild Tales (2014). Moreover, if you ever saw the Coens’ eccentric mid-life crisis comedy A Serious Man (2009), you may recall the prologue which depicted a short stand-alone piece about a ghostly dybbuk visiting a woman at night. Indeed, that story was seemingly unconnected to the film which followed, however, the Coens’ are such skilled storytellers you sense there is a link be it symbolically or thematically.

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Overall, The Ballad of Buster Scruggs is a genuine mixed bag, in a good way. Their mischievous alchemy combines genres – within the Western setting – such as: musical, comedy, horror, crime, thriller and even romance. Moreover, the filmmakers have reached into their decades of film experience and cinematic bag of tricks to deliver an entertaining and memorable collection of: characters, songs, bloody deaths, jokes, landscapes, snappy dialogue, dark humour and spitfire action.

The cast are uniformly brilliant and as well as some familiar faces there are some newer actors added to the Coens’ stable of performers. Bill Heck, especially, in the story The Gal Who Got Rattled, impressed in his role as a likable cowboy. Overall, and in a similar vein to Hail Caesar (2016), this feels like Coens-lite, without the existential depth of say No Country for Old Men (2007) or humanity of Fargo (1996). However, the Coen’s films often improve with each viewing as their work is so full of stylish depth. Quite often, you’re laughing so much you miss the philosophical happenstance which is occurring between the lines.

Mark 8.5 out of 11

Cinema, New Releases, Reviews

IN DEFENCE OF #2: VENOM (2018): MOVIE REVIEW

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IN DEFENCE OF #2: VENOM (2018): MOVIE REVIEW

Directed by: Ruben Fleischer

Produced by:  Avi Arad, Matt Tolmach, Amy Pascal, Marvel Entertainment

Written by: Jeff Pinkner, Scott Rosenberg, Kelly Marcel

Starring: Tom Hardy, Michelle Williams, Riz Ahmed, Reid Scott

Music by: Ludwig Goransson

Cinematography: Matthew Libatique

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As with the failed franchise blockbuster The Mummy (2017) I have once again been to the cinema and watched, not a great film or work of art, but rather a decent bit of popcorn entertainment that has seemingly been critically mauled, not necessarily unfairly, but out of context from the kind of film it is. Don’t get me wrong, there is a lot of Venom (2018) which doesn’t work and the film has a couple of serious plot holes, however, if you watch it as the darkly, comedic action film it is intended to be then it has a lot to offer.

I mean, superhero films, over the years, have got – Thor: Ragnarok (2017) and Marvel’s generally witty one-liner littered scripts aside – very serious at times. Most recently, Black Panther (2018) was rooted in familial revenge and of course, Marvel’s Infinity War (2018), ended with an apocalyptic disaster for the Avengers and Earth. While there are serious themes in Venom, the director Ruben Fleischer has gone for more crazed humour rather than serious analysis of the psyche. As such for all its faults Venom actually felt more like an actual comic book or cartoon on screen. So, I get that people may not like the movie for being a bit lacking I think they need to lighten up. Thus, in my second instalment of my occasional series In Defence of:,  I’d like to say why I actually found it very watchable genre entertainment.

Standing alone, at the time of the action, from the Marvel ‘Universe’ and the recent Spiderman: Homecoming (2017) movie, Venom features the stupendously committed performance of Tom Hardy as crime reporter Eddie Brock. Eddie’s latest case is to delve deeper into uncovering the interplanetary research of Elon Musk-type uber-scientist and corporate mogul, Carlton Drake.  Of course, he goes too deep trying to uncover the deadly experimentation and finds himself infected with a space being that Drake has brought back. Drake, compared to the delirious character rendered by Hardy, is a bit flat and another long line of corporate bad guys which Marvel employs and he deserved some better dialogue to justify his megalomaniacal plans. But Riz Ahmed is a great actor and does his best with an under-written role.

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What works more though is the connection between Brock and his extra-terrestrial host. Perhaps, given this is a Jekyll and Hyde story it should have been a lot more intense. The psychological horror of being absorbed by another being is something David Cronenberg, would have knocked out of the park. Yet here it’s turned into something of a comedy double act; albeit with Venom biting the heads off bad guys in between the insane banter. Tom Hardy’s rat-a-tat spats with his ‘other-half’ are very funny and reminded of another recent film called Upgrade (2018), which combined even more bloody violence within a hosted protagonist narrative.

With the cool persona of Michelle Williams, an actor of high artistry, clearly enjoying playing for laughs within the straight romantic lead, there is at least some level-headedness to counter Hardy’s facials ticks and roars. Moreover, despite glaring holes in the narrative including: the very generic alien invasion plot; clichéd corporate mercenaries providing body fodder and a severe lack of legal consequences to Brock’s ‘Venomous’ attacks, the smart comedy, pacey action, the monster-effects of Venom itself and fighting scenes, keep entertainment stakes high.

