Produced by: Avi Arad, Matt Tolmach, Amy Pascal, Marvel Entertainment
Written by: Jeff Pinkner, Scott Rosenberg, Kelly Marcel
Starring: Tom Hardy, Michelle Williams, Riz Ahmed, Reid Scott
Music by: Ludwig Goransson
Cinematography: Matthew Libatique
As with the failed franchise blockbuster The Mummy (2017) I have once again been to the cinema and watched, not a great film or work of art, but rather a decent bit of popcorn entertainment that has seemingly been critically mauled, not necessarily unfairly, but out of context from the kind of film it is. Don’t get me wrong, there is a lot of Venom (2018) which doesn’t work and the film has a couple of serious plot holes, however, if you watch it as the darkly, comedic action film it is intended to be then it has a lot to offer.
I mean, superhero films, over the years, have got – Thor: Ragnarok (2017) and Marvel’s generally witty one-liner littered scripts aside – very serious at times. Most recently, Black Panther (2018) was rooted in familial revenge and of course, Marvel’s Infinity War (2018), ended with an apocalyptic disaster for the Avengers and Earth. While there are serious themes in Venom, the director Ruben Fleischer has gone for more crazed humour rather than serious analysis of the psyche. As such for all its faults Venom actually felt more like an actual comic book or cartoon on screen. So, I get that people may not like the movie for being a bit lacking I think they need to lighten up. Thus, in my second instalment of my occasional series In Defence of:, I’d like to say why I actually found it very watchable genre entertainment.
Standing alone, at the time of the action, from the Marvel ‘Universe’ and the recent Spiderman: Homecoming (2017) movie, Venom features the stupendously committed performance of Tom Hardy as crime reporter Eddie Brock. Eddie’s latest case is to delve deeper into uncovering the interplanetary research of Elon Musk-type uber-scientist and corporate mogul, Carlton Drake. Of course, he goes too deep trying to uncover the deadly experimentation and finds himself infected with a space being that Drake has brought back. Drake, compared to the delirious character rendered by Hardy, is a bit flat and another long line of corporate bad guys which Marvel employs and he deserved some better dialogue to justify his megalomaniacal plans. But Riz Ahmed is a great actor and does his best with an under-written role.
What works more though is the connection between Brock and his extra-terrestrial host. Perhaps, given this is a Jekyll and Hyde story it should have been a lot more intense. The psychological horror of being absorbed by another being is something David Cronenberg, would have knocked out of the park. Yet here it’s turned into something of a comedy double act; albeit with Venom biting the heads off bad guys in between the insane banter. Tom Hardy’s rat-a-tat spats with his ‘other-half’ are very funny and reminded of another recent film called Upgrade (2018), which combined even more bloody violence within a hosted protagonist narrative.
With the cool persona of Michelle Williams, an actor of high artistry, clearly enjoying playing for laughs within the straight romantic lead, there is at least some level-headedness to counter Hardy’s facials ticks and roars. Moreover, despite glaring holes in the narrative including: the very generic alien invasion plot; clichéd corporate mercenaries providing body fodder and a severe lack of legal consequences to Brock’s ‘Venomous’ attacks, the smart comedy, pacey action, the monster-effects of Venom itself and fighting scenes, keep entertainment stakes high.
Ultimately, while much more could have been done to explore the dark side of their symbiotic relationship it was unlikely with this director. Indeed, as Fleischer showed with Zombieland (2009) and direction of suburban zombie show Santa Clarita Diet (2017), he favours mixing dark matter with black humour. Lastly, with Tom Hardy as a more than willing ally Fleischer and his army of writers have delivered an admittedly flawed comic-book narrative that remains full of parasitic punch and energy.
Firstly, the evacuation of Dunkirk, France, during World War II was simply put one of the most incredible acts of survival and escape achieved. From the historical articles and documentaries I have read and seen the Allies were on the ropes and pinned back by the German army causing 400,000 beaten, starving and bedraggled human beings to be trapped on the beach waiting desperately for rescue. It’s no spoiler to state that many brave people enabled that rescue creating that well-known phrase “Dunkirk spirit” to enter our vocabulary.
Put yourself in that position for even just a minute and the fear drains one cold and feeling so lucky that I will never have to feel that threatened. These are people, young soldiers fighting against a fascistic foe who are backed into a corner and whose lives are about to be extinguished. So, think about that when you wake up in the morning because Christopher Nolan’s epic film, as do many other films, books and television shows about the war, give your life meaning about how lucky we are to not have to live through that. Count your blessings you’re not in a war and the life we live has relative freedom.
These and many more emotions flashed through my being while experiencing the incredible epic that master director Nolan and team have delivered via Dunkirk. Throwing us immediately into the action we are shown the hell of war from three perspectives: land, sea and air. Nolan works from a simpler focus and premise compared to his other works and this makes it all the more powerful an experience. Where films such as Inception (2010), Interstellar (2014) and Memento (2000) had complex, shifting narratives relying on heavy exposition, grand concepts and plot twists, Dunkirk deals with one simple sterling idea: survival!
I found the whole experience immersive and pulsating from a cinematic perspective. Christopher Nolan, and his production team, have in the: editing, cinematography, composition, colour, acting, framing, sound, score and movement created pure and poetic cinema. From the safety of my comfy seat I felt real danger, peril and claustrophobia. The narratives’ drive comes from fragmented moments of fear and blasts of explosive danger. The impressionistic style was full of scenes containing quiet doom as well as noisy, confusing and fiery terror. Even the smallest situation such as the locking of a cabin door takes on great significance, sending a chill down the spine. As the enemy closes in from above and below and water fills the screen and lungs of our heroes, then death moves in for the kill.
Nolan eschews the solid build-up of traditional characterisation to create emotion through the visual form with a chopping style which serves to heighten the panic. There are so many haunting images as men and boys are stuck behind doors and ships and in boats and underwater and in the air and on moles and piers, compressed, suffocating and unable to breath as bullets, torpedoes and bombs pepper their souls. The coruscating soundscape, montage and hypnotic score from Hans Zimmer only add to the dread within the non-stop action. The dialogue is spare and at times muffled as character development is also sacrificed due to the compressed timeline. Yet, for me, empathy was garnered through verisimilitude, form and style rather than a conventional storytelling and a simplistic three-act transformational arc.
The characters are archetypes but serve the story very well. Kenneth Branagh’s noble sea Commander brings gravitas while Mark Rylance brings a naturalistic humility to the stalwart and duty bound Mr Dawson. Aneurin Barnard’s silent soldier allows his haunting eyes to dominate, while the pathos emitting from Barry Keoghan’s young George is incredibly powerful. Fionn Whitehead and Harry Styles, while inexperienced actors, represent the palpable fear any young man would exhibit when faced with certain death. Tom Hardy adds star quality in his role of RAF pilot, Farrier, and the image at the end of his plane burning in the sunset is indelibly etched in my mind.
But, overall the film belongs to the masterful direction of Christopher Nolan who, in delivering 106 minutes of pure dramatic exhilaration demonstrates he is more than just a genre filmmaker but a cinematic artist echoing the works of Sergei Eisenstein, Martin Scorsese and Stanley Kubrick within this war and disaster film masterpiece. Dunkirk was a savage defeat for the Allies but it rallied the nation against the enemy and Nolan has produced a film that stands as a worthy tribute to those who lost their lives and those brave people who survived.
