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MONOS (2019) – CINEMA REVIEW

MONOS (2019) – CINEMA REVIEW

Directed by: Alejandro Landes

Produced by: Alejandro Landes, Fernando Epstein, Santiago Zapata, Cristina Landes

Written by: Alejandro Landes, Alexis Dos Santos

Cast: Julianne Nicholson, Moises Arias, Sofia Buenaventura, Julian Giraldo, Karen Quintero, Laura Castrillon, Deiby Rueda, Wilson Salazar, Esneider Castro, Paul Cubedes etc.

Music: Mira Levi

**MAY CONTAIN SPOILERS **



Those American teenagers, as represented in recent film and television offerings such as Stranger Things and IT, have some serious problems to deal with, such as inter-dimensional aliens and extra-terrestrial demons masquerading as killer clowns. Such foes, however scary, are of course fantasy. The horrors that the kids in feature film MONOS (2019) have to deal with, feel very real, raw and altogether horrifically more deadly.

The film opens on South American mountaintop in Columbia. We are thrown straight into the everyday lives of young rebel soldiers known only by their war names including: Rambo, Smurf, Lady, Dog, and Wolf among others. The fact we never learn their real names establishes the dehumanized and exploited nature of these characters. They are denied a childhood and used as young soldiers within a guerrilla cell. The adults controlling them are represented by a man known only as The Messenger, who visits, drills and orders them about. While they act out, have sex, drink and “play” with the illusion of freedom, if they do not follow orders then there is hell to pay.



“Hell-to-pay” is an apt phrase for both the characters and the audience watching. For me this is not an enjoyable film in terms of entertainment. It is not intended to be. It is a very angry film and a shocking war of attrition to sit through. There is a documentary feel and in-your-face realism throughout, with little or no sympathetic characters to root for. Don’t get me wrong, I empathised with the plight of the children and what had happened to them. Yet, it’s difficult to sympathise with them, because when we join them they all seem so irreparably damaged by war and their existence. It’s a dog eat dog world and these dogs have guns, knives and semi-automatics.

Overall, I found the characterisations and elliptical narrative jarring throughout. For me, it created alienation in terms of emotional impact. However, the cinematic storytelling is of the highest quality. The visuals, sound, score and acting are all exceptional. Indeed, Alejandro Landes is a fearlessly talented filmmaker and definitely one to watch for the future. The mountain vistas and jungle scenery were majestic and beautiful to behold, despite the hellish events unfolding. Lastly, the film carries a deeply important message about these lost children of South America. Their lives are no fantasy. They are violent, animalistic, dirty, carnal and, based on what I saw in Monos (2019), completely devoid of hope.

Mark: 8.5 out of 11




THE CINEMA FIX PRESENTS APRIL FILM ROUND-UP INC. REVIEWS OF: GRETA, LOVE, DEATH & ROBOTS, TRIPLE FRONTIER ETC.

THE CINEMA FIX PRESENTS: APRIL FILM REVIEW ROUND-UP

With Avengers: Endgame (2019) dominating the cinemas at the moment, I thought I’d let Marvel’s magic dust settle BEFORE seeing that blockbuster this weekend. However, during April I caught a few other newer releases at the cinema and online via Netflix. Thus, here are some mini-reviews with the usual marks out of eleven.

**MAY CONTAIN SPOILERS**

GRETA (2018) – CINEMA – DIRECTOR: NEIL JORDAN

Neil Jordan has an impressive directorial curriculum vitae, including genuine classics such as: Mona Lisa (1986), The Crying Game (1992) and The End of the Affair (1999). Greta is arguably not a patch on them; however, I really enjoyed this B-movie stalker narrative. This is mainly due to a fine cast headed by Isabelle Huppert, Chloe Grace Moretz and Maika Monroe.

Huppert exudes Gallic charm and quiet menace as the obsessive and lonely Greta. Furthermore, as her behaviour becomes more unhinged Jordan wrings every bit of tension from the lean and thrilling script. Seamus McGarvey’s cinematography also adds class to a very entertaining ninety-eight minutes.

