Tag Archives: Film Review

Cinema, Classic Film Reviews, Reviews

CLASSIC FILM REVIEW: ONCE UPON A TIME IN AMERICA (1984)

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CLASSIC FILM REVIEW: ONCE UPON A TIME IN AMERICA (1984)

Directed by: Sergio Leone

Produced by: Arnon Milchan

Screenplay by: Sergio Leone, Leonardo Benvenuti, Piero De Bernardi, Enrico Medioli, Franco Arcalli, Franco Ferrini

Based on: The Hoods by Harry Grey

Cast: Robert De Niro, James Woods, William Forsythe, Jennifer Connelly, Elizabeth McGovern, Joe Pesci, Burt Young, Tuesday Weld, Treat Williams, William Forsythe, Richard Bright, James Hayden, Brian Bloom, William Forsythe, Adrian Curran, Darlanne Fluegel. Larry Rapp, Mike Monetti, Richard Foronji, Robert Harper, Dutch Miller, Gerard Murphy, Amy Ryder, Julie Cohen etc.  

Music: Ennio Morricone

Cinematography: Tonino Delli Colli

***CONTAINS PLOT SPOILERS***

If you were, like me, thoroughly absorbed by Martin Scorsese’s recent directorial gangster epic, The Irishman (2019), you should definitely check out another incredible gangster drama, Once Upon A Time in America (1984). It is directed by acclaimed Italian filmmaker, Sergio Leone, he of “Spaghetti Western” fame. Indeed, Once Upon A Time in America (1984), was the first feature film he’d made since A Fistful of Dynamite (1971). Sadly, it was to be his final film.

With a director’s cut running at a behemoth 250 minutes and original theatrical release lasting 229 minutes, Once Upon A Time in America (1984), is certainly a marathon viewing experience and fitting epitaph to Leone’s cinematic craft. Yet, the film rarely feels over-long or slow because there are so many memorable scenes, fascinatingly complex characterisations, incredible intrigue and enough narrative density present to satisfy any audience member with the patience to let it absorb you. Structurally, the film is epic in nature too as it cross-cuts between three, arguably four, separate timelines in: 1918, the 1920’s, the 1930’s and 1968. Interestingly, I watched it via Amazon Prime in two sittings and is so long even the original ‘Intermission’ card remains.

Leone and his amazing production cast and crew took almost a year to film Once Upon A Time in America (1984). It’s reported to have had somewhere between eight to ten hours of footage on completion. He originally wanted to release it as a two-part epic, but the studio insisted it was distributed as one film. The almost-four hour theatrical release was received to great critical acclaim in Europe, however, a severely chopped down 139-minute version was put out in America. It was a critical and box office bomb. American critics however, lauded the European version, lamenting the non-release of Leone’s full cinematic vision.

For a filmmaker who was drawn to stories set in the America, Leone would generally film in European studios and locations. While some exteriors for Once Upon A Time in America (1984) were shot on location in Florida and New York, many of the interiors were recreated in Rome’s Cinecitta. Furthermore, a Manhattan restaurant was built in Venice, and incredibly, Grand Central Station was rendered at part of the Gare du Nord in Paris. Having said that, Once Upon A Time in America (1984), is so carefully and exquisitely designed and filmed, you would not notice. While possessing more than an air of European arthouse sensibilities, the film, based on a novel called The Hoods, represents Leone’s and his co-screenwriter’s tarnished vision of the American dream. Most significantly is the theme of a loss of innocence. 1920’s New York is presented through the eyes of these Jewish working-class children, many of them sons and daughter of migrants from Europe. These are tough times and the story explores the collision between young innocence and adult corruption by society and humanity. Once Upon A Time in America (1984) is also a story about friendship, loyalty, passion and crime.

The narrative revolves around the lives of young gang of Jewish friends growing up in Brooklyn called: Noodles, Max, Patsy, Cockeye and little Dominic. It’s majestic storytelling of the highest quality as we flit between past, present, now and future. Robert DeNiro’s older Noodles reminisces both from 1930 and 1968. There is a sense that he may be projecting from the hazy and drug-addled glow of an opium den. That is open to interpretation though. Thematically, the framework hangs a history of childhood friendships, juxtaposing it with the same people as adults and their victories, losses and betrayals. Further themes include: love, lust, greed, crime, broken relationships, Prohibition, union corruption; as well as focusing on the rise of mobsters in American society.