While going to the cinema is one of my favourite things to do the quality of television dramas has risen in quality to almost cinematic levels at times. Plus, there’s nothing quite like a box-set binge too for one’s enjoyment. Here are a few TV dramas I’ve caught up with over the last few months with marks out of 11.
**CONTAINS SPOILERS**
AMERICAN HORROR STORY: HOTEL (2015) – NETFLIX
Minus Jessica Lange alas, this one had Lady Gaga to fill the void as the writers introduced a whole new set of monsters, murderers, rapists, ghouls, vampires, junkies and deviants. Set in a H.H. Holmes-style horror hotel, one can always rely on American Horror Story for over-the-top blood-letting, devilish characters trying to out-do each and pitch black humour throughout. While sickening to watch at times it never takes itself too seriously and is recommended to proper horror fans. On the whole its narrative takes second place to the demonic style; pop video vignettes and decadent shenanigans featuring historical serial killers and fantastical blood-sucking beasts. (Mark: 8 out of 11)
BLACK MIRROR (2016) – SEASON 3 – NETFLIX
This is a must-see TV programme for anyone who likes brilliant drama which has intelligent writing and a scorpion twist in the tale of every story. Six stand-alone episodes all provide an insight into the dark recesses of technology and how it can impact humanity. Social media, videogames, virtual reality, internet bullying, techno cryogenics, military mind experiments and cyber-terrorism are all filtered through Charlie Brooker’s devious imagination. A great ensemble cast of actors are seen within the anthology series including: Bryce Dallas Howard, Mackenzie Davis, Kelly Macdonald, Michael Kelly, Gugu Mbatha-Raw, Jerome Flynn and many more make this one of the best TV programmes of last or any year. If I had to choose the stand out episodes were San Junipero and Shut Up and Dance. (Mark: 10 out of 11)
BROADCHURCH – SEASONS 1 & 2 – ITV ENCORE
The 3rd season of this police procedural drama is on ITV now so I thought I’d do a quick catch up of the first two seasons. It begins with the death of a young boy and the subsequent police investigation, plus the impact this has on his family and coastal community of Broadchurch. The first season is first and foremost a terrific “whodunit” as various members of the town are all plausible suspects. Moreover, the brilliant acting duo of Olivia Colman and David Tennant spark off each other throughout the investigation. Writer Chris Chibnall deals expertly with the emotions too as the family – including Jodie Whitaker as the mother of the tragic child – are put through the wringer by the crime. The second season is almost as gripping as the child killer faces trial and Tennant’s character obsessively investigates a historical crime which blotted his police career. Overall, it is an excellent drama with many twists and a superb ensemble cast of British actors. (Mark: 9 out of 11)
LUKE CAGE (2016)– SEASON 1 – NETFLIX
Luke Cage’s reluctant superhero had previously popped up in the Marvel series Jessica Jones and the action follows up from there. He’s a humble man trying to keep a low profile but given he is virtually indestructible it’s not long before trouble finds him in the guise of Harlem gangsters Cottonmouth (Mahershala Ali), Diamond Back (Erik LaRay Harvey) and Alfre Woodard’s crooked politician Mariah Dillard. Luke Cage is decent show with a lot of style, soul and terrific musical performances. The script draws attention to many important historical black figures from history, while the direction harks back to 70s’ Blaxploitation films. Mike Colter in the lead lacks a certain charisma but has power and likeability. Overall the story felt padded out over 13 episodes by some unnecessarily long dialogue scenes and while the fights scenes were strong they lacked the wow factor of say the brilliant Daredevil show. (Mark: 7.5 out of 11)
SONS OF ANARCHY – SEASONS 4 & 5 – NETFLIX
While it’s pretty binary in its tough guys and dolls representations I’m still digging my catch-ups on this neo-Western-hard-assed biker drama. The main reasons to watch the show are the performances of Charlie Hunnam as the ever-conflicted Jax and Maggie Siff as his “old lady” Tara. Katey Sagal and Ron Perlman are also excellent as the matriarch, Gemma and grizzled patriarch, Clay. The twisting serpentine plots of Seasons 4 and 5 find, aside from other gangs and the law, new rivals in the way such as: the Mexican Cartel, businessman Damon Pope and SAMCRO themselves splinter into civil war after Clay’s skulduggery upsets the groups’ dynamic. The seasons are full of the usual grim violence, motorcycle pursuits, gunfire, black humour and lashings of naked flesh. It’s soapy at times but full of great dramatic twists making it very watchable television. (Mark: 8 out of 11)
QUARRY (2016) – SEASON 1 – SKY ATLANTIC
Pitched somewhere between Fargo and the Rockford Files this violent 1970s set thriller was a brutal watch at times. The story finds a recently returned Vietnam veteran, Mac Conway (Logan Marshall-Green) carrying out hits for a murky businessmen called The Broker (Peter Mullan) in order to clear a debt. As a troubled character, suffering from post-traumatic stress, Conway is a fascinating anti-hero and the thrills come from the hellish danger he finds himself in from episode to episode. Essentially, his whole world turns to shit and the only way out of it is to become a reluctant killer. Like Luke Cage music is featured very prominently, notably dirty blues, jazz, rock and soul; while the style is muddy water noir throughout. Marshall-Green is a dead ringer for Matthew McConaughey but is a fine lead and he, Mullan and gay hitman Damon Herriman make this bloody show most watchable. (Mark: 8 out of 11)
TABOO – SEASON 1 – BBC
Tom Hardy produced and starred in this flagship BBC period drama which ran over eight dark-hearted episodes recently. I have to say that it was sumptuous and stylish affair which oozed quality and class throughout. Hardy himself, looking very Bill Sykes in his long black coat and battered top hat, portrayed James Delaney, a man on a mission to get back his fathers’ estate and battle the East India Company for crimes against his body and soul. Hardy’s naked muscular body is something you see a lot of amidst the faux mysticism, American spies, gluttonous Royalty, gap-toothed prostitutes, tattooed ragamuffins and Oona Chaplin as Hardy’s cuckolded sister hiding a terrible secret. The supporting cast are absolutely brilliant especially: Tom Hollander, Michael Kelly, Jesse Buckley, Jonathan Pryce, Stephen Graham and Edward Hogg. Overall, it was more style than substance and the revenge plot was dragged out and did not make much sense really. Still, the smoke-and-shadows style plus the brooding Hardy made it worth a watch. The score by Max Richter though was probably the best thing in the whole show; both majestic and black in equal measures. (Mark: 8 out of 11)
In my latest episode of actor, cinema artist or filmmaker profiles I have picked some favourite roles of Tom Hardy. This very talented British actor has made a name for himself with a series of intense, moody, muscular and at times psychotic performances. But he has depth too, and demonstrated on occasions, humour, vulnerability and sensitivity beneath the fierce masculine force he brings to the screen. Currently he can be seen lurking in the shadows of the BBC1 drama Taboo (2017), but here are eight other roles which showcase this actor’s depth of talent.
**CONTAINS SPOILERS**
BRONSON (2008)
Arguably, this is Hardy’s proper breakthrough role as he covered himself in shit and acting glory in Nicolas Winding Refn’s unflinching representation of Britain’s most notorious prisoner. Hardy’s in pretty much every scene pulsing with rage and violence; fighting dogs, gypsies and the system like a bald, working class Bane.