Ultimately, while much more could have been done to explore the dark side of their symbiotic relationship it was unlikely with this director. Indeed, as Fleischer showed with Zombieland (2009) and direction of suburban zombie show Santa Clarita Diet (2017), he favours mixing dark matter with black humour. Lastly, with Tom Hardy as a more than willing ally Fleischer and his army of writers have delivered an admittedly flawed comic-book narrative that remains full of parasitic punch and energy.

Mark: 7.5 out of 11 

Cinema, New Releases, Reviews

THE LITTLE STRANGER (2018) – CINEMA REVIEW

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THE LITTLE STRANGER (2018) – CINEMA REVIEW

Directed by: Lenny Abrahamson

Produced by: Gail Egan, Andrea Calderwood, Ed Guiney

Written by: Lucinda Coxon

Based on the novel: The Little Stranger by Sarah Waters

Starring: Domhnall Gleeson, Ruth Wilson, Will Poulter, Charlotte Rampling

Music by: Stephen Rennicks

Cinematography: Ole Bratt Birkeland

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Lenny Abrahamson is one of my favourite directors. Every one of his films has featured memorable and very human characters in compelling situations. He is not a showy filmmaker with a bag of tricks like say Tarantino or Scorsese but rather the same emotional energy of the neo-realism and social realism genres. His authorial style and themes also evoke the work of: Vittorio DeSica, Alan Clarke, Karel Reisz, Mike Leigh and Ken Loach. He has a subtle documentary style as his work represents the human condition in all its glorious failures. Most of all the characters in all his films, whatever their situation, are tremendously empathetic and Abrahamson’s power as a storyteller is to make us feel the pain, despair and joy they feel. He’s been nominated for a Best Director Oscar for the incredible film Room (2015) and deserved to win it.

His latest film is a departure from the more steadfastly realistic dramas he has delivered to date. The Little Stranger is adapted from the critically acclaimed author Sarah Waters’ 2009 gothic novel. It’s a dense and subtle character drama with elements of the ghost story and crime story genres. However, the on the whole it’s a crime story without the police and a ghost story without a ghost, because all the dread, mystery and mischief happens very much between the lines of the screen and the viewer’s imagination. In many literary adaptations, what may work on the page doesn’t necessarily translate to the screen, but Abrahamson and screenwriter Lucinda Coxon have fashioned an intriguingly dark and chilling character drama which stays with you long after the credits have rolled.

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Leading the cast are the ever impressive Domhnall Gleeson as Dr Faraday, and the brilliant Ruth Wilson as Caroline Ayres. Gleeson is our sombre narrator who traverses his past as a poor, working class boy to his present, which is that of a reliable and stoic doctor. He reminisces about the desirous lure of Hundreds Hall, an 18th Century Estate owned by the Ayres family, who are now struggling to keep it going. Getting closer to the Ayres family he begins to fall in love with Caroline, however, their difference in class and a series of tragic events conspire to keep them apart. While the story moves slowly the narrative builds both character and drama subtly; and what it lacks in exposition it pulses with quiet power.

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Overall, this is probably a film not many people will see. It’s difficult to recommend as it falls between the gap of a proper genre film and art-house cinema. Moreover, I was surprised Abrahamson took on such a curious project, given he would probably have had his pick after the success of Room (2015). Nonetheless, he proves once again his directorial brilliance, utilizing Sarah Waters’ formidable text as the basis for a paranoiac examination of the collapse of an upper class household, amidst the cloaked device of a hypnotic “ghost” mystery.

Mark 8.5 out of 11

Cinema, New Releases, Reviews

MISSION IMPOSSIBLE BINGO incorporating: FALLOUT (2018) MOVIE REVIEW

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MISSION IMPOSSIBLE BINGO incorporating: FALLOUT (2018) MOVIE REVIEW

I have found  it’s difficult to find an original angle when reviewing certain films i.e. franchise movies or sequels. Indeed, unless they are absolutely brilliant I tend not to review them. Therefore, I had no major intention of writing about the new Tom Cruise produced Mission Impossible release, as these films, despite their technical movie-making brilliance, follow a very strict and safe formula. I mean what can I really add critically other than say I enjoyed it or I didn’t. However, it really is such a fantastic blockbuster movie I accepted an impossible mission, of sorts, to create something interesting while reviewing it.

So, here we go: Mission Impossible BINGO! It’s both recognition of the formula but also praise for the latest instalment which had me on the edge of my seat, heart in my mouth and biting my nails throughout. In the context of story it’s very generic but in terms of action, thrills and stunts it gets a Mark of 9 out of 11!