Noodles as portrayed by an imperious Robert DeNiro is calm on the outside, however, his often-rash actions show him as impetuous, emotional and wild on the inside. James Woods’ Max is much more careful, calculating and ice-cold in his business. But the two forge a friendship as teenagers which continues in adulthood. Their childhood gang subsequently becomes a renowned bootlegging and criminal outfit. Leone does not ask us to like or find sympathy for the characters, but rather respect that they are a product of a ruthless era. Sure, they could have got day jobs, but they decide to become criminals and very successful they are too. Even after Noodles gets out of jail for killing a rival, Max has saved a place for him in their illegal liquor trades. Only later does the true deception occur. Ultimately, while their stories are incredibly compelling, these men are violent lawbreakers who spill blood, bribe, threaten, kill and rape, all in an attempt to rise up the ladder of the American capitalist system.

I don’t want to spoil any more of the story, but safe to say the cast in this classic film are amazing. Along with DeNiro and Woods’ brutally convincing performances a whole host of young and older actors are directed beautifully by Leone’s careful hand. The standouts for me are Jennifer Connelly in a very early role. She portrays the younger Deborah, while Elizabeth McGovern is the older version of the same character. Connelly is a picture of angelic innocence and Noodles is smitten with her from the beginning. It’s sad therefore that when the adult Noodles’ is rejected by Deborah, his reaction is both toxic and unforgiveable.

Undeniably, sex and violence are powerful features in Once Upon A Time in America (1984). Sex especially is rarely, if at all, romantic or part of loving relationship. There are two brutal rape scenes in the adult years. Even when they are kids the character of younger Peggy is shown to use her promiscuity as a weapon to blackmail a police officer. There are some tender moments though, notably during the scene where young Patsy seeks to lose his virginity with Peggy. Her payment would be a cream cake, but Brian eats the cake and saves his innocence. Yet such scenes are fleeting as mob rule, violent robberies, fiery death and murder ultimately dominate the character’s bloody existences.

As I say, the actors all give memorable performances and the supporting cast including the likes of Treat Williams, Danny Aiello, Tuesday Weld and Joe Pesci are extremely strong too. A special mention to James Hayden who portrays the older Patsy. He doesn’t have the most dialogue compared to the characters of Max and Noodles; however, he has a quiet power which steals many scenes via strength of personality. The fact that Hayden died of a heroin overdose, in 1983, after completing filming only adds to the cult of tragedy. Dead at 30 years of age, James Hayden never got to see any completed version of Once Upon A Time in America (1984).

Given this review is getting near epic proportions itself I will begin to wrap up by heaping praise on the incredible production design. The costumes, locations, vehicles, props and era are slavishly and beautifully recreated. So much so you can almost smell the smoke as it drifts up from the Brooklyn streets. Moreover, the film is superbly photographed by Tonino Delli Colli. The music! I haven’t even mentioned the sumptuous score by the legendary Ennio Morricone. His score is a masterful symphony of haunting laments for loss of love, friendship, loyalty and life. Much indeed like Once Upon A Time in America (1984) itself, as a whole. In conclusion, if you haven’t seen it, I urge you to do so in the knowledge that Sergio Leone has transplanted that same brutally elegant vision of the Wild West to the American gangster genre with unforgettable emotional resonance and power.

Netflix, New Releases, Reviews

NETFLIX FILM REVIEW: EXTRACTION (2020)

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NETFLIX FILM REVIEW: EXTRACTION (2020)

Directed by Sam Hargrave

Produced: Antony Russo, Joe Russo, Mike Larocca, Chris Hemsworth, Eric Gitter, Peter Schwern

Screenplay by: Joe Russo – based on Ciudad by Ande Parks, Joe Russo, Fernando Leon Gonzalez

Cast: Chris Hemsworth, Rudhraksh Jaiswal, Randeep Hooda, Golshifteh Farahani, Pankaj Tripathi, David Harbour, etc.