THE DARK KNIGHT RISES (2012)
Talk of the devil and he shall appear! Hardy brought his bulking mass and searing eyes to Gotham to wreak havoc on its citizens as arch villain Bane. The film has some narratives issues but I thought Nolan and cast presented some great set-pieces and action in a pulsating end to the trilogy. With the mask and chilling voice plus hulking physical presence Hardy made a memorable foe for Batman and co.
THE DROP (2014)
Hardy offers another brilliant piece of character work as Bob Saginowski, a Boston barman, who works in a mob-owned pub. He finds himself threatened by local scumbag Matthias Schoenaerts over the disputed ownership of a dog. It’s a subtle performance in which he swallows and bottles his rage with a quiet, yet menacing confidence.
INCEPTION (2010)
Christopher Nolan’s exquisite, mind-bending heist thriller has an fantastic ensemble cast with Hardy popping up as the forger Eames. Unburdened by masks or grunts or over-aggression, Eames is an urbane and sophisticated character who remains calm under fire; while in perfect ‘Received Pronunciation’ delivers some witty one-liners. Here Hardy demonstrates what an ideal James Bond he would make.
LOCKE (2014)
So, the story is about a bloke on his phone driving up the motorway? Not a pitch that would grab Hollywood in-a-hurry, but a film that is delivered with such hypnotic power it feels epic. Hardy’s Locke is portrayed as a determined man whose life decisions, family and work-life have triangulated simultaneously to crisis point. It is a performance of restraint and brooding anxiety making the one location-movie compelling throughout.
MAD MAX: FURY ROAD (2015)
George Miller’s bruising, muscular and jaw-dropping spectacular is an orgy of car-bombing action and deathly stunts with little dialogue. So, who better to take on a virtually mute yet physical role than Tom Hardy in this smash-and-burn epic. Max Rockantansky remains one of the iconic existential anti-heroes, with Hardy taking over the baton from Mel Gibson superbly.
THE REVENANT (2015)
Hardy was rightly Oscar nominated for his portrayal of greasy mercenary John Fitzgerald. While Hardy’s mumbling Fitzgerald certainly has my empathy early doors his decision to leave Glass for dead after killing his son is the act of a scumbag. Once again, Hardy commits to the role of the murderous trapper with dirty aplomb as he more than matches DiCaprio’s compelling performance.
STUART: A LIFE BACKWARDS (2007)
This is an excellent BBC film starring Tom Hardy as Stuart Shorter, a homeless alcoholic and petty criminal who was also a social justice activist. Shorter meets Benedict Cumberbatch’s writer and the two form an unlikely friendship. Hardy’s performance is full of heart-breaking pathos and physical distress because Stuart suffered from muscular dystrophy. Abused as a child and lost as an adult, Stuart’s is a tragic life and one where Hardy further demonstrates his excellent acting range.
Six years ago I wrote some articles for a nifty little website called Obsessed with Film. The site was independent and would have some geeky and interesting articles on film and television. Years later the site became the click-bait-pop-ups-from-hell-advertising-led-but-still-not-too-bad: www.whatculture.com
Anyway, one of the articles was about some “forgotten” films or, as I shall refer to them, under-rated film classics. Basically, I listed films which I felt were deserving of further praise. The list included: Bad Santa (2003), Dog Soldiers (2002), Chopper (2000), Midnight Run (1988) and Dead Man’s Shoes (2004) among others. My rules were simple. An under-rated classic can be a film I love plus not be one of the following:
Must not have won an Oscar.
Must not have won a BAFTA.
Must not appear in the AFI Top 100 list.
Must not appear in the IMDB Top 250 list.
Must not appear in the BFI 100 Great British films.
Must not appear in the all-time highest grossing movies of list.
So, with these criteria in mind I present a sequel to my previous article – some six years later – with another set of under-rated film classics. If you have any suggestions that fit the criteria please do let me know and I will include them on my next list.
3:10 TO YUMA (2007)
James Mangold’s directed Western is a rare beast: it’s a remake that’s as much a classic as the original. Russell Crowe and Christian Bale perform brilliantly as the charismatic outlaw and proud farmer who clash on the way to the eponymous prison locomotive. Ben Foster, Logan Lerman and Peter Fonda provide excellent support too in a fantastic character-led drama full of action.
ANOTHER YEAR (2010)
While Mike Leigh was NOMINATED for a best screenplay Oscar, this wonderful character piece is not always given the praise I think it deserves. Containing Leigh’s usual group of deftly observed human eccentrics, the story concentrates on a year in the life of middle-class couple – the Hepples. Superbly portrayed by Jim Broadbent and Ruth Sheen this lovely couple are a familial magnet to various strays including the scatty and neurotic Mary (Lesley Manville) and depressed Ken (Peter Wright). It’s an affectionate and gentle dramedy with uniformly brilliant performances from Leigh’s wonderful cast.
BIRTH (2004)
Jonathan Glazer’s sophomore movie is often over-looked due to the coruscating power of his debut Sexy Beast (2000) and his most recent cinematic classic Under the Skin (2013). In this haunting drama a potentially disturbed ten-year-old boy (Cameron Bright) informs Nicole Kidman’s New Yorker Anna he is the reincarnated soul of her deceased husband. This fantastic curveball sends Anna’s life into an emotional spin as past and present events collide in a beautifully moving drama.
BRONSON (2008)
Let’s be honest there’s no way career criminal Michael Peterson deserves any real attention for his anti-social and violent behaviour, however, between them Tom Hardy and Nicolas Winding Refn have created an incredible character study of a genuine nutter. It’s brave, brutal, sick, theatrical, daring, Brechtian and an occasionally hilarious profile of one of Britain’s most notorious prisoners.
BUFFALO 66 (1998)
Vincent Gallo is either a genuine nut-job or a misunderstood genius maverick. His directorial effort The Brown Bunny (2003) was panned and on the main his acting career has remained patchy at best. However, he did write, direct and star in Buffalo 66 which is an absolutely blinding dark comedy about an ex-con who “kidnaps” Christina Ricci and forces her to be his wife so he can aspire to some sense of familial normality. It’s quirky and laugh-out-loud funny with Gallo weirdness throughout.
DARK CITY (1998)
This imaginative sci-fi noir had the misfortune of being released around the same time as The Matrix (1999). Yet while the Wachowski’s mind-bending-effects-heavy-actioner caught the eyes of the public, Alex Proyas’ more cerebral vision of the future kind of fell through the cracks of time and space. Rufus Sewell portrays an amnesiac that has no idea where he is before finding himself at the mercy of a group of people called The Strangers. It’s a brilliant melding of film noir and science fiction and remains a rarely seen gem from the 1990s.
GALAXY QUEST (1999)
While I enjoy the new Star Trek reboots as blockbusting if ephemeral popcorn entertainment, the best recent Trek adaptation/homage is the wonderful science-fiction comedy: Galaxy Quest. The inventive story delights with a cracking tale of former TV stars boldly propelled into space when proper aliens, Thermians – believing they are real space heroes – ask them to defeat their vicious nemesis. With a delightful ensemble cast including: Alan Rickman, Sigourney Weaver, Tim Allen, Tony Shalhoub and irrepressible Sam Rockwell, this is a wonderfully funny and clever film which shines an affectionate light on the Trek canon and geek fan base.
