Prometheus

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2010's, Charlize Theron, Idris Elba, Logan Marshall-Green, Michael Fassbender, Noomi Rapace, Prometheus, Rafe Spall, Ridley Scott, Science Fiction, Sean Harris

A prequel to the masterful Alien, Prometheus poses many intriguing questions and ideas. While not all of them come off, it’s a pretty solid prequel from the always interesting Ridley Scott. For me, it’s a mixed movie that has both some good highs and some moments that really drag it down. One thing is for sure, Prometheus is a film that polarises many and with good reason.

In the year 2089, determined archaeologist Elizabeth Shaw(Noomi Rapace) and partner Charlie Holloway( Logan Marshall-Green)  find a star map in the Isle of Skye, Scotland. The patterns on it have appeared throughout civilisation , pointing towards the creation of life on another planet in a message. Shaw and Holloway are hoping to find the secret of creation and where humans came from. The duo’s research has caught the attention of the ageing entrepreneur Peter Weyland (Guy Pearce) who has funded their research mission, resulting in them and a crew taking a journey on the spaceship that takes four years in hyper sleep to where they believe the message originates from. Shaw in particular feels very deeply about this mission and as someone who has faith, just wants some answers regarding the complex nature of creation. Assisting them is the mysterious android David(Michael Fassbender) , who is exceptionally observant yet ever so calculating in what he does. The icy Meredith Vickers( Charlize Theron), who is the head monitor on this expedition, seems ambivalent towards the mission, but like  David , seems to have a hidden agenda for being there. David especially seems to have something that could be horrifying in mind, but we’re always unsure of what his intentions are. Once the ship lands on the moon planet in question , disembark to investigate in their search for answers on life itself. The crew discovers a statue of a strange head alongside a decapitated corpse of an Alien species. This intrigues the curious snd searching Shaw, yet what else is found signal much horror. The further discovery of strange vases oozing an unusual , oily black substance and David pocketing one for his own agenda, spell disaster as a creature is formed that will prove deadly for all if everyone isn’t careful. Soon a scramble to discover just what happened on the planet and survive the vicious chaos that could bring horror back to Earth begins with startling consequences.

Prometheus is a film I’m very divided on, much like the general consensus around it. It has both good and bad in it, which makes my opinion decidedly mixed overall. Ridley Scott( who brought us the classic Alien) as always brings his customary visual flair and skill with actors to the front , crafting a movie that’s striking to look at and most of the time invest in. It’s the script that the problem for Prometheus lies in. While I thought that some of the backstory for the Alien movies was intriguing, along with deep existential themes of creation and life, I found that at times it felt like there was too much going on. And while the thematic material raises many questions, it bogs the narrative down with constant exposition. While I don’t mind ambiguity, Prometheus too often leaves things obscure or unanswered, which can be frustrating. And with a film of the Alien series , I expected more in the way of thrills, scares and awe, which previous masterful films like Alien and Aliens provided. Prometheus does have some of these things in it, but they come a bit too late in the long run for my liking. The thrills when they do hit definitely succeed, but the fact that many characters aren’t that interesting, save for a few , makes the carnage a little bit hollow. On the more positive and balanced side, Prometheus is a stunning looking film; blues and faded greys forming a chilly atmosphere throughout that’s both striking and sinister. And when the script works, the characters it does the best with are quite compelling, particularly with regards to David and Shaw. The score has a real mystery and alternates between both grandiose and intimate, which suits Prometheus quite nicely.

Noomi Rapace, who is someone I’ve often been impressed by, does it again with her turn as the curious Shaw. She gets across the wonder, faith and eventual terror excellently; very much being a very human character in an inhuman situation. By far the standout performance is from Michael Fassbender as the dangerously intelligent android David . The part is an inscrutable one that Fassbender clearly has a ball with, bringing out both a childlike curiosity of his surroundings and an alarming display of a being who has gone beyond the capability of being a machine. There’s such an unearthly way that he delivers his lines that is both well spoken and slightly creepy; Fassbender plays the enigma regarding the character well with cryptic nuance. The performance from the always talented Michael Fassbender is one that really sets you on edge as you attempt to decipher his true nature and if you have misjudged him or not. Charlize Theron is impressively glacial and filled with inner rage as the person overseeing the mission, who remains bitchy and seething throughout. She all the while is evincing mystery and hidden depth within the part of Vickers and Theron certainly delivers in these stakes. Besides these main principal performers( plus an enigmatic and near unrecognisable performance from Guy Pearce and an entertaining turn from Idris Elba), the other cast members sort of fall by the wayside. Which isn’t the fault of the actors , it’s the writing and their characters that let them down . Which is a real shame because you have talented people here like Logan Marshall-Green, Sean Harris and Rafe Spall. The likes of these show flickers of promise, but can’t rise above the poor way their characters have been written.

A visually arresting science fiction film , Prometheus does undoubtedly bite off more than it can chew. But the cerebral parts of it sure make for curious viewing and when the thrills hit, they sure deliver. Plus with a mainly game cast( in particular the excellent Michael Fassbender) and Ridley Scott at the helm, Prometheus knows how to get your attention. A mixed bag it may be, but an intriguing one at that.

X-Men Origins: Wolverine

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2000's, Daniel Henney, Danny Huston, Dominic Monaghan, Gavin Hood, Hugh Jackman, Kevin Durand, Liev Schreiber, Lynn Collins, Ryan Reynolds, Superhero Film, Taylor Kitsch, Will.i.am, X-Men Origins: Wolverine

With him being one of the most popular of the mutants in the X-Men movies, it seemed inevitable that Wolverine would get his own movie. And while some of X-Men Origins: Wolverine does in fact work, it’s sadly something of a missed opportunity in the long run and at times feel very forgettable.