Distribution: Netflix

***MAY CONTAIN SPOILERS***

Do you remember when action heroes used to be larger than life, filling up the screens with muscles, charisma, and wise-cracking one-liners. I am old, so I certainly do. The likes of Arnold Schwarzenegger, Steven Seagal, Bruce Willis, Jean Claude Van Damme and of course, Sylvester Stallone were just some of the leading men crunching and blowing up the cinema screens. Okay, they may have been reactionary 1980s and 1990s masculine archetypes, and arguably nationalistic, sexist, militarist and incredibly over-the-top characters, but I kind of miss them. Because today’s action heroes, while equally talented at killing and delivering mayhem, are somewhat less colourful.

Don’t get me wrong, I still enjoy the technically excellent and brutally realised fight scenes and stunts of today. However, John Wick, Bryan Mills of Taken (2008), Lorraine Broughton of Atomic Blonde (2017), Jason Bourne, and now Chris Hemsworth’s mercenary, Tyler Rake in Extraction (2020), are individuals of fewer words and even less humour. I guess Jason Statham isn’t too bad, but he’s still quite serious. Lastly, while one can certainly rely on the sanitized fun of the Marvel Universe for some humour and personality within the action, it’s still not the same as a good old Arnie action flick. The more adult oriented superhero, Deadpool (2016), can be relied on for X-rated violence and constant verbal quips. But, he wears a suit and it’s just not as good as the action heroes I grew up watching. Ah, but that’s nostalgia for you.

Why the trip down memory lane, Paul? What about the kinetic and explosive action of Extraction (2020)? Yes, the well-choreographed manoeuvres are extremely exciting. They are also bone-crushingly relentless from the moment Tyler Rake enters Bangladesh to extract an imprisoned Indian gangster’s teenage son, Ovi Mahajan (Rudhraksh Jaiswal). Hemsworth and director Sam Hargrave get you in and out of hand-to-hand fights, car chases, leaps and falls from buildings, and constant gun battles with stunning brilliance throughout. The camera and editing work present virtuoso work, capped by an almost seamless eleven minute long take involving all manner of mayhem. While Ovi and Tyler kind of bond later in the film, I found myself needing more emotional or political subtext to narrative. Even John Wick (2014) created its own mythology and universe, where this relies on fast-paced movement, military tropes and lazy stereotypes. Ultimately, Extraction (2020) was like an explosive fireworks display. Great to watch while it lasted, but ultimately forgettable. Man on Fire (2004) did this story way better and with way more feeling.

Mark 7 out of 11

Cinema, New Releases, Reviews

“CINEMA” REVIEW – THE ASSISTANT (2020)

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“CINEMA” REVIEW – THE ASSISTANT (2020)

Written and Directed by: Kitty Green

Produced by: Kitty Green, James Schamus, Scott Macauley, P. Jennifer Dana, Ross Jacobson

Cinematography: Michael Latham

Cast: Julia Garner, Matthew Macfadyen, Mackenzie Leigh, Kristine Froseth, Noah Robbins etc.

*** MAY CONTAIN SPOILERS ***

The Assistant poster.jpeg

Having worked initially in the documentary genre, Kitty Green now presents her first fictional film, The Assistant (2019), with the ever-impressive Julia Garner in the lead. Garner portrays the titular assistant, Jane, a PA in an unnamed New York based film production company. However, while the characters may be fictional, the events reflected are very much based in reality, as the film explores endemic sexism within the film industry and office workplaces more generally. This isn’t a sensationalist #MeToo expose or revenge story, but rather a subtle narrative which conveys it’s criticisms with hushed and damning power.

The film is structured over one day. I’m a big fan of such a convention and wrote about the positives of single day narratives here. Anyway, The Assistant (2019), begins with Jane first in the office, and ends with her being one of the last there at night. In the middle we get a succession of expertly composed scenes which find Jane working for a big-shot movie producer. The fact that we never see him, but hear him and experience the aftermath of his behaviour through Jane is an ingenious concept. By showing rather telling us directly about his covert sexist exploitation, one is truly brought into Jane’s painful situation. She is told she is lucky to have this job and it presents a great opportunity to eventually become a film producer. Yet, to do so requires her to turn a blind eye to events which other employees horrifically consider to be the norm in a media company.