LOCKE (2014)
So, the story is about a bloke on his phone driving up the motorway? Not a pitch that would grab Hollywood in-a-hurry, but a story that is delivered with such hypnotic power it feels epic despite the limited setting. Ivan Locke is portrayed as a confident and determined man whose life decisions, family and work-life have triangulated simultaneously to crisis point. Tom Hardy plays Locke with incredible restraint and brooding anxiety while Steven Knight’s script is crisply written and full of suspense.
TREMORS (1990)
I love this film. It’s a real B-movie guilty pleasure with seismic underground monsters attacking a small back water town ironically named Perfection. The action bolts along and it wears its Jaws-in-the-dirt influences hilariously. Most of all I love the characters, notably Kevin Bacon and Fred Ward’s handyman buddies trying desperately to escape their dead end jobs. It’s a fun script with loads of action and great one-liners with Bacon himself having loads of fun without hamming it up.
TROPIC THUNDER (2008)
Films about filmmaking aren’t always the most interesting yet Ben Stiller’s riotous satire on Hollywood and its over-inflated egos is an absolute joy. Vulgar, over-the-top, stupid, childish and loud it delivers some incredible belly laughs from: the hilarious trailer parodies, to Robert Downey Juniors method acting madness and unrecognizable Tom Cruise as a ludicrously crass studio boss. The daft plot about actors getting kidnapped by a ruthless Vietnamese drug gangs provides an excellent framework for all manner of stupidity, on-the-money punchlines and explosive action.
My general viewing in July was an eclectic mix of splendid art cinema and excellent genre television shows. So, here’s what I watched with marks out of eleven and MASSIVE SPOILERS:
ANT-MAN (2015) – SKY CINEMA
Saw this in the cinema last year and it was one of the most entertaining films of 2015! It’s simplistic narrative-wise but what it does have is a fizzing script full of zingers and comedic moments as well as some great action set-pieces built around the well-orchestrated final act heist. It is just terrific seeing charismatic Paul Rudd in big-budget film plus fun supporting cast including: Michael Douglas, Evangeline Lilly, Michael Pena and scenery-chewing baddie Corey Stoll all add class to proceedings. This is great fun and proves that not ALL superhero films have to be HUGE as sometimes small is beautiful. (Mark: 8.5 out of 11)
DAREDEVIL (2016) – Season 2 – NETFLIX
I absolutely loved this noir superhero show. Season 1 was brilliant and, despite the faceless one-dimensional Ninja villains, this was as good, if not even better! We follow on from Daredevil’s capture of the “Kingpin” Wilson Fisk as he finds new friends and foes in Frank Castle, “The Chaste”, Elektra and “The Hand”. This has it all including: amazing fight scenes, bloody violence, rip-roaring action and hellish derring-do. I think John Bernthal’s “Punisher” takes the plaudits with a fine origins story and great Lee-Marvin-Charles-Bronson-tough-guy-bone-crunching-performance. Once again Charlie Cox as Matt Murdoch is brilliant combining subtlety and physical prowess during his turn as blind lawyer AND the Devil of Hell’s Kitchen. (Mark: 9.5 out of 11)
JONATHAN STRANGE & MR NORELL (2015) – DVD
This seven-part fantasy-period drama had everything: wonderful effects, dark villains, magical narratives and sterling performances from Bertie Carvel, Alice Englert, Eddie Marsan and Marc Warren. However, at times I was perplexed and a bit bored because unfortunately, despite the stunning imagery, design and imagination on show the narrative stumbled from beginning to end failing to create empathy for the main characters and entertain me with cogent plot strands. Susanna Clarke’s original novel is apparently a literary classic thus perhaps it may have benefited from a connecting voiceover. Yet, it remains a prestige BBC product which many will love; it just did not connect with me on an emotional level. (Mark: 6.5 out of 11)
MEN AND CHICKEN (2015) – CINEMA
This is one of the most hilarious, unsettling and philosophical comedies you will see in a long time. Similar in tone as last year’s terrific arthouse hit The Lobster (2015), Anders Thomas Jensen has written a cross-pollenated comedy-slapstick-art-horror film that centres on two adopted brothers and their search for their biological father. Mads Mikkelsen and David Dencik portray the siblings who find quite disturbing answers on the Island of Ork where all manner of genetic experimentation has been carried out by their father. This is a weird yet compelling story which lurches from hilarious physical violence to examinations of religion and science that I can only describe as being like the Three Stooges meet The Island of Dr Moreau. One of the most original, odd and strangely moving films you will see all year.(Mark: 9 out of 11)
THE NEON DEMON (2016) – CINEMA
Being an admirer of Nicholas Winding Refn’s Pusher trilogy, Bleeder and Bronson films I am well aware his films do divide opinion. Drive (2011) with Ryan Gosling was a brilliant noir romance yet his last film Only God Forgives (2013) (with Gosling again) was nihilistic, brutal and virtually unwatchable. However, I think his latest The Neon Demon works really well as a surreal horror film that savagely satirizes the fashion industry. The film moves at a glacial pace with an anti-narrative style and strange acting more down to the director’s strategy than poor performance. Nevertheless, it is a magnetic watch with a succession of beautifully designed shots which are way more imaginative than the usual multiplex popcorn fodder. The sumptuous photography, score and grand gore throughout make it a welcome return to form for the always intriguing formal cinematic anarchist Winding Refn. (Mark: 8 out of 11)
ORANGE IS THE NEW BLACK (2013 – ) – Season 1 – NETFLIX
Waspy-blonde-rich-spoilt-bitch-Private-Benjamin-type gets banged up the slammer for a historical crime and we’re meant to feel empathy for her? That’s what the premise of this excellent drama asks the audience to do AND actually succeeds in doing through compelling writing and a marvellous ensemble cast. Taylor Schilling portrays the brattish Piper Chapman brilliantly and there’s fine “inside” support from Kate Mulgrew, Uzo Udoba, Taryn Manning and Danielle Brooks to name a few. The structure follows newbie Chapman as she fails to cope with prison life; plus variant flashbacks filling in details of her and inmates’ prior life events. It’s a gripping and funny show with lots of character twists and turns; and somehow it remains fresh despite the potential cliché pitfalls within the subgenre. (Mark: 8 out of 11)
SPECTRE (2015) – SKY CINEMA
Overall, I was disappointed with this Bond outing from last year. I mean there was a lot to like, notably: Daniel Craig’s performance; the stunning cinematography; the brilliant opening ‘Day-of-the-Dead’ and fight-on-train set-pieces; plus the criminally underused Christophe Waltz. However, the story, from a usually reliable John Logan and his screenwriting cohorts was non-existent; relying mainly on callbacks from the previous Craig outings and Bond films of yesteryear. The action was decent but the anorexic plot and weak romance left much to be desired. For a proper moan see my review from last year below. (Mark: 6.5 out of 11)
STAR TREK: BEYOND (2016) – CINEMA
I was bored by this. Even as a summer blockbuster the film fell short; and finally Star Trek has been turned into a soulless-plotless-video-game with set-pieces “stolen” from other better popcorn films such as Jurassic World (2015) and Guardians of the Galaxy (2014). The cast are decent but the formidable abilities of Idris Elba were masked under deep make-up for most of the film. Even if it was to be a latter second act reveal Elba’s presence was given away in the trailer so why not build his character up from the beginning. Plus, the “rogue” agent storyline was done much better in Into Darkness, which I enjoyed as a spectacle. Let’s hope the forthcoming Netflix series has more character and depth than Beyond. (Mark: 6 out of 11)
STAR TREK: NEMESIS (2002) – SKY CINEMA