We begin with a young boy named James who is suffering with sickness in .  He witnessed his father being killed by the groundskeeper. This is when his mutant powers arise , resulting in bony claws coming out of his knuckles and a healing factor. Scared, he kills the murderer, who in turns reveals he is the boy’s real father. Shocked by his powers and what he’s done, he runs away with his half brother Victor, who also has mutant powers , including a healing ability much like the future Wolverine. Over many wars across the century and now grown up ( played by Hugh Jackman and Liev Schreiber), including World War I and Vietnam, the two brothers fight , until Victor starts growing seriously out of control. This unnerves the now renamed Logan  and they are sentenced to death . Obviously with their healing mutation both possess, they survive the firing squad . That’s when shady Major William Stryker( Danny Huston) enters the frame and offers the brothers a place in his secret black ops mission team. The team compromises of other mutants , wise-cracking mercenary Wade Wilson(Ryan Reynolds), solid Fred Dukes( Kevin Durand) , teleporter Wraith(Will.i.am) , marksman Zero( Daniel Henney) and electric manipulator Bradley( Dominic Monaghan)   . After a questionable mission in which Logan witnesses their complete disregard for human life, he abandons the group. We then see the future Wolverine,  settled in Canada with the calm, accepting yet slightly mysterious Kayla Silverfox( Lynn Collins) . He’s taking life as easy as he can, but soon enough his past comes back to haunt him. Things take a tragic turn when a returning and more vicious than ever Victor kills Kayla, devastating Logan. Seeking revenge and now going by the name we all know him as, Wolverine realises he needs more strength in order to defeat his brother. That’s when the slithering Stryker tempt Wolverine with an offer to make him stronger in his quest. Although not exactly enthused with Stryker’s immortality and behaviour, Wolverine agrees. During the painful procedure, Adamantium is forged with Wolverine’s skeleton, causing the claws he has to turn metal and more dangerous . Before can wipe his memory, Wolverine escapes . He must then adjust to his new super strength and get his revenge on . But once more features as his plans play the siblings off one another for his own gain, resulting in much conflict for all involved. 

Gavin Hood is a very talented director, but his work here is far from his best. While he keeps action to a high standard, a lot of other areas aren’t that thought out and it shows. In idea, I can’t fault the film for what it’s attempting to do. And while it does flesh out the beginnings of the character we all know and love , it feels like a lot more could have been explored and better utilised. Some of the special effects are a bit ropy if I’m being totally honest, though the action is pretty much one saving grace to be gleaned. At least most of X-Men Origins: Wolverine delivers on the action front , sometimes making up for the scattershot story and pacing. Some inventive parts are the striking title sequence that shows Wolverine and Victor’s war journeys and Wolverine’s nifty revenge on those who have wronged him .The score of thundering drums and low, electronic pulse scores high points for me and really adds to the film; one of the saving graces that improves an extremely flawed movie.

Hugh Jackman is one of the best things in this movie as the title character  . Having played Wolverine for a long time, he knows exactly what to do, but still finds new ways to flesh out the character. Embodying the physicality, scowling demeanour and bruised angst of the part(complete with a collection of ace one-liners), Jackman is stellar as always having made the role truly his own. It’s a good thing we have him in this film it must be said. Also effective is Liev Schreiber as the opposing and vicious Victor; all sly menace and hulking movement  . Watching these two actors face off is entertaining and it awakens this largely forgettable film to somewhat watchable. Rounding out the main part of the positive acting moments is Danny Huston, who always excels playing a villain. Here he is suitably oily and creepy as the man pulling everyone’s strings. He’s a nasty piece of work, but Huston gets a lot of sneaky charm out of the part too. Ryan Reynolds is unfortunately wasted as a former friend who comes back as something a lot different due to experimentation. Reynolds has found better fame years later with the character in question, but here he doesn’t register much. Dominic Monaghan is also underused as a member of the team, much like Kevin Durand and Daniel Henney . Will.i.am , most famous for music, barely registers here because his part is so scarce and poorly written Out of the supporting parts it’s Lynn Collins and Taylor Kitsch who really stand out . The former adds an air of mystery and tragedy to her part , while the latter as the quick thinking Gambit , despite being only really in a few parts of the movie , is rather entertaining with what he’s given and adds flair to his scenes.

So while it has some flashes of brilliance to it as well as an always excellent Hugh Jackman, X Men Origins: Wolverine sadly stumbles with what it attempts to do. It’s not a complete failure, rather a film that could have been a whole lot better that what it ended up being.

Pretty Baby: Brooke Shields

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2020’s, Brooke Shields, Documentary, Lana Wilson, Pretty Baby: Brooke Shields

A two part documentary series that examines the early stardom and shocking, harrowing exploitation of a teen idol, Pretty Baby: Brooke Shields is a hard hitting watch to be sure. But out of it all , we get a picture of the woman behind the image and how resilient she has been to where she is now.

Pretty Baby: Brooke Shields focuses on the journey the former teen idol made from sexualised girl to strong woman reflecting on it all. From before she could talk or walk, Brooke was in front of a camera , orchestrated by her mother/manager Teri. She was a formidable and controlling woman who seems to have insidiously exploited the prettiness of her daughter by placing her in content that was wholly inappropriate. These consisted of the highly controversial Pretty Baby, in which an 12 year old Brooke portrays a child prostitute and nudity is required. Next comes The Blue Lagoon, in which Brooke was 14 during production and though never really seen without clothing, the implications and sexualisation of an underage girl is very apparent and unsettling. Plus the marketing of the film in the words of Shields “ Sold her sexual awakening” , which is deeply problematic and difficult to get your head around when you consider her young age. The Calvin Klein adverts for jeans that she did at 15 are alarmingly in your face, her purring “You want to know what comes between me and my Calvin’s? Nothing”  . It’s hard to believe all this happened before she was a grown up and it’s truly shocking that it was plainly in sight for everyone to see