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Weinstein’s name is never mentioned. It doesn’t have to be. He is the sexual predator in the room and probably among many film producers who have utilised the casting couch to have their disgusting way with budding actors and actresses. That is why Kitty Green deserves so much praise because she chose a directorial style that really works for the story. Green and her cinematographer suck all of the colour out of the film industry, making it grey and beige and stark and unglamorous. Via the character of Jane, and Garner’s exquisitely reserved performance, we learn that such bullying cultures exist, and the character must choose to accept it or move on. Garner’s scene with the HR Executive, played by Matthew Macfadyen, is superb in conveying the difficult choice Jane faces.

Lastly, as well as making important points about the patriarchal corruption within the film industry, I enjoyed that it also captured the repetitive nature of administration work. Photocopiers hum, phones ring, paper flaps, printers and faxes whir, while florescent strip lights glow amidst the drudge of the daily office grind. Jane is a prisoner within a myriad of shadowy walls and filing cabinets. Further, Jane is also torn between being a just person and following her dream of working in the movies. But, at the end of another exceptionally exhausting day, that dream is soured by the insidious lust of human behaviour. Thus, The Assistant (2019) asks, will things ever change? Go watch it and decide if you think they will.

Mark: 8.5 out of 11

Amazon Prime, Films That Got Away, Reviews

FILMS THAT GOT AWAY #8 – DRAGGED ACROSS CONCRETE (2018)

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FILMS THAT GOT AWAY #8 – DRAGGED ACROSS CONCRETE (2018)

Written and directed by: S. Craig Zahler

Produced by: Sefton Fincham, Jack Heller, Tyler Jackson, Keith Kjarval, Dallas Sonnier

Cast: Vince Vaughn, Mel Gibson, Tory Kittles, Michael Jai White, Jennifer Carpenter, Laurie Holden, Don Johnson, Thomas Kretschmann etc.

Cinematography: Benji Bakshi

*** MAY CONTAIN SPOILERS ***

As a major fan of S. Craig Zahler’s first two film releases, namely Bone Tomahawk (2015) and Brawl in Cell Block 99 (2017), I was really looking forward to another example of pulpy, slow burn and hard-bitten genre filmmaking with Dragged Across Concrete (2018). Thus, I was very upset when I found out the Mel Gibson and Vince Vaughn starring cop drama was not released in UK cinemas. I finally caught up with it on Amazon Prime and, while it was probably too long, it was a hypnotically powerful crime thriller.

Set in the city of Bulwark, the film opens with a lengthy preamble which introduces disparate characters whose paths are destined to cross later in the film. These include recent parolee, Henry Johns (Tory Kittles), grizzled-long-in-the-tooth-cop, Brett Ridgeman (Mel Gibson) and his younger, but equally cynical partner, Anthony Lusaretti (Vince Vaughn). Later, Zahler throws professional criminal, Lorentz Vogelmann (Thomas Kretschmann), and his dressed-in-black crew into the dark city soup. After a glacial set-up, the plot kicks in when Ridgeman and Lusaretti are suspended for what is perceived as a racially motivated attack on a suspect. Desiring a way out of the neo-noir and industrial decay, Ridgeman sets up a plan to steal from Vogelmann’s gang. Safe to say that given this is a Zahler film, we do not end up with a soft toy and candy apple ending.

Throwing a succession of anti-heroes at the audience and a litany of cursing and politically incorrect language makes Dragged Across Concrete (2018) a morally questionable film to experience. Do not watch if you are easily offended. Nonetheless, my feeling is Zahler, like Tarantino, is reflecting the world as it is rather than how it should be. Humanity is in the gutter and the only way out of it, in his mind, is to swear and fight and steal and kill. That isn’t to say that the characters are not empathetic. As Zahler’s hard-boiled dialogue is very poetic in places it draws you to them in a way Raymond Chandler used to do. Similarly, the performances from Gibson and Vaughn are brilliant. The scenes where they just sit in the car and eat sandwiches while staking out their quarry, are both hilarious and absorbing. Ultimately, it’s the lengthy second half robbery and final act ultra-violence which makes the film a pulsating and brutally rewarding experience.