The final of the Next Generation movies which ended the franchise prior to JJ Abrams’ hit-and-miss reboot, is a pretty decent science-fiction actioner with enough brains to keep you interested. A very young Tom Hardy plays the Reman rebel out to destroy Starfleet and Jean Luc Picard specifically. The themes of cloning, doppelgangers and telepathy serve the action very well and the set-pieces are decent enough. However, as Picard and Data get much of screen time the rest of the crew seem to side-lined throughout. This is not as good as the other Next Gen films but it is still more involving and cerebral than the soporific Star Trek: Beyond. (Mark: 7 out of 11)
STRANGER THINGS (2016) – NETFLIX
Oh, Netflix – I love you! Not only do you present affordable boxsets, docs, TV and film product, but you also produce some damn fine original programming. Netflix’s latest sci-fi drama is an excellent nostalgia-fest which evokes the 1980s perfectly in design, sound and look. Indeed, it wears it’s Spielberg, Stephen King, John Carpenter and George Lucas influences not so much on its sleeve but as a whole outfit. Written and directed by the Duffer Brothers, it centres 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 secretive and 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 their missing friend in a drama which has some wonderful stand-out and monstrous moments throughout. Arguably, the eight episodes were padded out in places and it could have been culled for pace but overall it was an excellent watch with a terrific score and soundtrack to boot. (Mark: 8 out of 11)
TALE OF TALES (2015) – CINEMA
Having directed the brutal and gritty kitchen-sink gangster film Gomorrah (2008), filmmaker Matteo Garrone, completely changed style with this ultra-imaginative set of grim fairytales based on the ye olde short stories of Giannbatista Basile. Like a medieval Pulp Fiction the film weaves tall tales called: The Queen, The Flea and the Two Old Women in a superb fashion as flashes of horror, fantasy, amorality and comedy clash with bizarre beasts and bloody death. The cast including: Salma Hayek, Vincent Cassel, Toby Jones, and Shirley Henderson all get on board amidst the insane plot occurrences and overall I found it a fine anathema to the bland kids offering Hollywood churns out. While the original stories were taken from an anthology called Lo cunto de li cunti (Entertainment for Little Ones), this is definitely for adults and not the little monsters at home. (Mark: 8 out of 11)
WAKOLDA (2013) – DVD
I was gripped by this slow-moving drama set in 1960s Argentina. It follows a hotel-running family and their encounter with a mysterious Doctor. Writer/director Lucia Pacenzo carves out a compelling story which finds the Doctor inveigling himself into the family’s world and carrying out seemingly innocent medical procedures which ultimately have a horrific impact. The film is a real eye-opener into the terrors of the time with many South American countries harbouring fleeing Nazi criminals and Àlex Brendemühl’s performance as the charismatic Doctor expertly glues this fascinating story together. (Mark: 7.5 out of 11)
Z-NATION (2014) – NETFLIX
Fox’s The Walking Dead has quite rightly taken a lot of plaudits for its incredibly well-written, humanist take on the zombie-horror drama. It offers rich character development, political analogy and of course some fine gore. Z-Nation on the other hand offers something far more fun and humour and downright silliness with zombie dogs, babies, rednecks and bears on the menu. Basically, a ragtag group attempt to transport a zombie-experiment-survivor to a medical facility while assisted by DJ Qualls isolated NSA computer geek. The group fight off an endless supply of zombies, cannibals and religious cults in a tremendous show that counts as a fantastically gory and comedic guilty pleasure. (Mark: 8 out of 11)
April was a mixed bag of viewings on the various platforms this month, with a couple of stunning films, decent stand-up comedy and my new favourite TV show witnessed. So, with marks-of-eleven, here are my latest reviews. Enjoy.
**MAY CONTAIN SPOILERS**
ANOMALISA (2015) – CINEMA
I love Charlie Kaufman’s work as he offers one of the most original minds to writing and directing films. Anomalisa is a stop-motion animation character study which is breath-taking in style and thought-provoking in content. David Thewlis voices a writer who, while in a small American town to deliver a key motivational speech, he finds his personality and mind dismantling before him. The film is at times a challenging experience but Kaufman’s conceptual genius, splashes of droll humour and spicy sex scenes make it a worthy arthouse hit. (Mark: 8 out of 11)
BLOODY SUNDAY (2002) – NETFLIX
Director Paul Greengrass’ excellent docu-drama depicts the tragic deaths of the infamous bloody massacre which took place Sunday on January 30, 1972 when 27 civilians were gunned down by the British Army in the streets of Northern Ireland. It’s heartbreaking and powerful drama as the day unfolds in real time and chilling authenticity. The cover-up by the British Government was a disgrace and this stands as a testament to those who tragically lost their lives. (Mark: 8 out of 11)
CHILD 44 (2015) – AMAZON PRIME
This Soviet set thriller was a box office bomb and was mauled by some critics, however, I found it very absorbing thanks to a fine lead performance from Tom Hardy. He plays an orphan who becomes a war-hero and then police officer who, goes against his superior’s orders, and investigates the brutal crimes of a serial-killer. It gets bogged down in a number of subplots but thematically it was strong; as the crimes of the child-killer are compared to that of the Soviet State under Stalin’s brutal regime. (Mark: 6.5 out of 11)
COP CAR (2015) – NOW TV
Kevin Bacon and his fake moustache are sensationally funny in this story of two runaway kids who “accidentally” ruin Bacon’s nefarious doings by stealing his cop car. Overall, it’s lower-budget gem which, despite the stupidity of the moronic children, has a lot of Coen-style humour and bloody violence to make it worth ninety minutes of your time. Bacon of course takes the er… biscuit honours with a rip-roaring, scenery-chewing and smoking performance as the baddie. (Mark: 7.5 out of 11)
GOMORRAH (2009) – BLU RAY
Having watched the terrific Sky Italia show I went back and found the original film based on the book of the same name. It is another brutal indictment against humanity and life on the mean streets of Naples as gangs old and young shoot and cull each other to death. It’s structured around four separate stories involving the Casalesi clan and is a violent drama with a gritty documentary style that keeps you gripped from beginning to end. (Mark: 8 out of 11)
INSIDE OUT (2015) – NOW TV
Brilliant Pixar movie with the wonderful vocal talents of Amy Poehler, Richard Kind, Phyllis Smith and Bill Hader; plus of course the incredibly imaginative minds of Pete Docter and his army of animators. The story shows us two worlds simultaneously: young girl Riley Anderson and the various emotions inside her actual mind. The superb script shows the variety of changes this troubled girl is going through – moving home to a big city for one – as chirpy Poehler as Joy and depressive Smith as Sadness, initially clash, then join forces to stabilize the crumbling psyche of Riley’s mind. It sound really heavy in themes and it is, but it’s done with an incredible light touch and contains some incredible visuals, drama and zinging one-liners. (Mark: 9.5 out of 11)
JESSICA JONES (2015) – NETFLIX
Jessica Jones was a very enjoyable wall-smashing-sex-splashed-bloody-violent-noir-X-rated comic book show. Tough-as-hell Nemi-lookalike Krysten Ritter kicks ass and David Tennant has a ball as the mentalist villain. Arguably the “purple man” storyline didn’t hold for thirteen episodes and perhaps there were too many mad subplots (the bonkers brother and sisters upstairs); but you could see the makers were establishing loads of future characters notably Luke Cage. Entertaining watch and I loved the dark humour and twisted brutality which stands as an alternative to the glossier cinema Marvel adaptations. (Mark: 8.5 out of 11)
MARTYRS (2008) – AMAZON PRIME
DO NOT WATCH THIS FILM IF YOU HAVE A WEAK HEART OR DISPOSITION!