One telling thing is that all the people who made a point of uncomfortable remarks towards the young actress, except Brooke’s mother, are men who seemed to think it was ok to do this. It really shows how times have changed. There’s still a while to go in society before the balance is restored and double standards are eroded, but it’s gradually progressing to it. We get an insight into how the movie industry and society worked in the 70’s and 80’s. It doesn’t feel like long ago, which makes some of the content even more disturbing. We see many interviews and instances of the teenage Brooke being spoke to in a leering manner by many older men; catching her occasionally pained glances as she attempts to laugh it off like it was fine, when it was anything but. People focused on her sexuality so much that they forgot that she was a living, breathing human like everyone else. It seems that because of the image of , it lead to much in the way of misunderstanding with how people perceived her. A clear cut example of this is when Brooke, having took time away from acting to focus on studies, then wrote a book showing she was just like any girl. People responded to it, but once again in a way that made it seem salacious. The fact she revealed she was a virgin until her mid 20’s was hijacked and mocked, when all she was trying to do was say there shouldn’t be a pressure on young people for this. And one of the most horrifying parts of this documentary is Brooke Shields revealing she was sexually assaulted by a producer who she thought was offering her a film role. The fact she blamed herself at the time for the incident is devastating and says a lot about how women have been conditioned by society for centuries to think this way because of a toxic patriarchy.

The most prominent feature of this documentary is the framing device employed by the talented director Lana Wilson. Brooke speaks to the camera on a stool, as if getting ready for her picture to be taken. It’s telling because we constantly see images and footage of her having to pose , but this time she is the one in charge and is doing it on her own terms. She’s now allowed to have a voice and not just be an object to be lusted after anymore. The narrative is now in line with her as a woman and as a person , which is exactly the way it should be. She is not like a “real living doll”, which one advertiser used as a tagline when doing dolls in her likeness. No longer is Brooke Shields an object of attractiveness for others, but a strong woman who is anything but exploited anymore. 

Out of all of it, Brooke Shields comes through as a strong woman who never realised in the beginning she could have agency.  And this heartbreaking but open documentary series is testament to someone who has seen the ugly side of the industry for a long time, and emerged out the other side. I’d highly recommend this documentary, but I’ll say that it’s a tough watch.

War of the Worlds

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2000's, Dakota Fanning, Justin Chatwin, Miranda Otto, Morgan Freeman, Science Fiction, Steven Spielberg, Tim Robbins, Tom Cruise, War of the Worlds

An intense science fiction film based on the iconic novel of H.G. Wells , War of the Worlds is a blockbuster from Steven Spielberg with a bit more edge than you might expect. While it falters in the latter stages, what comes before is a relentless spectacle of terror, thrills and race for survival.

Ray Ferrier( Tom Cruise) works as a longshoreman in New Jersey who has weekend off . His ex wife Mary Ann( Miranda Otto), who has now moved on and is pregnant , entrusts their kids Robbie( Justin Chatwin) and Rachel(Dakota Fanning),  with him for the weekend while she goes to visit her family. Robbie is a sullen teenager who resents how his father has never been there , while Rachel is caught in between a sense of maturity and her own young, impressionable years. Nothing much happens at first in his home, apart from animosity between Ray and Robbie. Then a freak lightning storm hits , that knocks out lots of power nearby. After the storm finishes, Ray goes to investigate the impact of the strange phenomena .  Ray along with others witnesses as the ground breaks and an alien tripod emerges , followed by others. The aliens are definitely not friendly as they immediately begin eradicating humans via incineration. Ray just about survives this onslaught and he returns home. He takes Robbie and Rachel in a nearby car, heading towards Boston because that’s where Mary Ann is. Though this is going to be far from easy as the alien visitors gather dangerous momentum with their horrifying invasion, sending humans into terrified and frenzied chaos in the process. As the aliens begin either exterminating humans or abducting them, it’s up to Ray to protect Rachel and Robbie and get them to safety as they engage in a battle for survival against the extraterrestrial threat.

At the helm of War of the Worlds is Steven Spielberg, who delves into the dark nature of invasion while not forgetting how to leave us both in awe and terrified. We all know that he can do thrilling spectacle , but one thing that often gets overlooked with him is his handle over suspense and tension.  He keeps the film going at a propulsive pace, occasionally stopping for some emotional respite, then cranks it back up as the chase continues, throwing our characters into increasingly nerve-wracking and heart-stopping moments. War of the Worlds is surprisingly bleak for a Spielberg film, which I noticed in this most recent watch of it. It’s definitely thrilling and provides moments of awe, but there’s a genuine darkness that permeates throughout and a certain mournful, haunted tone to it. The family drama at the centre is well rendered, with Ray being forced into being a good parent after years of being a disappointment. While the 50’s film of the same name reflected the uncertainty of the world then in relation to a threat of nuclear war , this version reflects the world in the wake of 9/11 and the parallels/ references really hit home in terms of how it examines people in tragedy and their desperation. We see humans panicking and at times regressing to primal viciousness in order to survive. War of the Worlds is not often seen as a horror movie, but it damn sure has elements and scenes that wouldn’t be out of place in one. From the original emergence of the Tripods as victims become vaporised by the to the superbly directed attack on refugees on a ferry( not forgetting a floating necropolis down a river witnessed by a terrified Rachel ) , War of the Worlds delivers in the terror and jaw-dropping department  . One scene in particular really stands out is the basement scene. In it, Ray and Rachel have taken refuge in the shelter of a man slowly becoming unhinged from everything he’s seen . The trio have to evade an alien probe that sneakily appears searching the basement while trying to make as little noise as possible ; it’s all rendered with a masterful use of effects, sound and scene geography all on display . It’s a claustrophobic  and suspenseful scene of cat and mouse that is a highlight of nail-biting terror as the snake like probe investigates for life and the three characters have to keep moving to new hiding places before anything bad can occur.

The unusual visual style stands the movie in good stead. Through the moody cinematography of the always talented Janusz Kaminski and Spielberg’s vision, the high key lighting of the start fades to something more grim and grainy as attack and death fill the screen. The contrast is pretty well done as we are somewhat lulled into a false sense of security when it’s bright, then it gets eerily dark as the invasion hits. War of the Worlds is sadly undone by a rather abrupt and questionable ending. Which is a real shame because what comes before is a very intense thrill ride with seriousness and horror on its mind. A whole lot of atmosphere is generated by the score of Spielberg regular John Williams.  It’s all rather spine-tingling and tension building before unleashing full on action and danger, which  ideally goes alongside the slow realisation of how startling and nerve shaking the invasion is . It’s one of his lesser known scores, but it should be better regarded as it suits the film excellently with its effortless sense of thrills and terror.