Mark: 8.5 out of 11

Cinema, New Releases, Reviews

THE INVISIBLE MAN (2020) – MOVIE REVIEW

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THE INVISIBLE MAN (2020)

Directed by: Leigh Whannell

Screenplay by Leigh Whannell – based on H. G. Wells The Invisible Man

Produced by: Jason Blum, Kylie du Fresne

Main cast: Elisabeth Moss, Aldis Hodge, Storm Reid, Harriet Dyer, Oliver Jackson-Cohen, Michael Dorman,

Music: Benjamin Wallfisch

Cinematography: Stefan Duscio

***MAY CONTAIN SPOILERS***

Many a work, home, pub, dinner party and school conversation has started with the following question: what would YOU do if you were invisible? Depending on the company it’s something that can descend into wild fantasy territory. Being invisible will allow you the freedom to spy and become the ultimate voyeur. You could also become a criminal and creep into places without being seen to thieve. You could be a prankster and play tricks on your friends and family. You could become a superhero, battle crime and help people. You could simply just disappear not just literally, but philosophically from society. The possibilities are endless.

H. G. Wells original novel is an absolute genre masterpiece. Arguably the most famous version was filmed in 1933 with incredible practical effects and an exceptional performance from Claude Rains. In this new version the conventional invisible scientist-goes-mad story is twisted successfully into an exhilarating horror suspense film with themes relating to toxic masculinity and abusive relationships. Here invisibility is used to control and instil fear, as the recently deceased Griffin (Oliver Jackson-Cohen) is, according to his ex-partner, Cecilia (Elisabeth Moss), targeting her from the grave.

Leigh Whannell has great experience writing and producing low-budget horror films including: Saw (2004) and Insidious (2010). His last directorial release, Upgrade (2018), was a fantastic mix of 1980’s B-movies, sci-fi and horror cinema. Building on the crowd-pleasing thrills of Upgrade, Whannell has crafted a paranoiac classic with Elisabeth Moss giving a fantastically nerve-shredding and physically adept performance. From the tense opening scene, we empathise with her desire to escape a controlling and malevolent force. Building slowly throughout the first act, Whannell’s script brilliantly picks up the pace and plots Cecilia’s descent into a living hell. Consequently, Cecilia’s anxiety reaches peak stress as no one believes she is being set up by a gas-lighting, unseen and venal monster.

It pays to see this film on the big screen with the finest sound quality available. I watched it on an IMAX screen where the sound design and Benjamin Wallfisch’s amazing score really enhance the fear-inducing visuals. How the production team made this film for a reported $7 million dollars is beyond me. Yet, Whannell is an economical and highly efficient filmmaker. His writing is lean and mean, as the script is full of fantastic set-pieces and plot reversals. Moreover, the story is very relevant, exploring the themes of the day relating to domestic abuse, depression and mental illness. However, it’s not an overbearing message movie, but rather a smart and surprising thriller.

Overall, The Invisible Man (2020) starts strongly and proceeds to deliver a series of gripping and, at times, heart-in-the-mouth cinematic moments. There are none of the usual scientific and over-expositional set-ups that can slow down such films. The visuals, sound, score and performances deliver the story most effectively. I felt like there were a few fuzzy plot moments that Whannell could have explained in more detail, however, that could have hindered the pace of the story. Finally, with Elisabeth Moss imbuing her character with resilience, energy and steel, we get an individual who will never give up. She sees through her ghosting nemesis and will fight to the last breath to prove her innocence and remain in control.

Mark: 9 out of 11

Cinema, documentaries, Television

TV & FILM DOCUMENTARY REVIEWS INCLUDING: FOR SAMA (2019), WON’T YOU BE MY NEIGHBOUR (2018) & THREE IDENTICAL STRANGERS (2018) ETC.

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TV & FILM DOCUMENTARY REVIEWS

Obviously, I watch a hell of a lot of fiction films and television shows. Every now and then I try and catch up with some documentaries about actual events, people and serious matters. Personally, I love nothing more than to immerse myself in fictional worlds, but sometimes it’s important to explore the “truth”.

Having said that, some documentaries contain highly constructed narratives with as much, if not more drama than fictional works. Indeed, very often truth is much stranger than fiction. Thus, here are six documentaries I have watched recently. As some of these reviews deal with serious issues, I have dispensed with the usual marking system, so as not to trivialise them.

******CONTAINS FACTUAL SPOILERS******

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BRITAIN’S CHILD DRUG RUNNERS – CHANNEL 4/ALL 4

Dispatches is a long-running documentary series which examines hard-hitting issues in society and the world as a whole. This particular episode sought to shed light on the gangs which lure teenagers into their drug running crimes. Children, some as young as eleven, are used to run “County Lines” delivering and selling drugs. The programme was fascinating and showed how the children’s, parents, police enforcement and society in general is being tragically affected by this problem.