Not since I Saw the Devil (2010) have I seen such a violent and mental film such as this. It concerns Lucie, who having been trapped by unknown captors as a child, grows up with delusional and violent tendencies desiring to wreak revenge on the people who savaged her. Her friend Anna attempts to support the crazy actions of Lucie but gets dragged into a hellish nightmare that I just cannot begin to explain. It’s insane, shocking, violent and has gore galore. Impressive horror! (Mark: 8 out of 11)
MIDNIGHT SPECIAL (2016) – CINEMA
Jeff Nichols prior films have been quietly brilliant notably Shotgun Stories (2007) and the biblical Take Shelter (2011). Thus, I was looking forward to Midnight Special very much. Indeed, I enjoyed this film mostly as it had some intriguing themes of: “special” children, family, religious cults and the notion of what is on “the other side”? Excellent actor Michael Shannon plays father to his young son Alton, who has mysterious gifts which has everyone agog and the Government hunting him; so we get an impressive race against time pursuit and some fine dramatic moments. However, the film fell flat at the end for me and not enough was done at the beginning to set-up the story. Nichols shows though he is a fine filmmaker producing alternative viewing to the often anaemic Hollywood machine. (Mark: 7 out of 11)
NARCOS (2015) – NETFLIX
Narcos is a brutal and rightly unglamorous recount of Columbia’s and the DEA/CIA battle with Pablo Escobar. Hard-to-watch at times because it shows the insanity of society and human beings; but the acting and production values are very high quality. Like Italian TV film and series Gomorrah (2014) it’s not for the faint-hearted as Escobar rises through the ranks drug-trafficking; murdering rivals; kidnapping and slaying politicians, all for the power and wealth. (Mark: 7.5 out of 11)
PEAKY BLINDERS (2013 –) – SEASON 2 – NETFLIX
Season 2 is a terrific post First World War story with a grand lead performance from Cillian Murphy plus awesome supporting cast including Sam Neill, Helen McCrory and Paul Anderson. Murphy portrays the leader of a Birmingham gang and Steven Knight, writer/director of the superb film Locke (2014), carves out a cracking tale involving coppers, whores, gypsies, bookies and ex-soldiers fighting against a backdrop of political revolution and class warfare. In this season Tommy Shelby has new enemies including Jewish ‘baker’ played by Tom Hardy and mad Italian portrayed Noah Taylor. Safe to say plans and plots and crosses and double crosses occur with bloody violence and twists to boot! (Mark: 8 out of 11)
PENNY DREADFUL (2014 – 2015) – SEASONS 1 & 2 – NOW TV
I caught up with the grandiose, gothic and monstrous Grand Guignol TV horror show that was Penny Dreadful and thought both seasons were great entertainment. Loved the Victorian setting and the smoke and mirrors and dead coming back to life! Faux-literary dialogue was floridly written and delivered. Genuinely scary and gory in places too! John Logan’s scripts are a thing of beauty and horror and the cast are just perfection, notably, Eva Green, Timothy Dalton, Josh Hartnett and Rory Kinnear. I grew up watching Frankenstein, Dracula, Hammer House and The Exorcist films when I was a kid and this show just takes all manner of horror tropes and monsters and left me breathless in style and content. (Mark: 10 out of 11)
STEWART LEE’S COMEDY VEHICLE (2016) – BBC IPLAYER
I doubled up watching this and the recent DVD Carpet Remnant World and what can I say. Lee is a human anti-depressant lifting my spirits while at the same time making me think about the very nature of the subjects he tackles. In his fourth comedy vehicle he picks over the bones of: Wealth, Islamophobia, Patriotism, Death, Migrants and Childhood and the routines themselves are funny and challenging. Once again he veers toward Brechtian anti-comedy and potential career suicide with patience testing routines about a cat called Jeremy Corbyn and journalist Rod Liddle. However, I loved such routines and like great art his work gets better on further views. Exceptional comedy! (Mark: 10 out of 11)
STILL ALICE (2014) – NETFLIX
Julianne Moore deservedly won an Oscar for her portrayal of Alice Howland, a college professor, who suffers the tragedy of early onset Alzheimers. Her performance, in a relatively low-budget film, is an incredibly nuanced and emotional rendition, as a once brilliant mind disintegrates in front of our very eyes. A sterling cast including Alec Baldwin as the workaholic husband and Alice’s offspring played by Kate Bosworth and Kristen Stewart are uniformly excellent in support. Overall, it’s a small film with a massive heart and one which reminds us of the fragility of life and the mind. (Mark: 8 out of 11)
THERE WILL BE BLOOD (2007) – NETFLIX
There Will Be Blood is a thing of beauty and ugliness and stands up to viewing after viewing. This is a phenomenal classic American story about greed, madness, religious fervor, parenthood and the pursuit of the black gold which has cursed humanity for donkey’s years. Oil sucks! Daniel Day Lewis is incredible in Paul Thomas Anderson’s masterpiece which moves slowly but moves with grandiose style as it examines one man’s obsession with the capture of land and oil; all the while failing to find favour with humans and humanity around him. (Mark: 9.5 out of 11)
VICTORIA (2015) – SKY MOVIES
This is an unbelievably brilliant German film shot in one-take! Yes! One-take! There are literally NO joins. It runs at over two hours and unfolds in real-time as the thriller takes in Victoria, a Spanish clubber working in Germany, and her involvement with a bunch of charismatic criminals including the handsome talents of Sonne (Frederick Lau). While the story contrivances were slightly difficult to swallow on brief occasions, this ultimately is a superb technical feat and very suspenseful and even touching at times. Plus, it’s not all one-hundred-miles-an-hour-action as Sebastian Schipper, the director, allows the characters to build so you feel emotion for them throughout.(Mark: 8.5 out of 11)
SCREENWASH – SEPTEMBER 2015 – FILM AND TV REVIEW ROUND-UP
Bit late with this one but I have been doing some work for charity; although I prefer not to talk about it. Anyway, I saw shedloads of big and small screen product in September! So, here’s a quick review of some of things I witnessed with marks out of 11.