Tom Cruise heads proceedings, shedding his action guy persona to play a regular guy in the middle of an extraterrestrial threat. Cruise is very convincing as a nonchalant , deadbeat dad who is galvanised into desperate measures to protect his estranged kids. It’s a welcome reminder that Tom Cruise can be more than just an action star ; the guy can legitimately act when given the chance to. Dakota Fanning and her character of Rachel in this film often get ragged on in many quarters, which I think is rather unfair. Sure she is required to scream quite a bit, but I think people forget that she is a child in the situation of terror and how they’d react faced with such relentless trauma. And apart from the screaming which gets noticed , the young Dakota Fanning displays yet again a striking maturity of a young girl thrown into a horrifying situation. Fanning gets the sense of terror, wide eyed wonder and vulnerability across and more than holds her own against older co-stars. Plus, it’s through her eyes that we often witness the destruction of humanity and she plays that excellently. Justin Chatwin nails the surly and angsty personality of the teenage son, but after a while the character and his choices begin to grate. Tim Robbins, although only in a handful of scenes , makes the most of playing an unpredictable character who has lost all sense of reality and is capricious to an alarming degree. Miranda Otto has a largely thankless part that bookends the film, but doesn’t show off her considerable acting skills. Morgan Freeman provides narration for the beginning and end of the film; as always he delivers the goods. Possessing one of the most engaging voices on film, his wise tones, tinged with a sense of weight and gravity, perfectly fit when needed.

So while it’s ultimately let down by an abrupt ending that feels out of place, War of the Worlds is still a darn effective science fiction thriller that has startling set pieces and shows Spielberg delving into blockbuster entertainment in a darker way than one may usual think.

The Mask of Zorro

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1990's, Adventure, Anthony Hopkins, Antonio Banderas, Catherine Zeta-Jones, Martin Campbell, Matt Letscher, Stuart Wilson, Swashbuckler, The Mask of Zorro

I would like to thank RealWeegieMidget and Taking Up Room for in inviting me to take part in the It’s in the Name of the Title Blogathon. I decided to cover The Mask of Zorro. A sensational adventure that harks back to swashbucklers of Old Hollywood, The Mask of Zorro is a true delight from start to finish, owing to engaging directing, stunning visuals/ score and terrific acting .

We begin in 1821 as unrest spreads through California with the peasants rising up against the oppression of Spain, shown here as the ruthless Don Rafael Montero( Stuart Wilson) . Although he’s about to be ousted back to Spain, Don Rafael orders one more reckoning. A particular stone in his shoe has appeared as Mexican masked swordsman Zorro; a masked figure who helps those less fortunate and fights the oppression , along with carving the letter Z into things as a calling card. The man in black is actually nobleman in disguise Don Diego de la Vega (Anthony Hopkins), but no one knows this. Zorro fights for the rights of the people and manages to avert the execution of three innocent men. Witnessing these events are two orphaned brothers, Alejandro and Joaquin, who at one point aid Zorro, resulting in him giving them his distinctive sliver necklace. After ruining Rafael’s final act , Diego returns to his wife Esperanza . He’s now hung up the mask and wants to settle down with his wife and infant daughter Elena. Sadly for him, Don Rafael has unearthed his true identity and confronts. In the ensuing chaos, Esperanza is tragically killed. Diego is then thrown in prison while the despicable Don Rafael takes baby Elena to raise as his own. Twenty years pass and Alejandro (Antonio Banderas) plus his brother are now bandits. Their successful cons come to an abrupt halt when soldier Captain Harrison Love( Matt Letscher) catches up with them. The sadistic Captain , who it transpires will be linked to another enemy, attempts to kill the brothers. Alejandro flees while Joaquin shoots himself rather then suffer an agonising . Captain Love viciously beheads , sending Alejandro into despair and wanting vengeance on the awful Captain . Don Rafael returns to California with a devious yet secretive plan. He brings with him the now grown up Elena( Catherine Zeta-Jones), who has blossomed into a beautiful young lady who is spirited and feels stifled by expectations of her. Diego, who has been in prison for years, manages to summon up some strength to make a daring escape. It’s here he comes across a drunken Alejandro. Remembering how he and his brother helped him years before, Diego agrees to train Alejandro to be the next Zorro. In turn both men get closer to their goals; Diego to getting revenge on Don Rafael and Alejandro to avenging his brother . Though there’s animosity at first due to stern teaching and Alejandro’s struggle to keep his emotions in check, a good relationship develops between the two along the way. Soon, Alejandro is being masterful with a sword and slowly getting ready to take revenge. He and Diego come across Rafael’s dastardly plot to purchase the land of California and claim it as an independent republic, through horrid and devious means that involve ripping his enemy off. Alejandro disguises himself as a nobleman to infiltrate Rafael’s inner circle. This brings him into contact with the spirited Elena, who already carries a torch for Zorro and now finds herself falling for Alejandro. With plans taking motion, everything  culminates in fierce battles, revenge and romance. Alejandro takes on the mantle of Zorro with plans on avenging his brother via killing the slimy Captain Love and Diego plots the downfall on his sworn enemy that took away everything he cared for .