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McQUARRIE directs Fallout which is essentially a direct sequel to Rogue Nation. We know his track record as a writer but he’s now proving himself a fantastic director too. I enjoyed Rogue Nation but Fallout raises the stakes with a witty, double-crossing, high octane and explosive movie, which actually improves the clichés of the formula in wonderful fashion.

INGENIOUS double-crossing is at the heart of the original Mission: Impossible television series and the film franchise. This is done through identification theft, impersonation, lies, deceit, scene-shifting, fake walls, and the famous face and voice changing technology.

STUNNING locations feature throughout the franchise. Changing the scenery is a means of tricking us into thinking we haven’t somehow seen this car-chase, foot chase or air chase before. Yet, what Mission: Impossible does brilliantly is take us into existing locations like the CIA Langley Headquarters, The Vatican City and even the Kremlin.

STUNTS and extravagant set-pieces dominate the whole of this franchise. From the original 1996 film’s wire-from-the-ceiling-hanging set-piece downloading a CIA encrypted agent list to the current Fall Out nuke-ticking-time-bomb denouement, Tom Cruise’ has committed some of the most breath-taking and technically brilliant action stunts ever.

ICONIC soundtrack composed by Lalo Schifrin has been often imitated but never a bettered. Those simple but effective notes fire up and immediately you know the action is about to start.

OPPOSING government agents are rife in the original show and film series, as inspired by the devious nature of the East v West “Cold War” from the 1950s onwards. In M: I you’ve got good agents, rogue agents, double agents, triple agents and ghost agents pretending to be good, bad and all of the above.

NEFARIOUS villains, like the Bond films, are necessary to precipitate some evil doings and kick off the plot.  My personal favourite was Philip Seymour Hoffman in M:I 3 – as he really was evil. Solomon Lane as played by Sean Harris is cool too and is given some great speeches. His plan to blow up the world isn’t the most original but he has a blast trying it.

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IMPOSSIBLE missions are at the heart of the film franchise. I mean the characters are mainly paper thin and the narratives are mainly empty so the gadgets and all manner of ticking time bombs, impenetrable garrisons, bad guys shooting and blowing stuff up; plus the covert interrogations and switcheroos provide the substance to the cinema experience.

MACGUFFIN-LED plots are not the strength of the franchise and on occasions the narratives a threadbare with Ethan chasing something called a “rabbit foot” or stolen nuke heads being the target. But who cares as long as we get to see things blow up.

PLAYFUL humour and one-liners dominate the scripts as a means to punctuate the action. The first three arguably had less gags but with Simon Pegg joining the cast in M:I 4 the joke quota increased and it settled into the a more humour-led vein. Personally, I prefer the serious espionage stuff, but the gags punch up the entertainment value nonetheless.

OUTSTANDING casting always brings a raft of class to these movies. Indeed, despite the style-over-substance nature of the narratives casting heavyweight actors such as:  Jon Voight, Vanessa Redgrave, Phillip Seymour Hoffman, Alec Baldwin, Sean Harris, Jean Reno, Ving Rhames, Billy Crudup, Jeremy Renner, Rebecca Ferguson and many more raise the quality of the productions no doubt.

SUBTERFUGE and double-crosses are a major part of the plots. Often we never quite know whose side certain characters are on at any one time. In Rogue Nation and Fallout the troubled spy Ilsa Faust is simultaneously batting for three teams in order to keep herself alive. Such devilish plotting keeps the stories bouncing along, which is why they are never dull.

SPECIAL effects are a major part of M:I, however, what is incredible to that Tom Cruise will strive to make the stunts as real as possible by actually doing them himself. The opening of Rogue Nation and the end of Fallout are absolutely stupendous feats of daring which I would never contemplate. Similarly, bungee jumps, rock-climbing, free-jumping and many other effects-free actions give a very realistic feeling to proceedings.

INCREDIBLY talented directors who have worked on the franchise include: Brian DePalma, Brad Bird, John Woo, Christopher McQuarrie and JJ Abrams bringing their own inimitable styles to the various films and while Woo’s is pretty weak the franchise abides as each film has its own identity, look and feel.

BIG budgets are required to drive the Mission: Impossible film behemoth and while they continue to make the studio billions of revenue long will they continue. The first film cost a whopping $80 million dollars while the Fallout cost a mere $178 million. Although, given Fallout absolutely rocks it’s already made that back and much more besides.

LEAPING, running, driving, diving, swimming, crashing, disguising, fighting, flying, biking, parachuting, moving – you name it the IMF do it at incredible speeds and heights!

ETHAN HUNT as presented by Tom Cruise is a righteous dude fighting the good fight against the evil wrongdoers in the world. His commitment to the cause is unwavering and in defending the innocent against the corrupt goverments, villains and agents of evil. We all root for him as an aspirational action man of the people.