Mark: 8 out of 11

LOVE, DEATH & ROBOTS (2019) – NETFLIX – DIRECTOR(S): VARIOUS

This anthology of eighteen animated short films was curated by Joshua Donen, David Fincher, Jennifer Miller and Tim Miller. Produced by various crews from a range of countries, the series is a re-imagining of Fincher and Miller’s long-planned reboot of animated sci-fi film Heavy Metal (1981). Firstly, I love short films and have watched a lot over the last ten years, and I don’t mind animated stuff either.

In Love, Death and Robots the animation, graphics, action, editing, composition and imagery on show here are incredible. The stories themselves are hit and miss; with some actually feeling over-sexualised and retrogressive. Nonetheless, the production values on show raise the bar so high it masks some of the generic writing and weak characterisation. Lastly, there are some brilliant shorts and my favourites include: Three Robots, Shape Shifters, Zima Blue, Ice Age and the very funny Alternate Histories.

Mark: 8 out of 11 (averaged score)

OUTLAW / KING (2019) – NETFLIX – DIRECTOR: DAVID MACKENZIE

According to Wikipedia this historical epic about Scottish nobleman, Robert the Bruce, cost $120 million to make. It’s a shame so much money was wasted because technically speaking the production is an absolute tour de force. It’s a pity the script and narrative are so bereft of intrigue, suspense and character relatability. Yes, I get that the English are bad and the Scottish must stand up to defeat their nefarious “landlords”, but unlike the far more theatrical and entertaining, Braveheart (1995), this all felt irrelevant.

I thought Chris Pine, who is a charismatic movie star, lacked personality in the lead, and Florence Pugh, as his wife, was given little to do apart from run away then get kidnapped. Aaron Taylor-Johnson was fantastic as a bloody revenging Scottish rebel-lord; as was David Mackenzie’s incredible direction of the impressive battle scenes. I have read that the film was hacked to pieces and what is on show is a hung-drawn-and-quartered cut of a longer film. Perhaps, one day we will see a true version of Outlaw / King and Mackenzie’s vision will be properly represented.

Mark: 6 out of 11

TRIPLE FRONTIER (2019) – NETFLIX – DIRECTOR: J.C. CHANDOR

Not quite a dirty dozen but a filthy five as former soldiers and military contractors including: Oscar Isaac, Ben Affleck, Charlie Hunnam, Garrett Hedlund and Pedro Pascal, gang together to rob a drug baron’s fortress holed up deep in the South American jungle.
The story has all the hallmarks of a testosterone-driven-men-on-a-mission-genre classic, but just when I thought it was going in a certain direction, the ending under-mined much of the previous compelling action.

The cast are very impressive though and they more than make up for any deficiencies in the thin characterisations. Similarly, while it starts slowly, once we get into the heist J.C. Chandor’s methodical directorial style really comes into its’ own. Chandor creates a lot of tension during and after the robbery as events twist out of control. Thematically, I thought this was going to become a modern day version of 1948 masterpiece, The Treasure of Sierra Madre. Indeed, if the drug money they steal had become a true threat to test the friends’ loyalty and courage under fire, I would have marked this thrilling film higher.

Mark: 8 out of 11

UNICORN STORE (2018) – NETFLIX – DIRECTOR: BRIE LARSON

This is a very odd film. However, if you pick through the bones of the whimsical script, the rainbow-baubled art direction and Brie Larson’s eccentric child-woman, you’ll find a rites-of-passage genre film in there somewhere. Larson directs herself as the immature narcissist, who having been kicked out of Art College begins a dead end temp job to try and appease her parents. So far so relatable.

However, the film twists into symbolic fantasy when she is offered,
by Samuel L. Jackson’s enigmatic ‘Salesman’, the dream opportunity of owning a Unicorn. WTF!!?! I enjoyed a lot about the film, notably the Napoleon Dynamite (2004) style humour; plus Larson and Mamadou Athie’s performances stand out. Overall though, I got that the Unicorn was an allegory for human maturation but I personally felt the narrative was slow and stretched despite fine work from the very talented Larson.

Mark: 6 out of 11