FIVE REASONS THIS COULD BE GOOD: THE GENTLEMEN (2020)
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.
UK Release Date: 1st January 2020
***SPOILER FREE***
THE GENTLEMEN (2020)
Guy Ritchie’s new film is released on New Year’s Day 2020 in the UK, and here are five reasons why it could be good.
1. THE DIRECTOR
Having dipped a big foot in the Hollywood studio pool with franchise hits like Sherlock Holmes and most recently Disney’s live action version ofAladdin (2019), 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.
2. THE GENRE
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.
3. THE STYLE
Guy Ritchie may not be everyone’s cup of tea, but he certainly knows how to put together a movie. Some may also argue he’s all style and no substance. However, his visual style and ability to direct a brilliant action set-piece always stand out for me. 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!
4. THE CAST
Ritchie must be a very positive on-set filmmaker to work with. Because ever since Lock Stock and Two Smoking Barrels (1998) was released he’s managed to bag a proper good cast in all of his films. The Gentlemen (2020) is no different. Here we get Matthew McConaughey, Colin Farrell, Jeremy Strong, Michelle Dockery, Charlie Hunnam, Henry Golding and Hugh Grant too. The trailer shows Grant effecting an interesting Michael Caine impression, while Farrell looks like he’s having the most fun as a chav-meets-traveller type gangster up for a bit of trouble!
5. THE TRAILER
The trailer dropped recently and looks really quite decent. Here it is:
Having briefly explored what makes up film character personas in this article here, I thought it would be fun to start a new feature which looks at memorable film characters. So, with Terminator: Dark Fate (2019) in the cinema, I wanted to look at one of the greatest character narrative arcs ever in my opinion. When I say character arc, I am talking of the transformation of a character throughout a film or films. Because for me, the arc of Sarah Connor is absolutely brilliant.
I haven’t seen Terminator: Dark Fate (2019), as for me, the Terminator franchise is a spent force narratively speaking. I’m sure it’s a great spectacle, but I am more interested in speaking about James Cameron’s first two genre masterpieces. I am specifically intrigued by Sarah Connor movement from timid waitress to hardcore rebel fighter. Thus, Lena Headey and Emilia Clarke’s turns as the character are ignored here.
The genius of James Cameron’s original filmThe Terminator (1984) is how it is both simple and complex at the same time. It takes time travel tropes, which while very familiar today, were extremely fresh and exciting back in the 1980s. Mashing up ideas from literary science fiction, Star Trek , The Twilight Zoneand films likeWestworld (1973), Cameron gave us one of the greatest bad guys and heroines ever committed to film. Plus, he did it all on a $7 million budget!!
At the heart of the sci-fi, war and thriller genres is an intriguing character study and even a love story. The Terminator (1984) introduces Sarah Connor as a waitress who is having a bad day. It’s about to get worse. She has been murdered and it’s on TV. Well, it’s not her, but someone with the same name as her. Very quickly she is confronted by a man from the future, Kyle Reese (Michael Biehn), claiming she is the mother of the person who will be a future saviour. How do you process THAT?!? Mind blown!!
Kyle Reese and Sarah Connor then find themselves pursued by a futuristic cyborg (Arnold Schwarzenegger), hell bent on her destruction. Here she learns more and more about the future and how machines will take control, but her son, John, will lead the resistance. Thus, over the course of the film, as Sarah learns about her fate, the audience learns too. Sarah begins as a conduit and passive, before transforming slowly into an aggressive and battle-hardened fighter.
When the events of Terminator 2: Judgement Day (1991), come around we meet a whole different kind of Sarah Connor. She has transformed into a muscular and angry revolutionary. Not surprisingly, her narratives about future robots and the apocalypse find her sectioned. But, we know she is telling the truth. Moreover, due to her toughness, guile and resourcefulness, she is now very capable. No four walls will hold Sarah Connor.
Finally, Linda Hamilton’s performance must be praised too. In the first film she is a small character, quiet, likeable and lacking confidence. Over the course of the two films her physical, mental and emotional transformation is very impressively rendered. Cameron’s writing and Hamilton’s commitment to the role make Sarah Connor a highly memorable film character for me.
I am still perplexed how the Netflix business model works, however, the amount of viewing I get for my subscription fee is quite incredible. In the last month or so I have squeezed even more value out of it too.