Image result for dispatches channel 4 county lines

CATCHING A KILLER (2019) – CHANNEL 4/ALL 4

Murder documentaries are like rats in the city, infesting our TV screens and streaming platforms. Some of the true-life ones can be lurid and trashy, however, this one from Channel 4 was moving and of high quality. The series focuses on ongoing investigations and follows police as they investigate the crime and gather evidence. This particular episode profiled a retired gentleman who relatives believed had died of natural causes. It soon became clear that the victim had been cruelly conned and manipulated by a charming, but devious killer.

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FOR SAMA (2019) – CHANNEL 4/ALL 4

This incredibly moving and harrowing documentary took you into the heart of the Syrian conflict. Filmmaker and journalist, Waad Al-Kateab began filming in 2011 and continued for many years as her home in East Aleppo became a bomb site full of loss, destruction and death. Despite this she met her husband, a Doctor, and gave birth to her daughter, Sama. Choosing to stay amidst the explosions and blood was not only an incredible commitment to the story, but also a testament to the bravery of those lives impacted by war. I don’t know much about the Syrian war, and obviously this is just one side of what is a very complex matter. Yet, despite all the pain and suffering on show, one must admire the resilience of those involved and I am not surprised the film has gone onto to win many awards.

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MARRIED TO A PAEDOPHILE (2018) – CHANNEL 4/ALL 4

This salacious sounding documentary is not as exploitation based as it would appear. Focusing on three families who lives have been torn apart because the man of the family had downloaded child pornography, it explores the aftermath of this serious crime. Interestingly, the documentary featured the real voices of the people involved, but with actors playing their roles. It’s an intriguing subject as the wives and children of these men are left to deal with not just shame and guilt, but vindictive neighbours and broken relationships.

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THREE IDENTICAL STRANGERS (2018) – CHANNEL 4/ALL 4

This is genuinely one of those stories you would not believe, unless perhaps it was in a science fiction cloning drama or something. The documentary film examines the past and present lives of triplets who were given up for adoption in the early 1960’s. The issue was none of them, or their adoptive parents, were told of the others existence. Thus, years later when they meet each other aged 19, through sheer coincidence, they have one hell of a surprise. The first half of this documentary is very engaging and positive as the trio, Bobby, Eddy and David reunite and become celebrities, appearing on chat shows and magazine front pages in 1980’s America. The second half of this incredible film then darkens somewhat as the truth as to what actually happened is revealed. It is truly astonishing to watch!

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WON’T YOU BE MY NEIGHBOUR (2018) – NETFLIX

Having watched and reviewed the recent film release, A Beautiful Day in the Neighborhood (2019) here, I decided to head over to Netflix and check out the earlier documentary about American TV legend, Fred Rogers. Like the feature drama, this highlights the strength, wisdom and kindness of a great man, determined to instil worth and warmth into children’s lives. It’s a finely constructed documentary with an intermingling of footage from Rogers’ television shows, historical interviews with the man himself, plus friends, family and people he worked with paying tribute to a fine human being. The film asks, “Won’t You Be My Neighbour?” My answer is a definite YES!

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Cinema, Netflix, New Releases, Reviews

UNCUT GEMS (2019) – CINEMA REVIEW

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UNCUT GEMS (2019) – CINEMA REVIEW

Directors: Benny Safdie & Josh Safdie

Produced by: Scott Rudin, Eli Bush, Sebastian Bear-McClard

Written by: Ronald Bronstein, Josh Safdie, Benny Safdie

Cast: Adam Sandler, Lakeith Stanfield, Julia Fox, Kevin Garnett, Idina Menzel, Eric Bogosian, Judd Hirsh etc.

Cinematography: Darius Khondji

**MAY CONTAIN SPOILERS**

This is a film about an arsehole. Aptly enough we are introduced to the main protagonist, Howard Ratner (Adam Sandler), as he has a rectal examination of his colon and other extremities. From here on we descend into the mired cesspool that is Howard’s dysfunctional business, family, love and extra-curricular activities. He is, on the surface, a successful businessman selling jewellery, watches and gems within New York’s Diamond district. Alas, he is also a degenerate gambler who is being chased by all manner of shark-like money lenders. Most hungry of all is Eric Bogosian’s Arno, who also happens to be Howard’s brother-in-law.