Martin Campbell, who successfully reinvigorated James Bond in GoldenEye, brings full blooded, vivid and fun verve to this film. This makes sure that The Mask of Zorro is a thrilling ride for the audience, as well as one that has both great humour and a level of seriousness too. There’s something delightfully old fashioned about the film which I love, as it mixes with a modernity that’s rather appealing. You get the rousing feeling of older movies , crossed with an occasionally winking humour. The whole battle of good and evil, love and honour is played out with a vigour, heart and most important of all, a sense of fun. The swashbuckling spirit of yesteryear is very much alive in this movie.  And the film for me at least has some flavour of an Indiana Jones movie in parts, which shouldn’t be surprising considering Steven Spielberg is an executive producer on it. It must be said The Mask of Zorro is an incredibly sexy film, which is interesting because there is rarely any nudity in it. Well apart from the iconic barn duel between Alejandro and Elena but not much is shown. Much is left to the imagination during this tango rally of a sword fight , which makes it even more erotic and a highlight of the film. The look of the film is gorgeously with a dusky glow  enveloping events beautifully. The action is of a high calibre throughout , with some dazzling sword fight choreography, horseback chases and an explosive finale at a mine are just some of the highlights. James Horner is on score duty and delivers in spades with a collection of pieces filled with flamenco steps, castanets and haunting melody that bring out all the necessary fun, sexiness and thrills required.

The cast are suitably game for this entertaining ride. Antonio Banderas gets across how scrappy and impulsive Alejandro is , plus his eventual maturation into the dashing Zorro . Plus he’s incredibly convincing in his athleticism and can smoulder with the best of them, not to mention having one of the most rakish grins committed to screen. Banderas for me is perfect casting as the masked title character; he hits all the required beats of humour, emotion and physicality with style and fun. The movie’s secret weapon for me is the dignity and pathos of the Old Zorro, brought to life by the impeccable Anthony Hopkins. As many readers will know, Hopkins is one of my favourite actors and he doesn’t disappoint here. He provides the beating heart of the film; fusing a gravitas with the occasional twinkle of the eye. It’s through him that gains a lot of emotional weight as we watch him drag himself from despair back to the man ready to fight and pass the torch to his new student. You believe Hopkins as a mentor because of his demeanour and his engaging voice, both of which are put to fine use here. Fleshing out the cast is Catherine Zeta -Jones turning in a strong performance, as well as being almost supernaturally beautiful here . She brings out the feisty nature of Elena as she pieces together her past as well as discover passion with Alejandro/Zorro. Zeta-Jones possesses both a ladylike grace and spirited , vivacious sense of movement , combined with a fiery temperament dying to be unleashed at any given time .  This role was what propelled her into international stardom and it’s with good reason that it did because she is excellent here. Stuart Wilson does the moustache twirling villain excellently, while adding a dimension of a man who really believes that his appalling actions are doing good. Backing him up in the villain stakes is Matt Letscher, who is incredibly convincing and unnerving as the twisted Captain. He’s got an intense pair of eyes and he plays the warped sense of morality, plus a rather chilling way of conducting himself, to the hilt. Both make for terrific villains that you just love to hate throughout The Mask of Zorro. 

A sizzling, adventure filled  and fun swashbuckler, The Mask of Zorro truly dazzles thanks to gorgeous visuals, endless action and stellar cast. The Mask of Zorro is a film I never grow tired of because it always delivers with every viewing.

12th Anniversary

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12 Year Blog Anniversary, Blog Anniversary

I’m late by a few days but I just saw that I’ve been blogging for 12 years now. I know my output of late hasn’t been prolific, but I’m working on changing that. I’ve had a lot of personal things to contend with lately, such as getting my room decorated. I just want to take this opportunity to say thanks to everyone who has supported me. And I’ll be back to my best soon enough.

National Velvet

Tags

1940's, Angela Lansbury, Anne Revere, Clarence Brown, Donald Crisp, Drama, Elizabeth Taylor, Jackie Butch Jenkins, Juanita Quigley, Mickey Rooney, National Velvet, Sports Drama

Often remembered as the film that put a very young Elizabeth Taylor on the map as a star, National Velvet is a heartwarming, beloved and inspiring film about dreams and one girl’s deep love for a horse. This is definitely a film for the whole family to enjoy and comes highly recommended from me .

It’s the late 1920’s in a quaint English village, the young and dreaming Velvet Brown(Elizabeth Taylor) thinks of nothing but horses. She lives with her strict father Mr. Brown( Donald Crisp) and firm but fair mother Mrs. Brown (Anne Revere) as well as siblings romantic Edwina(Angela Lansbury), fussy Malvolia( Juanita Quigley) and amusing little brother Donald( Jackie Butch Jenkins). After finishing school for the summer holidays, she comes across jaded drifter Mi Taylor(Mickey Rooney) while out on her walk. Velvet invites Mi to her home as it appears he has nowhere to go, but it appears Mi already had an idea of visiting the Brown family. Mi read in his late father’s diary about Mrs. Brown, hence why he has sought the family out. As he’s not in the best condition and is more than a little downcast by the secrets he hides, he thinks about stealing the savings the family has. He swiftly changes his mind as the spirited Velvet and her enthusiasm win him over. It’s around this time that Velvet first sees The Pie; a wild horse who everyone says can’t be tamed. Velvet is immediately struck by the beautiful creature and seems to the only person who can calm him .The farmer who owns the Pie enters the horse into a raffle, because he feels can’t control the creature. Although a number is drawn out that doesn’t belong to the passionate Velvet, it’s gifted to her after its found that the ticket was void .Velvet has big dreams of taking part and winning the Grand National. Mrs. Brown, who is supportive of her daughter’s dream, gifts her the money she won when she swam the English Channel as a young woman, for the entry fee and other costs. Although many think it’s a fool’s errand, Velvet pushes forward with determination and devotion. Mi starts to come around to the idea of it too and begins to train Velvet and Pie . With belief and a lot of hope , Velvet and Mi now make their way to the biggest event of all, The Grand National with hopes of winning with Pie.

