Tag Archives: Javier Bardem

EVERYBODY KNOWS (2018) – CINEMA REVIEW

EVERYBODY KNOWS (2018) – CINEMA REVIEW

Directed by: Asghar Farhadi

Produced by: Alexandre Mallet-Guy, Alvaro Longoria

Written by: Asghar Farhadi

Starring: Javier Bardem, Penelope Cruz, Ricardo Darin, Barbara Lennie etc.

Cinematography: Jose Luis Alcaine

**MAY CONTAIN SPOILERS**

Asghar Farhadi is one of those filmmakers whose work is always of the highest quality. For some reason I actually missed seeing his prior film The Salesman (2016), so definitely need to catch up with that. However, The Past (2013) and A Separation (2011) were both compelling human dramas. A Separation, in fact, was one of the best films I have seen in the last decade. It took everyday scenarios involving as divorce and class conflict and spun a heartfelt, intense and intelligent narrative which was emotionally very powerful. While Farhadi was born in Iran and his early works are based there, his oeuvre transcends geography; projecting visions of humanity which stay with you way after the film has ended.

Farhadi’s eighth feature as a director is arguably his most accessible and while not reaching the dramatic heights of his previous films, remains a very solid personal drama. Everybody Knows concerns a large family unit converging for a wedding celebration in Spain. The setting is a small town set amidst beautiful countryside just outside Madrid. It’s the kind of place where everybody knows each others’ business and the community, while seemingly convivial on the outside, carries class, family and business conflicts under the surface.

The film begins with Laura driving her children, notably teenage Irene, back to the town where she was born. The wedding celebrations ensue until terror strikes and Irene is stolen in the night by unknown assailants. Forbidden from contacting the police by the kidnappers, Laura, her family and former childhood boyfriend, Paco (Javier Bardem), desperately seek to find Irene before tragedy occurs. It isn’t long before history converges on the drama and past events involving stolen land and romantic affairs threaten to destabilise the whole town.

With Penelope Cruz and Javier Bardem cast as your leading protagonists, and the brilliant Ricardo Darin in support, you’re always guaranteed an enthralling screen experience. Nonetheless, what is so impressive in the performances and direction is they feel like real people with proper emotions, not simply starry versions of themselves emulating reality. Moreover, Farhadi concentrates on the human aspects of the story rather than the crime, as the characters, relationships and town itself begin to unravel. Further, while the film may lack his usual socio-political subtext, Farhadi really pulls you into the drama, as secrets and revelations are unearthed throughout. Overall, this is a consistently watchable piece of cinema that keeps up Farhadi’s impressive hit-rate, while perhaps feeling more familiar and generic compared to the other films of his I have seen.

Mark: 8 out of 11

MOTHER (2017) – CINEMA REVIEW

MOTHER (2017) – CINEMA REVIEW

DIRECTOR/WRITER: DARREN ARONOFSKY

CAST: JENNIFER LAWRENCE, JAVIER BARDEM, ED   HARRIS, MICHELLE PFEIFFER

**GENERALLY SPOILER FREE**

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Darren Aronofsky’s psychological horror stars Jennifer Lawrence and Javier Bardem as a couple in not so much a narrative but a descent into what-the-fuck?  They portray conduits of hellish pursuit dictated by a filmmaker on the edge of a nervous breakdown, vengefully striking out at his ego, superego and the world around him.  I mean, you know when someone tells you their dreams in nightmarish details and it’s more interesting to them than you: well, this is two hours of that.

While this is technically a bravura tour-de-force in design, composition, cinematic experimentation and delivery I was utterly bored by, what is essentially, an indulgent, pretentious and nihilistic void of a film.  Darren Aronofsky’s prior work such as Requiem for a Dream (2000), Pi (1998), The Wrestler (2008) and Black Swan (2010) combined cinematic style and protagonist emotion superbly. Mother, in its critiques of Hollywood, fame and some kind of biblical allegory stuff wildly missed the mark for me. I wasn’t even shocked by the horrific denouement as it all happened in a surreal vacuum where I could not care less about any person or anything.

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Christopher Nolan used cinematic form to powerful effect in Dunkirk (2017) and moved me immensely but Mother just bludgeoned me into dull submission. I wonder if Aronofsky’s experience on Noah (2014) had somehow warped his mind and the film is a creative and therapeutic cry for help, while at the same time damning the executives who possibly killed his film baby. He certainly throws a lot of toys from his pram in this violent, bloody, fiery, misogynistic and misanthropic misfire!