So, we find ourselves in the company of a thoroughly unedifying character such as Howard. Yet, in Adam Sandler’s brilliant performance and searing direction by the Safdie Brothers, you get caught up in his latest cynical money-making plan to sell an uncut opal rock from Ethiopia at auction. The rock itself becomes — reminiscent of Guy Ritchie’s Snatch (2000) — a metaphorically blood-stained McGuffin that drags us into the underbelly of New York’s sports, pawnbroker, bookmaker, entertainment and loan shark territories. Aside from Howard’s wife and children everyone is looking for luck and a buck. Everyone’s a hustler. Everyone talks and shouts and swears over each other, creating a sense of panic throughout many scenes of deal-making and deal-breaking.

Opening with two visually very different internal examinations that involve “mining”, the Safdie brothers film Uncut Gems (2019), is a stylish and rampant anxiety inducing character study and thriller. The plot, which in itself, is quite straightforward, is wrapped in a series of heart-sweating gambles, twists and double-crosses. Supporting Sandler’s fine central performance, the Safdie Brothers find acting gold with Lakeith Stanfield’s memorable supporting turn, plus basketball legend, Kevin Garnett brilliantly playing himself! Allied to this, you also get a rogue’s gallery of personalities straight out of the local New York jewellery area itself. These characters add a further dirty authenticity to the already chaotic urban environment.

Like the Safdie Brothers previous film, the ironically titled, Good Time (2017), we are once again introduced to a set of morally repugnant characters who, rather than root for, you are dragged down into their disturbing lifestyle choices and increasingly poor decisions. Howard himself is an unrelenting addict, his own worst enemy and a whirlwind of broken promises. But, I must admit I was gripped throughout due to overwhelmingly brilliant style, cinematography, editing, direction, darkly funny script and acting performances. My only criticism is that for all the black humour, bone-breaking violence and heart-sweating suspense, the film could have easily been 15 minutes shorter. I like a lot of plot and action, but at times the narrative was over-loaded with characters and scenes that could have been chopped. Lastly, it’s great to witness Adam Sandler taking another risky role, even if Howard Ratner is fundamentally an arsehole from the probing start to the very bitter end.

Mark: 8.5 out of 11

Cinema, New Releases, Reviews

THE GENTLEMEN (2020) – MOVIE REVIEW

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THE GENTLEMEN (2020) – MOVIE REVIEW

Written and directed by: Guy Ritchie

Produced by: Guy Ritchie, Ivan Atkinson, Bill Block

Story by: Guy Ritchie, Ivan Atkinson Marn Davies

Cast: Matthew McConaughey, Charlie Hunnam, Henry Golding, Michelle Dockery, Jeremy Strong, Eddie Marsan, Colin Farrell, Hugh Grant etc.

**MAY CONTAIN SPOILERS**

THE GENTLEMEN (2020)

Having dipped a big foot in the Hollywood studio pool with franchise hits like Sherlock Holmes and most recently Disney’s live action version of Aladdin (2019), Guy Ritchie is back to the crime genre where he made his mark. His reboot of The Man From Uncle (2015) was very under-rated, and while his King Arthur: Legend of the Sword (2017) didn’t quite work as a swords and geezer epic, Ritchie remains an excellent genre director and almost always produces very entertaining movies.

With Lock, Stock and Two Smoking Barrels (1998), Snatch (2000) and Rock N Rolla (2008), Ritchie excelled at carving himself a name in fast-paced-twisting-crime stories. They are full of hard nuts, femme fatales, dodgy geezers, businessmen, travellers, assassins, gamblers, plus working- and upper-class types all trying to outwit and out do each other in a variety of dodgy dealings. The films also feature fine ensemble casts, crunching violence, colourful language and cracking soundtracks. All of this combines to create fine entertainment all round. It may lack subtlety, suspense and emotion, but crime has never been so much fun.

The Gentlemen (2020) continues Guy Ritchie’s decent form in the gangster comedy genre. Matthew McConaughey is the “Kingpin”, Mickey Pearson, whose underground marijuana empire is about to come under threat from various rival gangs. The plot is essentially a story of a capitalistic hostile takeover with added bullets, punch-ups, YouTube viral videos, boxers, junkies and copious use of the C-word.