Clarence Brown’s warm and sensitive direction is one of the best parts of National Velvet. He gets right to heart of things , especially in terms of Velvet’s fervent desire to succeed with Pie and also the family dynamic with her household. Simply put, Brown’s work is delightful throughout, creating a nostalgic picture for the ages. The biggest message I got from National Velvet was about dreams. Whatever dreams we have in life, some foolish , some realistic, this film reaffirms that dreams can come true if we put our minds to them and have belief. Some may right that off as quite the simplistic message, but I think it’s one that every audience member can in some way or part relate to. The visuals are a rich technicolour that conjures up nostalgic images of hope and loveliness, in the grand tradition of MGM. And the race scene that climaxes the film is simply terrific and thrilling throughout; you really feel like you’re a part of it as the stakes get higher and Velvet edges closer to fulfilling her dreams. A spirited and lush score courtesy of Herbert Stothart highlights the feeling of going after a dream and letting your heart feel it deeply.

National Velvet is fondly remembered for making Elizabeth Taylor a star and with good reason. She was 12 at the time of the film and shows she had star quality from the very start. Taylor is simply luminous as the determined, dreaming and heartfelt Velvet; she quite literally brightens the screen up whenever she’s on it with her authentic charm and surprising intensity. You truly feel the fervent passion and the love for the horse that Velvet has thanks to the impressive Elizabeth Taylor, who is truly delightful in this star making role. The film simply wouldn’t have worked without her in the pivotal lead role. Mickey Rooney gives a nicely shaded performance as a man who is jaded by loss, but who becomes more alive and inspired by the sunny Velvet. He works well alongside the young Elizabeth Taylor and they bring the best out in each other.  Anne Revere collected a much deserved Best Supporting Actress Oscar for her turn as the calm and loving mother of Velvet. There’s something both warm and commanding about Revere; she exudes a deep wisdom about life and never needs to raise her voice to make a point. Instead it’s her clear words and nuanced looks that make the impact . It’s a beautifully subtle piece of acting from the great Anne Revere. Donald Crisp is ideal as the often blustery, head-shaking and fussy father who is prone to flying off the handle, but often means well in what he does. He interacts excellently with Anne Revere and there is a truly delightful dynamic of him often not agreeing with her, but realising she’s often right in her sense of practicality. A young Angela Lansbury is delightful and dreamy as the romantic older sister , while Juanita Quigley and especially an amusing Jackie Butch Jenkins standout as the other siblings. 

Simply magical and truly lovely throughout, National Velvet earns its status as a classic because of beautiful visuals, inspiring message and fine acting. You won’t be able to stop smiling after viewing this wholesome and delightful movie which features Elizabeth Taylor in her star making role .

Evita

Tags

1990's, Alan Parker, Antonio Banderas, Biopic, Evita, Jimmy Nail, Jonathan Pryce, Madonna, Musical

A musical biopic of the iconic First Lady of Argentina, Evita is a well mounted movie it must be said . It’s mixed in places and a tad choppy, but the sheer star power of Madonna and the cast , plus some terrific music, make it quite the experience. 

The film opens with the announcement of the death of Eva Perón(Madonna), leading to immense mourning throughout Argentina and a lavish funeral. We flashback to her childhood in which she is refused entry at her father’s funeral because she is illegitimate and poor. Fast forward and Eva is a late teenager with dreams of the big city. She latches onto tango singer Agustin Magaldi (Jimmy Nail) and travels to Buenos Aires. There Eva exercises her charisma and know how to attract powerful man who can help her up the ladder of success . This leads to success as a model, popular radio personality and actress. She eventually catches the eye of Colonel  Juan Perón( Jonathan Pryce), and they begin a relationship. Eva’s image helps  Perón as his popularity with most in politics rises. When he is arrested by the administration as they don’t like the idea of him in power, Eva uses her considerable popularity with the public and radio to create a groundswell of support for his release. When this happens , Perón and Eva campaign for presidency as well as tie the knot. The popularity they create leads them straight into presidency and they become a powerful couple as President and First Lady. Eva becomes a stylish champion for the poor and women’s rights, but not everyone is quite as taken with this ambitious woman as it initially seems . As her popularity rises, political turmoil, opposition from the upper class and questions over her seemingly philanthropic conduct are all raging around her. All of these events transpire to turn Eva into an international icon before and after her untimely death. The main story of Eva’s rise to the top is narrated by Che(Antonio Banderas), who pops up in various guises throughout her life and watches her with both varying levels of admiration, uncertainty and contempt.

Alan Parker provides both an energy and sadness to Evita, showing off his considerable skills . And though some parts of the overall picture don’t work , Parker sure knows how to stage a saga and make it dramatic. Once you get used to the fact that the majority of the film is sung, you get the overall picture . Many musical numbers standout thanks to the execution of them. The full throttle spirit of “Buenos Aires” is infectious, which segues into the more sombre “Another Suitcase in Another Hall” . “Goodnight and Thank You” , which is a tongue in cheek nod to climbing the ladder with whatever you have, is an amusing and sharp number. The pining and lush I’d Be Surprisingly Good For You  sets the scene as Eva seduces Perón who falls hook, line and sinker for her considerable charms. The two big ones that stand out are “Don’t Cry For Me Argentina” and the tear inducing finale of “You Must Love Me.” Both show off Madonna’s range and provide a lot of the dramatic crux of the film, from the growing triumph of the former to the mournful latter.  Even though the cohesion can be a bit confusing in terms of timeline and sometimes the depth isn’t there, Evita succeeds in term of scale and panache.  The cinematography has a certain lush sepia glow to it that fits in with the setting of this movie . And as is befitting of a film involving stylish characters, the costume design is of the highest order. Our leading lady goes through an array of dazzling costumes that are undeniably gorgeous. 

The cast is what really makes Evita it has to be said. Pop superstar Madonna may have been a controversial choice of leading lady, but this is the best she has ever been onscreen . Showing the true strength of her vocal ability( she undertook extensive training to expand her range), she shines as the shrewd and ambitious First Lady. Going from a dreamy eyed girl to charismatic climber into power, followed by tragic figure, Madonna doesn’t miss a beat and truly gets across both an energy and emotional nature that’s rather moving. If you ever had any doubts about Madonna as an actress( it has to be said she’s starred in some really bad films and often hasn’t been too good in them either), then Evita should make you reassess that idea as she’s simply sensational in her best cinematic outing. Equally as compelling and possessing a simply smouldering presence is the fantastic Antonio Banderas. Acting as our narrator, he manages to be witty, snarling, charming and engaging throughout. And he certainly has a powerful set of lungs on him too, putting them on fantastic display as our eyes and ears in Eva’s journey. Jonathan Pryce, despite having the role that doesn’t have much for him to work with, still manages to convince as the President with a sense of authority and ambition permeating every time he appears. Jimmy Nail has a brief role but makes the most it off, especially in showing off his vocals. 