Having caught up with some Amazon, Netflix and Sky television shows of late, I realised I had missed a number of film releases on Netflix. I have since rectified that by watching loads of them in an unofficial Netflix Film Festival.
So, here are some quick-fire reviews of newer film releases, ones I missed on initial cinema release and some re-watches too. All are marked out of eleven and organised in order of enjoyment.
**SPOILER FREE**
HIGHLY RECOMMENDED!
BLACK 47 (2018)
Excellent chase thriller set in Ireland during the famine of the 1840s. Like Rambo meets Irish historical drama, it was both gritty and compelling throughout. Mark: 8 out of 11
BLINDSPOTTING (2018)
This excellent urban comedy-drama impresses with humour, poetry and adroit social commentary. Daveed Diggs and Rafael Casal excel as friends trying to steer clear of the law – Mark: 8 out of 11
COLOSSAL (2016)
This quarter-life crisis drama meets monster movie is tonally uneven, but full of fantastic ideas. Anne Hathaway is great as the party person trying to get her shit together! Mark: 9 out of 11
EL CAMINO (2019)
Did you ever wonder what happened to Jesse Pinkmon (Aaron Paul) after Breaking Bad finished? I didn’t. But this neo-Western fills in the gaps in an entertaining and solid fashion. Mark: 8 out of 11
THE GUILTY (2018)
Danish thriller findsan emergency call handler (Jacob Cedergren), striving to save a woman’s life. Tense, claustrophobic and full of twists, it’s low budget but high in suspense. Mark: 9 out of 11
PADDLETON (2019)
Starring the affable Mark Duplass and the brilliant Ray Romano, this low-key story of friendship is both funny and moving in equal measures. Mark: 8.5 out of 11
PRETTY GOOD!
AT ETERNITY’S GATE (2018)
Pretentious, elegant and beautifully told story of the last days of Vincent Van Gogh (Willem Dafoe) Mark: 7 out of 11
BETWEEN TWO FERNS: THE MOVIE (2019)
Sporadically hilarious talk show parody, with Zach Galifianakis asking dumb questions to a host of celebrities. Mark: 7.5 out of 11
I AM MOTHER (2019)
Almost brilliant science fiction film, full of great concepts and visuals. It’s let down by a very confusing ending. Mark: 7 out of 11
IN THE SHADOW OF THE MOON (2019)
Very effective mixture of sci-fi and B-movie thriller genres, finds Boyd Holbrook’s cop chasing a serial killer. Mark: 7.5 out of 11
WILDLIFE (2018)
Interesting portrait of a dysfunctional 1960s U.S. family. The acting is great but the story rarely catches fire. Mark: 7 out of 11
NOT TOO BAD!
ADRIFT (2018)
Love, disaster and survival set on a yacht – Mark: 6 out of 11
A FUTILE AND STUPID GESTURE (2018)
Amusing look at the history of satirical magazine, National Lampoon – Mark: 6.5 out of 11
CHARLIE WILSON’S WAR (2007)
Hit and miss historical satire about the war in Afghanistan. Mark: 6 out of 11
HUNTER KILLER (2018)
Efficient Cold War B-movie with dodgy plotting, but decent action set-pieces – Mark: 6 out of 11
KILL THE MESSENGER (2014)
Interesting but undramatic profile of a journalist who uncovers a US Government conspiracy. Mark: 6 out of 11
MURDER MYSTERY (2019)
The cast get a luxury holiday as the audience get a frothy and silly Agatha Christie knock-off! Mark: 6 out of 11
RATTLESNAKE (2019)
Entertaining and tense, race-against-time thriller which finds a mother with an unenviable dilemma. Mark: 6.5 out of 11
THE MAN WHO KILLED HITLER AND THEN BIGFOOT (2018)
Sam Elliott excels in this weird, slow-moving drama, which in no way lives up to the fantastic title. Mark: 5.5 out of 11
THE RED SEA DIVING RESORT (2019)
Great cast and worthy narrative cannot save this political thriller from falling short by the end. Mark: 5.5 out of 11
SHAFT (2019)
Samuel L. Jackson acting talent cannot quite save another reboot of the classic 1970’s private investigator. Mark: 5.5 out of 11
AVOID!
