Tag Archives: John Magaro

Cinema, New Releases

Cinema Review: September 5th (2024) – an inside-out snapshot of tragedy at the 1972 Munich Olympics!

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Directed by Tim Fehlbaum

Written by Moritz Binder, Tim Fehlbaum and Alex David

Produced by Philipp Trauer, Thomas Wöbke, Tim Fehlbaum, Sean Penn, John Ira Palmer and John Wildermuth

Main cast: Peter Sarsgaard, John Magaro, Ben Chaplin, Leonie Benesch, Jim Mckay (archival footage), Zinedine Soualem, etc.

Cinematography by Markus Förderer

Edited by Hansjörg Weißbrich

*** MAY CONTAIN SPOILERS ***

The events of September 5th, 1972, during the Munich Olympics are deeply connected to the tragic and harrowing story of the attack by the Palestinian group ‘Black September’, which targeted the Israeli Olympic team. This day is crucial in understanding the impact of the attack, as it marks the beginning of what became known as the ‘Munich Massacre’. The documentary One Day in September (2000) directed by Kevin Macdonald, offered a detailed account of the events providing chilling footage, interviews with survivors, and insights from those who witnessed the attack and as a moment that deeply altered the course of history, influencing global politics, the perception of terrorism, and the nature of security at international events.

Steven Spielberg’s fictionalised film Munich (2005) dramatized the aftermath of the ‘Munich Massacre’, focusing on Israel’s covert response to the attack. The film based on the book Vengeance by George Jonas, told the story of a team of Israeli agents tasked with assassinating those involved in the planning of the massacre. The plot of Munich (2005) unfolds as these agents track down and kill individuals connected to ‘Black September’. The film, criticized for a series of inaccuracies, portrayed the moral complexities and psychological toll of vengeance, showing the personal conflict faced by the agents as they carry out their mission. Now, covering the same event, we have September 5th (2024), a drama-documentary that snapshots the conflict from the perspective of the ABC Sports crew and their coverage of the events.

Director, Tim Fehlbaum, and his talented production team effectively utilize constraints in geography, time, space, and structure to craft a highly claustrophobic thriller, drawing viewers into the escalating crisis as it unfolds. From the moment the athletes are taken hostage the ABC media team headed by Peter Sarsgaard as Roone Arledge, the president of ABC Sports, John Magaro as Geoffrey Mason, the head of the control room in Munich and Ben Chaplin as Marvin Bader, the head of operation at ABC Sports are on red alert striving to capture the story and prevent it being taken from them by the ABC News team. Fehlbaum makes use of limited settings, “real-time” structure, and confined spaces expertly as the audience find out information of the hostages plight and subsequent runway killings at precisely the same time as the crew do.

The films’ use of psychological space, close-ups, shadows and screens, creates a claustrophobic atmosphere, starving the audience of air and making them feel the increasing emotional pressure on each character. Like the world’s population today witnessing the brutal events unfold between Israel and Palestine on the news, they ultimately have little power over the situation as news of tragedy bleeds through to them. Further, the cast are uniformly compelling with Peter Sarsgaard, John Magaro and Leonie Benesch, as a translator for the ABC crew, stand out amongst an impressive ensemble. Lastly, special mention for the editing team led by Hansjörg Weißbrich, who skilfully weaved in actual footage from the ABC archive, creating a seamless and powerful cinematic experience.

Mark: 8 out of 11

Cinema, New Releases, Reviews

CINEMA REVIEW: PAST LIVES (2023)

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CINEMA REVIEW: PAST LIVES (2023)

Directed by Celine Song

Written by Celine Song

Produced by: David Hinojosa, Christine Vachon and Pamela Koffler, etc.

Main cast: Greta Lee, Teo Yoo, John Magaro, Ji Hye Yoon, Choi Won-young, etc.

Cinematography: Shabier Kirchner

Edited by: Keith Fraas

*** MAY CONTAIN SPOILERS ***

“It’s an in-yeon if two strangers even walk past each other in the street and their clothes accidentally brush, because it means there must have been something between them in their past lives. If two people get married, they say it’s because there have been 8,000 layers of in-yeon over 8,000 lifetimes.” – Nora from Past Lives (2023)

Are we fated to connect with the ones we love through each life we lead? Is love a connecting force for good which enriches and links us to our forever soulmate? Or is it a complex chemical reaction driven by three chemicals in the brain such as noradrenaline that stimulates adrenaline production, dopamine, and phenylethylamine. Be it spiritual or chemical, love drives many of the highs of our lives, but it is also responsible for disappointing lows. Safe to say that love and romance are also a staple for many emotionally charged and beautiful works of cinema, of which Celine Song’s Past Lives (2023) is certainly one of them.

Past Lives (2023) is a love story which transports the audience across time and continents through the spiritual and spatial connection of characters, Na Young (Greta Lee) and Hae Sung (Teo Yoo). The opening act establishes the relationship of the two as schoolfriends in Seoul. Alas, any potential fledgling romance for the teenagers is blocked as Na Young’s family moves to Canada, leaving Hae Sung’s alone with his future unknown. The film then moves twelve years forward where Na Young, now known as Nora, lives in New York. Through a chance quirk of social media fate, she reconnects with Hae Sung. Is that adolescent spark still there?