So while not the most flawless musical out there, Evita still provides rousing music, fine cast (in particular Madonna and Antonio Banderas) and a glossy look at an unforgettable icon. It’s quite an experience I must say and shows that even though the pre production rambles rumbled for years, the results of the eventual film where largely successful in what they set out to do.  And it shows Madonna at her best in terms of acting and vocals , proving people wrong who doubted her casting in the first place.

Poor Things

Tags

2020’s, Coming-of-Age, Dark Comedy, Emma Stone, Fantasy, Hanna Schygulla, Jerrod Carmichael, Kathryn Hunter, Mark Ruffalo, Poor Things, Ramy Youssef, Willem Dafoe, Yorgos Lanthimos

A bold, unusual and enthralling film from the talented Yorgos Lanthimos, Poor Things is probably his most ambitious film to date and for me one of his best. Fashioning a coming of age story about a woman’s journey of immense liberation, Lanthimos pulls you into an extraordinary world and movie filled with weirdness, heart and stellar acting, particularly from a never better Emma Stone.

In Victorian London, the scarred and eccentric  surgeon Godwin Baxter(Willem Dafoe) takes on medical student Max McCandles ( Ramy Youssef) as an apprentice. When taken to the strange house of the man, Max doesn’t know what to expect. It is here that meets Bella Baxter ( Emma Stone), a most unusual young woman in house who Godwin treats like a daughter Godwin explains that he has resurrected Bella after it transpires she ended her life via drowning. She was pregnant at the time so he used the brain of her baby to bring her back to life. Bella is a grown woman who is first presented as the result of his experimentation. She acts like a young infant in mannerism and understanding, but she advances quicker than the average person as does her thirst for knowledge. Godwin loves her like a daughter, but never really lets her out of the house as he’s worried about what might happen because she’s not accustomed to the outside world yet. He is therefore delighted when he notices affection between Bella and Max. However, Bella  is charmed by the irredeemable cad Duncan Wedderburn (Mark Ruffalo) who wants to whisk her off on an adventure , mainly for his own desires and amusement. Bella runs away with Duncan to explore the world, leaving Godwin and both longing for her return. After a trip through Lisbon in which Bella becomes difficult for him to handle , Wedderburn kidnaps her and takes her on a cruise ship. He eventually grows tired of how Bella is not as naive as she originally seemed to him and is progressing towards being her own person rapidly, particularly in the area of sexual and personal discovery. For Bella, life begins to open her eyes to things as she craves learning and defies the stifling conventions of the time, meeting many interesting characters along the way. Her sexual and literal liberation from society gallops away, leave most around her shocked, envious and baffled .It’s quite the journey as she begins to march to the beat of her own drum and become a woman in charge of her own destiny in a world that often questions it.

Over a number of years, Yorgos Lanthimos has become one of my favourite directors. I admire how he isn’t afraid to depict the strange, occasionally unexplainable yet always memorable on screen. And he most certainly doesn’t disappoint with Poor Things. Yorgos Lanthimos is on fire here , bringing his vision of self-actualisation and unusual coming of age to life with delightfully uncompromising brilliance and a mixture of unexpected depth and laugh out loud glee. Many moments of humour abound , particularly in a frantic out there dance scene and anytime Bella dares to say what we all want to say but are often to polite to utter . But underneath the surface is a depth of examination of societal pressure, discovering oneself and completely owning who you are in a world at odds with that concept of individuality. Much has been made of the film’s nudity and scenes of sex. But while they are prominent throughout Poor Things, I don’t believe that they are there for simple titillation. Bella’s sexual freedom and sense of emancipation from the role that women are supposed to play is integral to the story. So in that view the sex and nudity are important parts of Poor Things, for  they chart her growth as a person and most importantly a woman of extreme agency.

On the visual side of events, Poor Things will blow your mind with what it does with cinematography and production design . From the unusual fish eye lens and black and white in the beginning to the eye popping colours of the journey, Poor Things takes us deep into a fantastically strange place that makes your jaw drop . And the sets are simply breathtaking and brimming with a steampunk spirit; see them on the big screen because the craftsmanship is simply extraordinary and you feel transported into this strange world right from the get go. I definitely believe award nominations will be arriving think and fast for the production and visual departments and deservedly so. Special mention must also go to the costume department, who pull out all the stops for fantastically off the clothing that fits the movie like a glove with loud, ruffled fabrics and imaginative textures.  Apart from the occasional languor in pace, Poor Things is the kind of film that fires the imagination of a film reviewer like myself. The score from Jerskin Fendrix is also something completely weird and oddly fascinating. Piercing violin shrieks and rattling percussion craft a sense of childlike wonder giving way to maturity and grandiosity. Oddness is the order of the day in a score that has to be heard to be believed for its sheer volume and all encompassing grasp. 