HAPPYTIME MURDERS (2018)
Gross out puppet comedy which is horrific in every way! Mark: 2 out of 11
IN THE TALL GRASS (2019)
Decent horror story, ultimately gets lost in the weeds! Mark: 4 out of 11
SUBURBICON (2017)
Two narratives fail to gel in this 1950’s set misfire! Mark: 4 out of 11
Written by: Jeff Fradley, Danny McBride, David Gordon Green
Based on characters created by John Carpenter and Debra Hill
Cast: Jamie Lee Curtis, Judy Greer, Andi Matichak, Will Patton, Virginia Gardner etc.
Music by: John Carpenter, Cody Carpenter, Daniel Davies
***MAY CONTAIN SPOILERS***
John Carpenter’sHalloween (1978) is a seminal horror film experience. It spawned an army of sequels and sidequels and reboots which darkened the cinemas, mostly failing to get anywhere near Carpenter’s low-budget masterpiece in terms of quality and scares. It also gave birth, along with Black Christmas (1974), to the slasher film genre. Of course Hitchcock’s classicPsycho (1960), could make claim to that too, but following the success of Carpenter’s Halloween (1978), the bloodgates opened. What followed was a deluge of stabbing and slashing copycat killer movies from the late 1970s onwards.
Flash forward to 2018 and with Halloween (2018), we now have the ELEVENTH film in the franchise. Having read some decent reviews I sat down to watch it last night on, aptly enough, Halloween night. My expectations were pretty low, but I was encouraged by the return of Jamie Lee Curtis, plus David Gordon Green has proved himself a very solid filmmaker in the past. Movies like decent stoner comedy, Pineapple Express (2008), and dramas Joe (2013), and Stronger (2017), were very watchable. Least said about Your Highness(2011), the better.
The film opens with an excellent set-piece establishing Michael Myers, some forty years older, in a maximum security mental health institution. Two reporters have come for an interview for their latest true crime podcast. Safe to say Myers isn’t interested in communicating. The editing and imagery and music combine to create a very unsettling experience, so the film starts strongly. We then re-establish Myers’ narrative counterpart, Laurie Strode (Jamie Lee Curtis).
Now, you have to swallow the fact that this is a direct sequel to the original Carpenter classic. None of the other films happened; which essentially works, despite some wonky dialogue and exposition. Thankfully, with Lee Curtis on excellent form as the post-traumatised Strode, we have a flawed but compelling heroine to root for. Strode has been waiting for Myers and preparing with firepower, high security and wits in order to defeat him. Sub-plots involving Strode’s daughter (Judy Greer) and granddaughter (Andi Matichak) are developed, but kind of lose their way as the murderous Myers mayhem begins. Still, at least they tried to write some depth into the screenplay.
After a very strong start the film begins to unravel in the middle. The machinations of the plot to get Myers on the Halloween rampage felt random and illogical in places. An important event occurs off-screen and this impacted my commitment to the story. This isn’t really a criticism as such, because genre conventions and a high death rate need to be met. However, despite some well directed set-pieces, whenever Laurie Strode was off-screen the film lost some emotional power. Having said that, if it is deaths with knives, hammers, cars and crow-bars you want, this film contains that and more.
Overall, I really wanted to enjoy this film more than I did. I think the work of Gordon Green and Curtis is especially good. The script however, suffered during a messy second act, although the final showdown was really well executed (sorry.) With $250 million made at the box office, it goes to show though that the Halloween franchise is alive and kicking and two further sequels are planned. It has some scary moments, some brilliant gore and the iconic music still haunts me to this day. Nonetheless, this reboot doesn’t hold a pumpkin flame to the original. Then again, not many horror films do.
While I haven’t seen it yet, I was slightly intrigued by the release of Will Smith’s action film, Gemini Man (2019).Any film which examines the nature of the double or doppelganger always interests me. As you may be aware the word doppelganger is of German origin. It means “double walker” or “double goer” and I just love it. I love the way it sounds and the mysterious connotations it conjures up. It kind of sounds evil as well; like nothing good can come of it.
There have been many films, books and television programmes featuring doubles. They can occur for various reasons such as: twins, clones, shape-shifters, split personalities, mental breakdown and ghostly or other fantastical elements. We must not forget time-travel or inter-connected timeline plots either. Different versions of the same character existing simultaneously in alternate or exact timelines are very prevalent in fiction also.