**HELL YEAH – THERE’S SPOILERS!**
’71 (2014) – AMAZON PRIME
Chase-thriller ’71 centres itself on a British soldier portrayed by Jack O’Connell who on the run in enemy territory finds himself pursued by nefarious parties from both Irish and British sides. It’s a kinetic and suspenseful film, directed with verve and urgency and contains some heart-stopping moments, as well as a fine cast including Sean Harris and Richard Dormer. (Mark: 7.5 out of 11)
BADLAND: A ROAD TO FURY (2014) – BLU-RAY
Called Young Ones in the States this is a real genre oddity as it combines Western and Science-Fiction tropes within a dystopic narrative set in a god-forsaken hellish dustbowl. Michael Shannon is the father and farmer who tries his best to keep his family together in an unforgiving future. This is a very strange film which probably deserves another viewing to make real sense of what’s occurring; good cast though. (6 out of 11)
BLEEDER (1999) – DVD
No one does brutal studies of lowlife like Nicolas Winding Refn. His early Danish films, Bleeder included, are grim character pieces that burst into nihilistic violence. This features four friends who watch films together but whose lives are coming apart at the seams. It’s bloody, depressing but somehow remains compelling and watchable; much like a car crash on the M4. (7 out of 11)
EVEREST (2015) – CINEMA
This is suspenseful mountain disaster film which shows both the folly and bravery of men and women at high altitude. Some of the moments will leave you biting your nails and gasping for breath as the mountaineering team scale the Himalayas. The most impressive aspect is the cast including: Jake Gyllenhaal, Jason Clarke, Michael Kelly, Emily Watson, Josh Brolin, John Hawkes and more. (7 out of 11)
THE DROP (2014) – NOW TV
Tom Hardy offers another brilliant piece of character work as a Boston barman who works in a mob-owned pub. He finds himself threatened by local scumbag Matthias Schoenaerts over the disputed ownership of a dog. The puppy is very well cast but Hardy and James Gandolfini own the show with a sterling study of masculinity and controlled rage. (8 out of 11)
THE GAMBLER (2014) – BLU RAY
Great dialogue, direction and cast couldn’t stop me from hating the nihilistic lead character played by a miscast and too-nice Mark Wahlberg. He was such a miserable-death-wish cunt that I wanted the gangsters who were chasing him to kill him and save me from having to watch anymore of his irredeemable and depressing loser. (4 out of 11)
GOING CLEAR (2014) – NOW TV
This is an astounding documentary revealing the history, psychology and inner-workings of the Scientology “religion”. It’s an amazing expose with interviews from former members of the cult who having disconnected, found themselves stalked and discredited by the extremely paranoid Scientologists. It is compelling viewing for anyone interested in religion or alleged cults and the financial dealings of the group makes them akin to organised crime syndicate, such is their wealth and violent ways of dealing with “members”. (9 out of 11)
GOMORRAH (2014) – NOW TV
Gomorrah is one of the best TV dramas I’ve seen all year. It is a brutal and violent Italian gangster drama set in Naples and like modern day Roman times but with more plots, blood and murder. It follows the Savastano family and the enemies they face both on the right and wrong side of the law. No one is safe as the series reaches a deathly climax. Gripping stuff and highly recommended! (10 out of 11)
GRAVE ENCOUNTERS (2011) – AMAZON PRIME
If I had the choice of removing my genitals with a cheese grater or watching this film again I would choose the grater as this was just laughable. Neither scary or suspenseful it has loud shouting actors who should be shot with high-powered rifles rather than a camera. Basically only for people who like terrible found footage horror films or the mentally ill. (1 out of 11)
LEGEND (2015) – CINEMA
Tom Hardy is phenomenal as the Kray twins. Set in 60s London’s underworld this begins like a smack-bang gangster film before delving deeper into the psychology of mental illness of Ronnie Kray’s wife and his crazed brother, Ronnie. Tonally it gets caught between cartoon humour, glamourizing violence and serious crime drama but recommended for the lead performance. Indeed, Tom Hardy, as in Bronson (2008), humanizes monstrous criminals who probably don’t deserve it. (7.5 out of 11)
THE NECESSARY DEATH OF CHARLIE COUNTRYMEN – BLU RAY
A diabolically pretentious and awful Euro-drama which didn’t know if it was a comedy or gangster or rites of passage or study of grief type movie! Ultimately it tried them all and failed in every aspect! Avoid! (2 out of 11)
PADDINGTON (2014) – BLU RAY
I loved Paddington as a kid and the dulcet tones of Michael Hordern narrated the 2-D animated tales with warmth and charm. The funky film version is an even bigger delight with Ben Whishaw, Sally Hawkins and Hugh Bonneville collaborating beautifully with Paul King’s terrific script and lovely direction. The animation is a joy and the gag-rate incredibly high in a wonderful feel-good family film. (8 out of 11)
RIFIFI (1955) – NETFLIX (RE-WATCH)
This is a classic French crime drama from which involves the robbery of a jewellery store by a gang of ex-cons. It’s memorable for the long-near-silent robbery sequence in the middle act which is full of suspense and hold-your-breath moments. I loved that they humanized the criminals and the characters at the start and the robbery scene is often imitated but never bettered. (8 out of 11)
RUBBER (2011) – AMAZON PRIME
Bizarre horror-comedy which cannot under any circumstances be recommended unless you like fourth-wall-breaking-art-films-about-murderous-tyres-who-explode-birds-and-humans-with-telekinetic-powers. Actually, it’s also a satire on the nature of Hollywood filmmaking and an audience starved of originality; I think!(8 out of 11)
RUN ALL NIGHT (2015) – DVD
Liam Neeson is a drunken, washed-up mob enforcer who faces a race against time to save his estranged son (Joel Kinnaman) and his young family. It’s pretty generic fayre in which a grizzled Neeson can do in his sleep but it has some crunching action, car-chases and shoot-outs which fizz along impressively at a breakneck pace.(7 out of 11)
SALVATION (2014) – SKY MOVIES
Mads Mikkelsen could not save The Necessary Death of Charlie Countrymen but his quiet power is very much to the fore in this colourful revenge Western. He portrays a Danish former soldier whose wife and son are butchered by Jeffery Dean Morgan’s dastardly men, precipitating a path of bloody retribution. (7 out of 11)
THE WOLFPACK (2014) – CINEMA
A very interesting documentary about a huge family of boys and one girl who were kept as virtual prisoners in their own New York high-rise apartment by an alcoholic, bullying and eccentric father. The boys retained their sanity just about as they sought movies as a means to connect with society. The parodies they act out such as Pulp Fiction and Dark Knight were hilarious. But there is much pathos as both the children and Mother are tragic figures too having been “lost” and imprisoned by, quite frankly, a pathetic excuse for a father. (7.5 out of 11)
WHITECHAPEL (2009 – 2012 – Seasons 1-3) – NETFLIX
Started watching this during the quiet times at work and got pretty gripped by the East End murder cases investigated by Rupert Penry-Jones, Phil Davis and Steve Pemberton. It’s a well-made addition to the over-loaded detective genre which by Season 3 had some excellent suspense and drama. I was especially drawn in by Davis and Penry-Jones water-oil relationship and the latter’s OCD. (7 out of 11)
WYRMWOOD: ROAD OF THE DEAD (2015) – AMAZON PRIME
This is a really fun zombie-road-movie-gore-fest which is clearly inspired by Mad Max, Evil Dead, Braindead and George Romero’s oeuvre. Some lovely blood-gushing gore and imaginative machinery on show makes this low budget horror-comedy well worth a rental. (7 out of 11)
I didn’t watch that many movies in May as I have been theming my viewing to British TV productions, so it was quality rather than quantity this month and with a big Antipodean feel.
As usual Marks out of Eleven follow the little review.