In the second act, Song’s elegantly devised screenplay explores and Nora Hae Sung’s long distance relationship over several heartfelt online calls. But complex emotional circumstances dictate the two cannot reconcile the friendship further. The two drift apart and they take other partners as another twelve years pass. With Nora in a strong relationship with the sensitive and kindly, Arthur (John Magaro), it would appear Nora and Hae Sung’s friendship is at an end. Or is it? Because Song delivers one of the most powerfully moving third acts I have seen at the cinema in some years.

Without explosions, or car chases, or superheroes or fast-paced cutting or extraordinary heroes defeating powerful foes, Past Lives (2023), is one of the most impactful and stirring films of this year. Celine Song achieves this with a delicate hand in the writing and direction, plus a purposeful naturalistic cinematographic palette delivered by Shabier Kirchner. Above all else Song creates two honest characters who you root for from the start, as the one feels the romantic electricity build on the screen. Indeed, Greta Lee and Teo Yoo’s on-screen chemistry is an acting masterclass, with John Magaro further providing touching support within the triangle.

Now, I am not without sensitivity, but it’s virtually impossible to make me cry at the cinema. But Past Lives (2023) almost did. It made my heart swell and ache. It made me laugh as well, because Song’s script has lovely humour throughout. Above all else, whether it is karma or chemicals, it made me grateful to have known love.

Mark: 10 out of 11

Films That Got Away, Reviews

FILMS THAT GOT AWAY #2 – REVIEW – OVERLORD (2018)

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OVERLORD (2018)

Directed by: Julius Avery

Produced by: J.J. Abrams, Lindsay Weber

Screenplay by: Billy Ray and Mark L. Smith

Cast: Jovan Adepo, Wyatt Russell, Mathilde Ollivier, John Magaro, Pilou Asbæk, Bokeem Woodbine etc.

Cinematography: Laurie Rose and Fabian Wagner

**MAY CONTAIN SPOILERS**

Inglourious Basterds anyone? More like inglorious mutants!

I love a good B-movie horror film and I love a good B-movie war film! So, I’m still confused as to why I missed this one at the cinema first time round. It was released in November 2018 in the UK, so perhaps I was still in London Film Festival mode? Perhaps it fell through the cracks after a busy October cinema-going? Perhaps the marketing wasn’t strong enough over here? Perhaps, perhaps, perhaps?

Anyway, I caught up with it on Sky Cinema via the television box and I immediately regretted not seeing it on the big screen. The film is set in June 1944 during the Allied invasion of Normandy. The operation was called Overlord and part of the WWII D-Day push to defeat the dastardly Nazis. It opens superbly, in mid-flight, as a fighter bomber carries American soldiers about to parachute into enemy territory. Safe to say aeroplane food, crying children and lack of leg room are the least of their worries.

The explosive, noisy and destructive opening sequence sets an incredible pace. Also, the body count starts to stack up too as we land in occupied France. Not so much a dirty dozen as a filthy four remain after the landing carnage. The ragtag quartet consisting of nervous rookie, Private Boyce (Jovan Adepo), tough-guy Corporal Ford (Wyatt Russell), mouthy Private Tibbet (John Magaro), and war photographer Private Chase (Iain De Caestecker), are joined by French civilian fighter, Chloe (Mathilde Ollivier) in battling the Nazi hordes. Their mission is to take out a Nazi radio tower, but we get a whole lot more than the usual WWII battle sequences. Something horrific is lurking in the church where the radio tower is.

While the film essentially deals in genre archetypes the narrative pace, action and suspense really get the heart racing. Moreover, the cast commit to the action and bloodshed with impressive abandon. What I liked was, with relatively unknown actors cast, it meant there was suspense in who would or wouldn’t survive. So, in a film full of surprises this added another layer of tension you wouldn’t get in a star-driven film. Nonetheless, the real asset of the film is the monstrous soldiers born out of the sinister minds of the Nazi Doctors. These are some real nasty pieces of work! Indeed, director Julius Avery revels in representing the bloody carnage these experimental creatures bring. You can’t beat a good old Nazi monster baddie! Well, you can! In all sorts of fleshy, fiery and visceral ways!

I recognised Wyatt Russell from other films and TV shows, and he was great. Russell exuded all the tough qualities his father Kurt has shown down the years, but he gave Corporal Ford a steely edge all of his own. Jovan Adepo and John Magaro impressed as chalk and cheese soldiers, initially clashing but subsequent gaining respect for each other. Adepo’s Private Boyce grows from frightened rabbit to resilient hero over the course of the film. Meanwhile, Game of Thrones scenery-chewer, Pilou Asbæk, begins with quite a subtle portrayal of SS Captain Wafner. Yet, by the end he is on gloriously over-the-top form as the most mutated of all the Nazis.

Ultimately, this is a mid-budget B-movie genre gem. It has lashings of action, blood and gore. It also combined war and horror genres really impressively. I would have liked even more gore and a bit more backstory regarding the Nazi experiments, but that would have probably ruined the surprises. Also, it’s definitely not one of the most original films you will see as there are major echoes of many soldiers-on-a-mission war films, the video-game Wolfenstein and also From Dusk Til Dawn (1995) too. But, with Wyatt Russell, Mathilde Ollivier and Jovan Adepo impressing in the cast and Avery directing the hell out of the explosive action and bloody fighting, I had a great time watching Overlord (2018). It’s just a damn shame I missed it on the big screen when first released.

Mark: 8.5 out of 11