In this occasional ‘Six of the Best’ series, I would like to consider six “double” or doppelganger films which are definitely worth watching. To make it interesting I would like to consider the more symbolic, fantastical and unexplained kind of films out there. I cannot avoid the twin or clone plots in certain examples, but the temporal double stories have, sort of, been explored here in an article about time travel films.
***CONTAINS MASSIVE SPOILERS***
THE ARMY OF DARKNESS (1992)
Having done some online research of films featuring doubles, Sam Raimi’s riotous Evil Dead 3: Army of Darkness (1992), is cruelly missed from many of those lists. In this gory and over-the-top medieval horror romp, Ash (Bruce Campbell), finds himself in battle against hordes of Deadites. This is all because he gets a spell wrong and splits in two. He then comes face-to-face with his vicious double, Evil Ash. I hate it when that happens – don’t you! While not the deepest of the films listed here, it’s worth watching because you get TWO Bruce Campbell’s for the price of one!
THE DOUBLE LIFE OF VERONIQUE (1991)
The antithesis of the genre joy that is Army of Darkness, can be found in this profound study of identity, directed by Krzysztof Kieslowski. It concerns two identical women, Weronika and Veronique (both Irene Jacob), who live in Warsaw and Paris, respectively. Aside from one fleeting moment they never meet, but somehow, telepathically, artistically and emotionally, they are connected to each other. A beautiful, yet obtuse narrative, allied with Kieslowski’s poetic style make this a difficult film to understand. However, it contains fine symbolic power and is open to a myriad of interpretations.
ENEMY (2013)
Denis Villeneuve’s directs this adaptation of Jose Saramago’s book called The Double or The Duplicated Man. In it Jake Gyllenhaal plays both a college professor, Adam Bell and his exact lookalike, actor, Anthony Claire. Their two lives become entwined and that’s not the weirdest thing about the film. Part Kafkaesque nightmare and part Freudian examination of the subconscious, this film quietly unhinges the viewer with a slow pace and collection of striking visual motifs. Gyllenhaal is as mesmerizing as ever in this existentially challenging urban horror tale.
THE PRESTIGE (2006)
The doppelganger trope is integral to the story here and uses both twins and clones in its compelling thematic and visual system. Yet, these are not revealed until the very end, as the screenwriters Jonathan and Christopher Nolan literally dissect the characters’ souls within the fascinating world of magicians and their mysterious secrets. At the heart of the story we witness the tricks of warring magicians, portrayed by Christian Bale and Hugh Jackman, and the lengths they will go to amaze an audience. By the end, the film becomes a chilling and fantastic warning about the dangers of obsession and rivalry.
US (2019)
The incredibly talented Jordan Peele delivered one of my favourite films of the year. It did not contain just one (or is it two) doppelganger(s), but a whole family of them. Working in the horror genre is an ideal setting for the “double” thematic, as the fantasy elements coalesce perfectly with the psychological ones. Symbolically the film is very strong. It can be interpreted on many levels, including as a critique of the United States (U.S. = US – get it?); and a powerful exploration of split identities. Indeed, in Us (2019), the lead protagonists battle external and inner demons, both political and personal, which can plague all of us during our lives.
VERTIGO (1958)
Alfred Hitchcock’s classic psychological thriller is very complex and actually reflects the directors’ obsession with the moulding of an individual to look a certain way. On the surface, the story of a burnt out cop, Scottie Ferguson (James Stewart) attempting to overcome his fear of heights, while tracking a friend’s wife, is initially quite simple. But in Hitchcock’s and his writer’s hands it become a tour-de-force of mistaken, double and theft of identity. A tragic figure, Scottie Ferguson is exploited and left bereft of love and comfort as he attempts, like Hitchcock himself, to find that perfect, yet elusive, blonde.
One of the great things about film festivals is you can find loads of lower budget and independently made cinematic gems, amidst the big studio projects. Thus, I like to try and see as many smaller scale films if I can, rather than just watch the ones that are likely to go on general release anyway.
Due to my daily work commitments I didn’t get to see as many films as I would like, but here are three I have seen this week. Each is very different, but they all demonstrate, despite featuring some well- known actors, an independently-minded cinematic spirit.