Ritchie may not be everyone’s cup of tea, but he certainly knows how to put together a movie. Using lashings of music to compliment the freeze frames, voice-overs, whip-pans, flashbacks, flash-forwards, close-ups, canted frames, slow motion and anything else that smashes the story along is fine by me. Plus, don’t forget the over-the-top, but ever quotable zinging dialogue and the unreliable narrator that is Hugh Grant’s weasly tabloid newspaper investigator. Grant is the standout performer here along with Colin Farrell and Charlie Hunnam’s cool but deadly fixer and second-in-command. Able support also comes from Jeremy Strong, Michelle Dockery, Eddie Marsan and Henry Golding.

Overall, The Gentlemen (2020) is not a particularly subtle film. In fact, many may find the language rather offensive in this age of the woke generation. Don’t get me wrong I’m all for political correctness and equality, but sometimes it’s just great to have a laugh and Ritchie provides this in many hilarious scenes of action and dialogue. There’s an element of substance provided in regard to the destruction drugs can cause and very mild analysis of England’s class system. However, such themes only skim the surface in what is a wonderfully irreverent, over-the-top, violent, offensive and entertaining crime comedy.

Mark: 8.5 out of 11

Cinema, New Releases, Reviews

LITTLE WOMEN (2019) – CINEMA REVIEW

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LITTLE WOMEN (2019) – CINEMA REVIEW

Screenplay and Direction by: Greta Gerwig

Based on: Little Women by Louisa May Alcott

Produced by: Amy Pascal, Denise Di Novi, Robin Swicord

Cast: Saoirse Ronan, Emma Watson, Florence Pugh, Laura Dern, Timothee Chalamet, Meryl Streep, Tracy Letts, Bob Odenkirk, James Norton, Louis Garrel, Chris Cooper etc.

Cinematography: Yorick Le Saux

**MAY CONTAIN SPOILERS**

It’s Boxing Day and you’re nursing a slight Christmas Day hangover, plus your brain is still trying to piece together the crazy jigsaw that was HBO’s Watchmen (2019). You now want a story that’s a bit more comforting; something that will make you warm and snug and feel safe. Step forward Greta Gerwig, Louisa May Alcott and an incredible cast of fine actors in the latest adaptation of the classic novel, Little Women (2019). It’s a perfect Christmas film full of romance, love, spirit, passion and just a little bit of pathos and heartache.

Set in Massachusetts at the time of the American Civil War, this splendid old chestnut of a story covers the lives of four teenage sisters — Meg (Emma Watson), Jo (Saoirse Ronan), Beth (Eliza Scanlan) and Amy March (Florence Pugh). They live with their Marmee (Laura Dern) and the story criss-crosses various years and narrative events as they search, find, lose and find again happiness, sadness and love. While the sisters prove to be very different personalities and clash often throughout the film, ultimately, it’s a film about solidarity, strength, sisterhood and family bonds.

It’s interesting Gerwig would choose something so safe for her next film project following the acclaim she correctly received for writing and directing Ladybird (2017). However, it’s not surprising either. While the title states these women are little, they are in fact anything but. Ronan as Jo and Pugh as Amy are especially energetic and larger than life. Both strive for artistic excellence and attempt to gain control over their personal and working lives in a traditionally patriarchal society. Jo’s desire to be a successful writer drives the story along impressively as Gerwig determines a meta-structure through her character. Indeed, Jo’s scenes with Tracy Letts’ publisher and editor are particularly amusing amdist some of the losses the March family suffer.

Amidst the familiarity of the text, Gerwig does attempt originality in her cutting between past and present events. While cross-cutting becomes slightly distracting from the emotions of the narrative, you can see how Gerwig wanted to stamp her own identity. The device also allows some wonderful juxtaposition of shots, emotions and camera movement. My one criticism would be that because the characters looked of a similar age in past and present, you did not always know what year you were in. Ultimately though, I really enjoyed this high-class film production. Greta Gerwig is an incredibly talented filmmaker and obtains exceptional performances from all the cast, especially Ronan and future stars, Florence Pugh and Timothee Chalamet. The film was so warm and safe, my Christmas Day hangover, like my heart, all but melted.

Mark: 8.5 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