Lawrence was incredible as the battered lead while Bardem just felt confused and off-the-pace-at-times to me. While it is the work of a filmmaker I would certainly call an artist and generally I love the surrealist films of Luis Bunuel and David Lynch, the nightmarish logic narrative did not work for me as the cyclical parlour trick in closing the story is mere sleight-of-hand to fool the audience into thinking the film is deeper than it is.

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Ultimately, Darren Aronofsky, based on his prior films, is a risk-taking, boundary-pushing genius and some will adore this brave and courageous misadventure. However, for me it was an awful, pretentious heap of a film which exists as an entertainment void both nihilistic and dull. I mean I’m just a lowly office drone but I paid my money and earned my opinion. Because this film abuses the privilege and patience of the audience delivering a technically brilliant but overall clichéd, first-world-problems-poet-with-writer’s-block-world-murdering-art-fan-hating two hours I will never get back.

Mark: 5 out of 11

SIX OF THE BEST #3 – MOVIE NUTTERS

SIX OF THE BEST #3 – MOVIE NUTTERS

In the third episode of this occasional strand I have decided to have a look at some good old cinema nut-jobs. This was precipitated by a recent watch of David Lynch’s classic Blue Velvet (1986) which features an incredible performance from Dennis Hopper as Frank Booth.  He is, of course included here, along with five other movie loons.

**CONTAINS SPOILERS**

FRANK BOOTH – BLUE VELVET (1986) – DENNIS HOPPER

“Why are there people like Frank?” asks Kyle Maclachlan’s Jeffery Beaumont midway through David Lynch’s dark journey into the underbelly of small town America. Why indeed? We do not know why Frank is the way he is: he just is!  The drugs, shouting, swearing, sado-masochistic and psycho-sexual violence stem from the dark recesses of Lynch’s imagination; while Hopper’s tour-de-force performance is chilling, scary and at times, inappropriately laugh-out-loud funny.

ANTON CHIGURH – NO COUNTRY FOR OLD MEN (2007) – JAVIER BARDEM

You’d have to be a person of the highest confidence or crazy insane to sport the haircut Chigurh/Bardem does in this wonderful Coen Brothers’ adaptation of the Cormac McCarthy’s neo-Western novel. Chigurh is not just a stone-cold killer but also one with a strange amoral compass and set of rules. Also, his reliance on chance and the flip of a coin as to whether someone lives or dies is even more scarier than the deadly bolt-gun he uses to dispatch his victims.

JACK TORRANCE – THE SHINING (1980) – JACK NICHOLSON

The slow demise of the isolated writer driven to kill by the demons of the past are brilliantly captured in Stanley Kubrick’s stylish and memorable Stephen King adaptation. Nicholson cornered the market on explosive larger-than-life masculine roles but here he was far more unhinged. His performance as Jack Torrance is both scary and funny, as writer’s block, the ghosts of the Overlook Hotel plus his own depression weld to send him over the edge and into lunacy and murder.

ASAMI YAMAZAKI – AUDITION – (1999) – EIHI SHIINA

To describe Asami as a nutter is a bit harsh on nutters really. Because, cutting your victims limbs, digits and tongues off, before placing them in a hessian sack is pretty extreme. A calm psychopath, Asami literally chills to the bone; however, her victims are carefully chosen men who she enacts tortuous revenge on for historical sexual abuse. This is a scary horror film that is both stomach-churning and thematically strong, delivering a damning indictment on the casting couch culture.

MAX CADY – CAPE FEAR (1991) – ROBERT DE NIRO

Robert Mitchum’s performance in the original Cape Fear (1962) deserves a mention, as does his powerhouse and menacing turn as Harry Powell in Night of the Hunter (1955); who almost made the list too. Nonetheless, DeNiro’s Cady is a marvellous cinematic creation rooted in pure bible-belt-Southern-preacher-avenging-devil-hatred. All muscles, tattoos and a sense of violent vengeance he pursues Sam Bowden (Nick Nolte) and his family with an insane zeal; terrorizing them with unforgettable physical, sexual and murderous threat.

ANNIE WILKES – MISERY (1990) – KATHY BATES

Here is another Stephen King loon for your consideration. Kathy Bates deservedly won an Oscar for her barnstorming performance as Annie Wilkes. She is a charismatic lunatic who takes the ‘I’m your number one fan’ maxim to the extreme; with a mania stemming from a skewed understanding of the world which is not helped by her seeming isolation. When James Caan’s author kills off her favourite literary character hell hath no fury like a mad-woman scorned! Carlsberg don’t do torture: but if they did!