***** SPOILER FREE *****
CALM WITH HORSES (2019)
First time director Nick Rowland has an assured debut with this contemporary rural gangster film set in Southern Ireland. Caught between the right and wrong side of the law, Arm, portrayed with brutal tenderness by Cosmo Jarvis, finds his loyalties torn between his family and venal crime bosses. The ever-impressive Barry Keoghan features as his drug dealer friend, who doesn’t necessarily have his best interests at heart.
It’s a harsh tragedy with an element of hope represented by Niamh Algar’s struggling single mum, hoping to escape for a better life. Ultimately, the story beats inhabit familiar territory, with elements ofMean Streets (1973), Of Mice and Men (1937), Bullhead (2011) and Miller’s Crossing (1990), echoing amidst the slashes of violence, colourful language and tough Irish characters.
Mark: 8 out of 11
COLOR OUT OF SPACE (2019)
Filmmaker Richard Stanley had not directed a film for over twenty years, so when I saw he had filmed a HP Lovecraft short story – I WAS IN! Stanley was famous for being sacked from the ill-fated Island of Dr Moreau (1996). Indeed, the 2014 documentary, Lost Soul (2014),is still one of best docs I have seen about filmmaking. Mainly because everything went wrong, but also because Richard Stanley is such as interesting person too. Thankfully, this latest low-budget horror film was completed without too much trouble.
Given it is an adaptation of Lovecraft, Color Out of Space (2019) is unsurprisingly a cosmically bonkers horror film, which descends into all manner of insane occurrences. It centres on the Gardner family, portrayed by Nicolas Cage and Joely Richardson, who along with their teenage kids, must confront the terrors that befall them when a meteorite hits their isolated farm. Building slowly, all hell breaks loose in the final act, as Cage lets rip with another crazed performance. Trippy and stylish with some fantastic gore, it lacks depth, but has cult film written all over it!
Mark: 7.5 out of 11
WAITING FOR THE BARBARIANS (2019)
Set in a desolate border town, the film opens with the kindly Magistrate (Mark Rylance) meeting Johnny Depp’s venal Colonel Joll for the first time. Joll is convinced those “Barbarians”, who live in the desert and mountain areas are going to threaten the fabric of the mighty Empire’s society. So, Joll begins a campaign of torture and oppression against them. The Magistrate and Joll constantly clash as the former seeks understanding and empathy over brute force.
This cerebral and allegorical drama is based on a famous literary classic, written by J. M. Coetzee. Brought to the screen by the ultra-talented Columbian filmmaker, Ciro Guerra, it’s quite slow, but I found it absorbing nevertheless. Mark Rylance is absolutely spellbinding. No one can do contemplative acting quite like him. His character was so noble and just, I really felt for him and the oppressed indigenous peoples’ cause. Arguably, the film could have been more dramatic in places, however, it still presents a damning indictment of colonialism and heavy-handed military rule.
A TEST OF CHARACTER: BRIEFLY EXPLORING CINEMATIC PERSONAS
“Just because you are a character, doesn’t mean you HAVE character.”
Winston Wolf – Pulp Fiction (1994)
What makes one film character more interesting than others? Obviously, the actor who plays them brings much to the role, but the writing, their story and personality are what draws us specifically to them. While film studios have utilised the star system and cast well regarded actors to sell their movies, the actual personas of the characters are just as, if not, more important.
Having strong characters to support the genre, concept and plot of their works is integral to writers, directors and actors. Thus, I’d like to explore some general character traits which help define a strong film character. I would like to consider the following: LIKEABILITY, EMPATHY, EXPERTISE, RESILIENCE, HUMOUR, COOLNESS and COMPLEXITY. There are obviously many other aspects to a character we could consider but I’ll stick to these for now.
To support this, I will list five film characters in each category. If I have missed anything glaring, then please feel free to shout out and comment.
*******CONTAINS FILM SPOILERS*******
LIKEABILITY
Does a character have to be likeable for you to root for them? Not at all! However, if they are a positive character it does help you to warm to their stories and emotions. That isn’t to say you cannot appreciate unlikeable characters, however, they are more complicated and I will come to those later.
FIVE LIKEABLE FILM CHARACTERS
GEORGE BAILEY – IT’S A WONDERFUL LIFE (1946)
WOODY – TOY STORY (1995)
SAMWISE GAMJEE – LORD OF THE RINGS (2001)
MARGE GUNDERSON – FARGO (1996)
ATTICUS FINCH – TO KILL A MOCKINGBIRD (1962)
EMPATHY
Empathy and sympathy are two sides of the same coin, but can also contain variants. You can sympathise with a character but not necessarily empathise with their actions; and vice versa. For me, empathetic aspects are what I look for most in a character. They could still be pretty unlikeable, but if I feel drawn to their plight I will still connect with their story. Nonetheless, the characters I list here are both empathetic and mostly sympathetic too.