***MASSIVE SPOILERS AHEAD***
BLACK SEA (2014) – SKY MOVIE STORE
Jude Law, Ben Mendelsohn, David Threlfall, Scoot McNairy, Michael Smiley and a motley crew of Russians go down into the deep, dark recesses of the black ocean in search of Nazi gold. This effective B-movie is essentially The Treasure of Sierra Madre (1948) set underwater. The cast are excellent plus there are some thrilling and suspenseful scenes as greed and nationalist rivalry poisons the water amidst a series of disasters which strike the crew. This is perfect viewing for a damp Tuesday evening while eating pizza and drinking a beer. (Mark: 7/11)
CLOUDS OF SIL MARIA (2014) – SKY MOVIE STORE
This is the kind of intellectual-artsy-actor-fest that middle-class viewers and critics wank themselves lyrical about in the broadsheet press and online. Don’t get me wrong I enjoyed the triptych of performances from Juliette Binoche, Kristen Stewart and Chloe Grace Moritz and the filmmaker Olivier Assayas tackles some interesting themes about identity, modern culture, death, aging, and the nature of performance. However, it’s pretty one-paced and has a head-scratching Bunuelian turn at the end of the second act which made no sense; I imagine that was the point. I didn’t even care enough to be perplexed as it just washed over me on the main with neither enough drama or comedy to get my teeth into. Some beautiful vistas and scenery though. (Mark: 6.5/11)
FAR FROM THE MADDING CROWD (2015) – CINEMA
Apart from the moron-head who decided to eat crisps really loudly in the seat near me during the opening 10 minutes, I really enjoyed this wonderfully shot romantic drama from impressive filmmaker Thomas Vinterberg. Based on Thomas Hardy’s classic novel it stars Carey Mulligan as the fiercely independent Bathsheba who goes against the social tide of the time and attempts to run a successful farm despite the backward sexual politics.
This is a romantic period drama that even blokes can enjoy as the subject matter eschews the fluffery of Jane Austen for the harsher side of rural life. It’s Thomas Hardy-light with a brisk 120 minutes run through the narrative as Bathsheba is courted by three men of varying social standing and characterisation. Performances are top notch, notably from Michael Sheen as the pained William Boldwood and ever-sparkling Carey Mulligan. Matthias Schoenaerts, a striking Belgian actor, is also outstanding as the sturdy Gabriel Oak. (Mark: 8/11)
GALLIPOLI (1981) – BFI – CINEMA
I grew up watching this film; usually on a Sunday evening on BBC2 and when I saw it was screening at the BFI I jumped at the chance to watch it. It is a heart-wrenching World War One story concerning the Western Australian men who left their families to fight against the Turkish army during the brutal conflict. It follows two lads portrayed by Mark Lee and cusp-of-stardom Mel Gibson who at first are rival sprinters and then brothers-in-arms as they venture overseas to fight.
The screenplay is sinewy and powerful yet with much humour, as it builds their friendship from the outback to the trenches culminating in a truly tragic final reel. Peter Weir announced further his credentials as a filmmaker of high quality and the cinematography by Russell Boyd is a wonder. I also loved the use of music here which employs both modern synthesized pieces from Jean-Michel Jarre and marries it to more classical compositions by Strauss and Giazotto/Albinoni’s Adagio in G minor. This is up there with my favourite Anti-War films of all time; majestic cinema at its peak. (Mark: 11/11)
MAD MAX (1979)/MAD MAX: ROAD WARRIOR (1981) – NOW TV
I watched these kinda back-to-back with my teenage son and despite their age and low budgets both films stand up to further viewings. In fact, George Miller’s seminal violent-explosive-car-chase-revenge-punk-urban-westerns are best watched as a double bill.
In the first film Max is a hardened road cop who wants out so he can be with his young family. The roads have become a deadly place full of psychotic punks and sociopathic maniacs who rail against society without cause or reason. When Max is left a shell-of-a-man he goes after the gangs which done him wrong with rage-in-his-eyes and hell in his soul. This is an awesome film with more imagination, energy and pace than most bigger-budget blockbusters.
With Max’s character established so well the second film Miller throws an Apocalyptic curveball into the mix as we find future Max — a lone road warrior (aside from his Dog) — fighting even crazier road punks over ever-decreasing amounts of petrol. Mel Gibson really shines as the amoral leather-bound-petrol-head who gets dragged into the outback carmegeddon between a group of settlers and baddies led by the helmeted Lord Humungus. This film rocks big-time and is one of the greatest action-come-road movies ever and one which confirmed Gibson as a major movie star of the 80s! (Double-bill Mark: 10/11)
MAD MAX: FURY ROAD (2015) – CINEMA
Tom Hardy takes on the iconic Max Rockatansky role in this revved-up-mega-budget-future-shooting-guitar-flame-throwing-blood-draining-crash-smash-and-burn epic. Haunted by past failure Max drives round the wasteland trying to survive. Suddenly he’s whisked away to be a mobile blood-bank at The Citadel and used to keep the cancerous War Boys alive with his pure blood. Enter Charlize Theron’s kick-ass Furiosa who is on a mission of her own to protect those she cares for from nefarious Immortan Joe; the Citadel Overlord!
There isn’t really any plot to speak of on the Fury Road but what you get is an incredible visual feast with carnage galore and some incredible stunts in a barren yet beautiful desert setting. Hardy and Theron share great chemistry within the action and Miller executes some mesmerising moments of dialogue-free pure cinema. One may argue that it is style-over-substance but the style IS the substance. The concepts on show such as the flame-throwing guitar; moving blood-banks; mud-people on stilts; assorted pimped-up cars and souped-up weapons are what impresses. As such George Miller proves himself a visionary filmmaker who owns the post-apocalypse on screen making it a terrifying and stunning experience. (Mark: 9.5/11)
MR TURNER (2014) – BLU RAY
I love Mike Leigh films. Most of them anyway. His unique slice-of-life style is quietly confident and steady and even if not much is happening one is often awestruck by colour, mood, composition, character and performance in his work. Indeed, Timothy Spall is on terrifically grouchy form as celebrated painter J. M. W. Turner and the supporting cast is equally brilliant.
I was mesmerized by the film’s composition and the glacial pace worked in the films’ favour as Leigh paints (sorry) an honest picture of Turner’s later years, artistic process and his relationships. I was surprised that the old dog was quite a philanderer but then again I didn’t know much about Turner if I’m honest. This is like walking round a beautiful-looking moving gallery and just breathing in the genius of Turner, Spall and Leigh. (Mark: 8/11)
But to recap: this is a sensational pitch black character piece that allies a powerful script with violent social satire; all glued together by an Oscar-worthy lead performance from the ever-excellent actor Jake Gyllenthaal. Indeed, he should have got AT LEAST a nomination for his performance as news-media-ladder-crawler sociopathic Lou Bloom. On re-watch this film is just as powerful and I was in awe of the incredible script, great acting, cutting direction and black humour throughout. Highly recommended. (Mark: 10/11)
OUIJA (2014) – BLU RAY
This film is a terrible movie; probably the worst I’ve seen all year. It follows a vague Final Destination structure as a series of college kids are wiped out by a demonic force that has “escaped” a Ouija Board. There are no redeeming qualities whatsoever and the most interesting fact I can tell you is that the original Ouija Board was in fact a game. No, I didn’t know that either. Yeah, and the rights to the board game were owned by Parker Brothers and now Hasbro. It was only in 1930s/40s onwards America that it was used by occultists and spiritualists. Who knows: perhaps people will one day be contacting the ‘other side’ using Transformers? You never know on this crazy planet! (Mark 1/11)
The Cinema Fix presents 