One of the best areas of Poor Things is the acting from a game cast that surrenders to the delightfully bonkers story. Emma Stone turns in the performance of her career as the searching Bella Baxter and is magnetic. Clearly enjoying her second collaboration with Lanthimos( their first being the viciously dark and caustically entertaining The Favourite), Stone proves the two are a dream team of star and director In the hands of a lesser performer, this performance could have turned into overly mannered and irritating. But in Stone’s more than capable hands, it becomes something alive and kinetic. Stone embodies the very physical position of someone whose faculties, at least in the beginning, don’t match the outer appearance. As she progresses, the slightly off kilter way of speaking, her ability to say things that people wouldn’t usually say and gait becomes integral to the plot as Bella discovers herself more and more. Emma Stone is all kinds of wonderful here; devilishly funny, alert , moving, ribald, forthright, alarming and charming. She charts the progress of Bella with all of the aforementioned qualities and a true understanding of a most fascinating character. I can’t praise this performance, but to summarise, Emma Stone is the beating heart of this immense saga and is simply extraordinary throughout Poor Things. Mark Ruffalo is masterfully funny as the Bon vivant who becomes infatuated with Bella but then can’t quite handle someone he can’t control. Ruffalo gives his role gusto, slippery wit and flashy zing ; becoming a fragile goofball in the process as his pursuit of pleasure comes crumbling down around him and he morphs into a pitiful man of vengeance. Willem Dafoe, who for me is always a reliable presence, doesn’t disappoint here as the unusual but caring scientist behind Bella’s resurrection. He’s both very witty at times yet filled with a barely contained sadness that threatens to come out. Ramy Youssef provides an innocence and certain wide eyed wonder as the medical student completely struck by the unstoppable Bella. Jerrod Carmichael, Hanna Schygulla and Kathryn Hunter all make impressions as people encountered by Bella on her odyssey, with Kathryn Hunter particularly being unforgettable in her short screen time as a Madame. 

So with a wild sense of humour, striking visuals, terrific acting and directing from the ever eccentric Yorgos Lanthimos , Poor Things is a pretty unforgettable piece of cinema that definitely makes a mark on whoever views it. Expect much award notice for all involved in this movie as it’s an experience and then some.

In from the Side

Tags

2020’s, Alexander King, Alexander Lincoln, Drama, In from the Side, Matt Carter, Pearse Egan, Romance, Sports Drama, William Hearle

A romantic drama set in the world of a gay rugby team, In from the Side emerges as a strikingly done and evocative film from Matt Carter about desire, throwing caution to the wind and finding the people who care about you in whatever form it comes.

Mark Newton(Alexander Lincoln)is a relatively new B team player in the Stags, an inclusive gay rugby team in South London that is struggling financially as of late. One night after a match, his eyes meet with the handsome Warren(Alexander King). He plays for the A team and there is an immediate spark between them. After a few drinks and flirting , they fall in to bed together. This causes a problem because both are in relationships, albeit ones that they aren’t very happy in. The quiet Mark is in a long distance relationship that is allowed to be open but with rules, while the more self-assured Warren is with a member of the A team. Though they try to deny their feelings, they can’t resist each other and a full blown affair begins . While attempting to make sense of it all , relationships within the team start struggling. This is especially the case of Henry(William Hearle), who looks up to Mark and has feelings for him. Because of the distance that occurs because of Mark’s affair, Henry begins suffering with a drinking problem. With the team financially strapped and loyalties beginning to divide, both Mark and Warren struggle to hide their secret relationship which leads to much upheaval for everyone around them.

Matt Carter is on directing duty and he knocks it out of the park, clearly putting his heart and soul into the film. It’s the little moments that really stand out in this slow burning drama; the furtive glances, the chance encounters and the unspoken desire that rises that tell us all we need to know about the relationship forming at the core of the film. What Carter gets across amazingly and in a realistic manner is the atmosphere  of the rugby club. The authenticity comes through with all the teasing, camaraderie and eventual bits of rivalry between a vast array of colourful characters. Both Carter and his excellent screenwriter Adam Silver have wrote a screenplay that feels real and like you could know the characters that populate the rugby team. The feeling of the club being like a family is deeply felt, evincing a sense of real togetherness even if the toughest of times. And it has to be noted that while the main characters are all gay, it’s never really mentioned or made a big thing of. It’s presented in a realistic, matter of fact and accepting manner as it should be and it’s nice to see it done that way. The passion and intensity of the love scenes and the clinches between burn across the screen with growing ardour as the affair deepens and both start to question the outcome of their deception. I’ve heard some quarters say the film goes easy on the characters considering they are having an affair. I wouldn’t agree with that summation, if anything In from the Side depicts agony of having to hide the secret and the comeuppance that will inevitably follow if they are found out.

And credit must be given to Matt Carter because he is one talented chap. Not only is he the director/writer, he is the cinematographer, editor and musician . His command over visuals is stunning; check out the emotive use of lighting in the fairground scene as they connect amongst neon lights and also the sweeping vistas of snow covered French Alps in the extended Christmas scenes. Plus, the scenes of rugby; complete with all the sweat, mud and physicality it can muster make for compelling viewing, especially as the story deepens and loyalties are tested.  His music too underscores the sexual tension, burgeoning drama and melancholy of the situation in a way that’s simply gorgeous to listen to. There’s an ambient and building drama to the score that gives voice to the unspoken desire as it threatens to burst to the surface. If I have one criticism of the film, it’s the length of it. It feels a little overlong in a few stretches, but this minor issue shouldn’t detract from an emotional and unexpected drama that succeeds on countless levels.

The two leads of the film , Alexander Lincoln and Alexander King are well cast as the conflicted men at the centre of it all. Displaying a subtle desperation and quiet contemplation, Alexander Lincoln, with his soulful eyes, is wonderful to watch. Often without talking, he completely gets across the longing, guilt and passion of someone in a situation that’s throwing caution to the wind with possibly bad consequences. Alexander King plays the more confident and outgoing part of the relationship. He does this very well, while also deepening the sensitivity of the part as realises the implications of what’s happening and how things have gotten more intense than expected. As mentioned earlier, it’s the small moments between the men that most convince as their secret affair grows into something more that neither even expected. The two very handsome leads  share terrific  chemistry, that ignites when together and their nuances are truly wonderful to watch. You seriously would buy them as a real couple because of how convincing they both are. The other people who really stand out are William Hearle and Pearse Egan. The former is touching as the outsider of the team who starts to crumble as relationships fray and the latter provides much of the humour as the cheeky chap who says what people are thinking with great wit and impish charm. 

So all in all, In from the Side is a well directed romance drama from the very talented Matt Carter. I would highly recommend this film to people for the authentic nature of it and the superb job done by both cast and director.