FIVE EMPATHETIC FILM CHARACTERS
ROCKY BALBOA – ROCKY (1976)
MARTY PILETTI – MARTY (1955)
FORREST GUMP – FORREST GUMP (1994)
CARRIE WHITE – CARRIE (1976)
KING KONG – KING KONG (1933)
EXPERTISE
I have read a lot of screenwriting books and many of them say if you cannot make a character likeable or sympathetic, make them excel at something. Their expertise in their chosen field will draw you into their world, empathise and even admire their actions. If they are on the right side of the law that will obviously increase identification with such a character. Having said that there are many experts who are villains and I, like many, love a good nemesis too.
FIVE EXPERT FILM CHARACTERS
TONY STARK – IRON MAN (2008)
ETHAN HUNT – MISSION IMPOSSIBLE franchise.
INDIANA JONES – RAIDERS OF THE LOST ARK (1981)
HANNIBAL LECTER – SILENCE OF THE LAMBS (1991)
DETECTIVE WILLIAM SOMERSET – SEVEN (1995)
RESILIENCE
Resilience or the overcoming of insurmountable odds is a sure-fire way of getting an audience on side. The fact a character refuses to give in despite overwhelming odds creates all manner of means with which to identify with a character. When watching a film we also want to see characters who mirror our own personalities. So, to watch characters who never give in is very appealing to me.
FIVE RESILIENT FILM CHARACTERS
ELLEN RIPLEY – ALIEN (1979)
SOLOMON NORTHUP – TWELVE YEARS A SLAVE (2013)
CELIE JOHNSON – THE COLOR PURPLE (1985)
ANDY DUFRESNE – THE SHAWSHANK REDEMPTION (1994)
OH-DAE-SU – OLDBOY (2003)
HUMOUR
Obviously making an audience laugh is a fine way of making the one like a character. It’s also a good way to mask a characters’ agendas or be employed as a defence mechanism or weapon too. Funny characters are not just limited to comedy films as humour can enhance action, romantic and drama genres too.
FIVE HUMOROUS FILM CHARACTERS
ACE VENTURA – ACE VENTURA: PET DETECTIVE (1994)
PETER PARKER – SPIDERMAN (2002)
JUNO MACGUFF – JUNO (2007)
AXEL FOLEY – BEVERLEY HILLS COP (1984)
RANDALL P. MCMURPHY – ONE FLEW OVER THE CUCKOO’S NEST (1975)
COOLNESS
Arguably the most difficult one to quantify and even write, because it could be the actor who the one bringing the cool to the role. However, I think there are great examples of characters who are written that way too. Usually, a cool character will be someone of few words or a reserved demeanour or simply designated cool by their skills, actions and even what they wear.
FIVE COOL FILM CHARACTERS
VIRGIL HILTS – THE GREAT ESCAPE (1963)
CLIFF BOOTH – ONCE UPON A TIME IN HOLLYWOOD (2019)
LEE – ENTER THE DRAGON (1973)
HOLLY GOLIGHTLY – BREAKFAST AT TIFFANY’S (1961)
MAX ROCKATANSKY – MAD MAX (1979)
COMPLEXITY
Complexity can be defined it many ways. It could be they are conflicted souls, searching for their place in the world. Or characters who are behaving badly while striving to be good. They could just be presenting a certain persona while hiding their real self. Or they could just be totally screwed and have mentally flipped. Complex characters are often unpredictable, but always compelling.
FIVE COMPLEX FILM CHARACTERS
HOWARD BEALE – NETWORK (1976)
MIRANDA PRIESTLY – THE DEVIL WEARS PRADA (2006)
DARTH VADER – STAR WARS (1977)
TRAVIS BICKLE – TAXI DRIVER (1976)
JOHNNY FLETCHER – NAKED (1993)
TO BE CONTINUED. . .
There are so many wonderful characters in the world of cinema. Those mentioned above are just a few. The aspects I speak of too are just brief sketches really in such a fascinating area. Certain characters are more than simply likeable, empathetic, cool, complex and funny. Some of are a collision of all the facets I have noted above. Lastly, as well as different elements to their personas, characters can also be defined as an archetype or genre type. But, that is another story for another article.
Based on: Infernal Affairs (2002) by Alan Mak and Felix Chong
Cast: Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Martin Sheen, Vera Farmiga, Ray Winstone, Anthony Anderson, Alec Baldwin etc.
Cinematography: Michael Ballhaus
**CONTAINS MASSIVE SPOILERS**
“In my day you had two choices – be a criminal or a cop! When you’ve got a gun pointed at you – what’s the difference?”Frank Costello
Oscar-winning gangster film, The Departed (2006), is a vicious, double-crossing, paranoiac remake of the equally brilliant thriller, Infernal Affairs (2002). With a cast that reeks of testosterone and star quality, the incendiary William Monahan script is ferociously directed by filmmaking genius, Martin Scorsese. The legendary director and his production team, plus the terrific ensemble cast including Ray Winstone, Vera Farmiga, Matt Damon, Jack Nicholson, Martin Sheen and Leonardo DiCaprio, lift this story above the run-of-the-mill cops and robbers genre movie.
The Departed (2006) moves at a heady pace from the start, establishing Sullivan (Damon) and Costigan (DiCaprio) as”Staties” in the Massachusetts force. They both have deep secrets; both go deep undercover unknowingly trying to catch the other. Sullivan is a criminal masquerading as a brilliant cop in order to further gangland boss, Costello’s (Nicholson) power games. The edgy, streetwise Costigan, on the other hand, joins Costello’s gang in order to bring him down from the inside.
The film is shot and edited, as expected, with immaculate precision; crammed with unrelenting and bone-crushing thrills and violence. Thematically, it’s powerful too. Throughout, honesty and truth are obliterated by lies and death. Costigan and Sullivan are no more than pawns at the hands of a corrupt system that lets people down from a great height. This is literally the case where Martin Sheen’s Captain Queenan is concerned. His death is probably the most brutal demise of all. At times, I must admit, my head was spinning because of the twisting plot as Sullivan, in a Kafkaesque turn, ends up chasing himself as part of a serious crime investigation.
The screenplay by William Monahan is a ballsy joy, full of despicable protagonists and biting dialogue. While many of the characters are difficult to like, the plot. thrusting soundtrack, incredible performances and narrative suspense really get the heart racing. Nicholson and Wahlberg take special glee in spouting their offensive dialogue. DiCaprio too is brilliant as the paranoid cop, dragged into the mix through some screwy sense of righteousness. Lastly, Matt Damon’s portrayal of Sullivan is particularly astute, as he plays against that all-American good guy he is often cast as.
Amidst the cat-and-mouse shenanigans, merciless tragedy pervades throughout. Virtually everyone is a rat or cheating on someone as the film deconstructs the notion of loyalty. Consequently, most scenes blur the lines between good and bad, as characters attempt to out-wit and out-kill one other. By the end there is no good or bad in the traditional sense, just a bunch of wasted lives in an ultimately nihilistic pursuit of money and power. The characters exist in a rodent-infested Boston setting, distorting the distinction between truth and lies. Is there a difference? The Departed (2006), doesn’t discriminate; and there lies the truth.
Writer(s): William Bridges, Kate Trefey, Paul Dichter, Curtis Gwinn
Cast: Winona Ryder, David Harbour, Finn Wolfhard, Millie Bobby Brown, Gaten Matarazzo, Caleb McLaughlin, Noah Schnapp, Sadie Sink, Natalia Dyer, Charlie Heaton, Maya Hawke, Cara Buono, Joe Keery, Cary Elwes and many, many more.
Number of episodes: 8
Original Network: Netflix
**CONTAIN MASSIVE SPOILERS**
When Season 1 was released, Netflix’s phenomenally popular sci-fi-rites-of-passage-comedy-adventure-drama proved an excellent nostalgia-fest. Indeed, it evoked the 1980’s perfectly in design, sound and look, wearing Steven Spielberg, Stephen King, John Carpenter and George Lucas influences, not so much on its sleeve, but as a whole darned fashion show.
Written and directed by the Duffer Brothers, it centred on the search for a missing child in (where else) Indiana, an ultra-dimensional netherworld and a telekinetic kid called Eleven, who’s on the run from a nefarious US Government facility. Archetypal characters such as embittered drunken cop (David Harbour), distraught nutty mother (Winona Ryder), Gooniesque geeky teens all try and track down their missing friend during eight episodes containing weird and monstrous moments throughout.
I thought Season 1, while full of great design, style, suspense and mystery, was over-rated. It was still a fine work of entertainment but I found the story seriously padded out and stretched. While Season 2 is more generic it was a marked improvement as we got more pace and action. Season 3, though, is even better in terms of story-lines, pace and humour. Some may lament the move away from the mystery and darkness of Season 1, but Season 3’s humour, action and romantic sub-plots are turned right up to Eleven (pun intended).
Furthermore, amidst all the teenage romance crap, there is some fantastic gore and visceral monster goo on show. The Mind Flayer nemesis is an absolutely fearsome creature creation and way more convincing than the cartoon Russians. So, overall, I think this was my favourite season as it didn’t take itself too seriously. It just went for pure adrenaline and mind-bending chases and fights throughout. I didn’t even mind the John Hughes-style soppy romances.
Lastly, Season 3 isn’t perfect as it often verged on parody. This is notable in Episode 8, where we get a viral-bait version of The Never Ending Story (1984) theme song. Quite frankly, it was tonally inappropriate given the kids were being hunted down by Russian soldiers and an inter-dimensional monster at the time. Aside from this crime against genre occurring Season 3 is great because it featured a cavalcade of film references and homages. Well, let’s be honest, they basically stole a load of ideas from other movies.
So, rather than do a traditional review I will mark Stranger Things (2019) – Season 3, and then pick a TOP TEN movie homages or steals that featured prominently as a fun meta-bingo review. Obviously, I’ve probably missed loads out, so, if you care, let me know which ones.
Mark: 9 out of 11
TOP TEN META-REFERENCES IN STRANGER THINGS (2019)
RUSSIAN BADDIE — THE TERMINATOR (1984)
BILLY AND TOWNSFOLK ‘DOUBLES’ — INVASION OF THE BODY SNATCHERS (1956 / 1978)
THE MIND FLAYER – THE BLOB (1958) / ALIEN (1979) / THE THING (1982) / TREMORS (1990)
STEVE AND ROBIN’S “WILL THEY, WON’T THEY ROMANCE?” — ANY JOHN HUGHES FILM!
THE BLACK WATER VOID – UNDER THE SKIN (2013)
USA VERSUS RUSSIA — RED DAWN (1984), RAMBO 2 (1985) & ANY COLD WAR FILM!
BILLY’S DREAMS — DREAMSCAPE (1984) / NIGHTMARE ON ELM STREET (1984)
ELEVEN’S TELEKINETIC POWERS — CARRIE (1976), THE FURY (1978) & SCANNERS (1981) ETC. . .
KIDS ON A MISSION TO SAVE THE TOWN/WORLD (AGAIN) — THE GOONIES (1985)
FANTASY OLDER WOMEN DYNAMIC — RISKY BUSINESS (1983) / WEIRD SCIENCE (1985)
Way back in September 2015 I wrote an article listing some great ensemble film casts. Please feel free to read it here at this link.
If you can’t be bothered to read it the list of films are as follows:
12 ANGRY MEN (1957) AVENGERS ASSEMBLE (2012) GRAND BUDAPEST HOTEL (2014) INCEPTION (2010) LA CONFIDENTIAL (1997) THE MAGNIFICENT SEVEN (1960) MAGNOLIA (1999) MEANTIME (1984) THE OUTSIDERS (1983) PULP FICTION (1994) SHORT CUTS (1993) TINKER, TAILOR, SOLDIER, SPY (2011)
Never one to worry about originality, I have decided to follow up this article with another list of great ensemble film casts.
The challenge second time round though is to EXCLUDE the films of directors or franchises ALREADY LISTED.
For those who may have lazy-read this I WILL REPEAT!!!
NO DIRECTOR’S OR FRANCHISE WORK FROM LIST ONE WILL BE ON LIST TWO!!!
It would be so easy to include all of Paul Thomas Anderson, Quentin Tarantino’s or the Marvel films. So I am not going to do that. Anyway, here are another TEN films with great ensemble casts (in alphabetical order).
The Cinema Fix presents 