Jackie

Tags

2010's, Billy Crudup, Biographical Drama, Drama, Greta Gerwig, Jackie, John Hurt, Natalie Portman, Pablo Larraín, Peter Sarsgaard

A rather revealing and surprising drama centred on Jackie Kennedy in the days following her husband’s startling assassination, Jackie boasts a strange intimacy courtesy of splendidly immersive direction from and an impeccable performance from Natalie Portman.

A week after President John F. Kennedy’s assassination, his wife and First Lady Jackie(Natalie Portman) reflects on the days from before and after her husband’s murder to an Unnamed Journalist(Billy Crudup) . She goes through a varying range of emotions following such a trauma; like the fact that her whole life is now changed, how to cope and how she is to be perceived by the shocked general public . The main thing that weighs on her mind is that her husband won’t be remembered and will be forgotten in history. She makes it her mission to ensure his legacy and uphold a sense of tradition, while dealing with the huge emotional fallout of losing her husband. Jackie finds some comfort in the presence of a Priest(John Hurt) and secretary Nancy Tuckerman(Greta Gerwig), plus some conflict with her almost broken up brother in law Robert(Peter Sarsgaard). Plus there is also the government who have their own views on how best to do Kennedy’s funeral, which don’t run in line with Jackie’s. Along the way, she reveals herself to be a lot more than just the glamorous wife of the President and a woman who could be a truly powerful force. The Reporter who interviews gets a lot more than he bargained for as Jackie is a lot more complex than he ever thought she could be.

Pablo Larraín jumps straight into the sorrow of grief and the impact of it; clearly not afraid to go to the dark places of such an event. He pulls no punches with how deep he plunges us into one woman’s mind and his direction is striking in its close proximity. A swirling camera that penetrates with slow, uncompromising close ups of The First Lady and places us firmly in the kaleidoscope of grief and chaos that hits with full force. I also appreciate the cinematography that goes from dark to highly lit and has moments of old news grain to make it authentic. Things like this always impress a review such as myself and I think it adds to the experience of Jackie as a whole. I think what Jackie really accomplishes the most is shedding light on a particularly famous figure and making us see them in A mournful and deeply moving score from Mica Levi fits the film exquisitely; capturing the upheaval of grief and the vacillating personality of its titular subject with a sense of grandeur and palpable intimacy.

Front and centre of Jackie is a truly astonishing and totally believable performance from the always committed Natalie Portman . She plays Jackie as a lady who knows that every eye is on her and has grown to know when to put on a smile and when to behave. Portman delves into all facets of this icon; from the grace and decorum to the anger and steel that are rarely glimpsed by the general public. A lot of it is in the eyes that showcase such deep feeling in this time of confusion and the on point voice that is truly a marvel to hear with its hushed refinement and low sense of authority that slowly comes through . It’s a truly complete performance that sheds new light on an iconic figure. All of the impact is all down to the fine work of Natalie Portman, who delivers one of her finest roles. Peter Sarsgaard is effective as the devastated Robert Kennedy whose mood changes in mercurial fashion and look out for Greta Gerwig as a secretary who provides support to the grieving titular lady. John Hurt, in one of his last performances before his passing, brings out a stately yet approachable quality as a priest . With his authoritative voice, he is a confidante to Jackie and though he can’t provide any absolute answers on the quickness of life and harshness of death , he provides an authentic and warmly sage rumination to the grieving widow at the centre of the film. Hurt was always an impeccable performer and his turn here may be small, but it packs an impact. Billy Crudup provides the eyes and ears of the piece as the journalist getting a lot more than he expected from his interview. The supporting cast is well assembled with talent but Jackie is truly Natalie Portman’s show and she more than rises to the occasion.

A striking and impactful drama that studies grief, tradition and one of the most famous women to grace the planet, Jackie is extremely fascinating filmmaking from Pablo Larraín with a stunning central turn from Natalie Portman.

Killing Eve Season 1

Tags

2010's, Darren Boyd, David Haig, Fiona Shaw, Jodie Comer, Killing Eve, Killing Eve Season 1, Kim Bodnia, Kirby Howell-Baptiste, Owen McDonnell, Sandra Oh, Sean Delaney

Wickedly engaging and thrilling executed, Killing Eve twists what you think of a spy thriller and it emerges as a morbidly funny, intense and addictive show that constantly surprises.

Eve Polastri( Sandra Oh) is a security officer in MI5 who has a good marriage to the lovable Niko(Owen McDonnell) , but she’s grown restless at mainly having a desk job. Although she has a great confidante in the experienced co worker Bill(David Haig)  and free speaking colleague Elena(Kirby Howell-Baptiste) , Eve wants something more. Her mind is constantly working and she has a knack for knowing a lot about female killers. This comes in handy when she is called into a briefing about a high profile Russian politician who was murdered and the sole witness is his current lady friend . Head of the MI6 Russia Desk Carolyn Martens( Fiona Shaw) is interested in this as the witness fled to British soil. Eve speaks the idea that the killer was a woman but no one pays much attention to this. Stifled by her job that provides no satisfaction and belittled by slimy superior Frank Haleton(Darren Boyd) , Eve can’t help but get involved in the case even though she’s been warned to leave it alone. After her investigation ends in brutal tragedy for many, she along with loyal best friend Bill are fired from MI5. Not long after this, she is secretly recruited to an MI6 operation headed by the icy Carolyn  . Eve jumps at the chance of this as she has always wanted to be a spy, and though this hunt is a clandestine and off books one, she’s thrilled to liven up her life and brings along Bill and Elena . They are also aided by computer whizz kid Kenny(Sean Delaney ) and operate from a disused building that’s basic but essential to their search. Her suspicions about the killer being a woman turn out to be very true indeed. The killer in question is Villanelle(Jodie Comer) , a skilled Russian assassin with a high level of psychopathy and a taste for the expensive things in life. She’s a prolific killer working for a mysterious organisation known only as ‘The Twelve’ and handled by the crusty but almost fatherly Konstantin(Kim Bodnia)  . Seemingly remorseless and savage , she’s been operating for years but lately has started to get more outrageous with her methods of killing. This draws attention to her but when Villanelle gets wind that Eve is investigating her , she becomes entranced and somewhat besotted with the idea of being tracked . For the two women have briefly met without realising the identity of the other , igniting a strange spark that sizzles. Everything starts to mysteriously link as the body count rises and it would appear that a certain conspiracy is going on . What neither woman has counted on is the growing obsession that builds between them in a game of cat and mouse that is lethal, dark and very unexpected.

Killing Eve is a thriller with a difference; shot through with an absurdist and jet black humour that’s engagingly off kilter and flying in the faces of grim and serious spy yarns. That isn’t too say that Killing Eve doesn’t have high and deadly stakes at its centre, it definitely has those in moments that truly shock( like the guy punch of Bill’s murder that caught me off guard )and pull you back to the dangers of being in the spy world. But it has these moments of quirky humour to it that makes it stand out amidst all the outrageous brutality often on show, courtesy of the prolific, big statement kills enacted by Villanelle . Watch out for inventive use of a hair pin and a shocking emasculation for shocks. I will say that Killing Eve is one of those television shows that will be either love or hate with viewers. My advice is to go with the bizarre yet scintillating narrative at play and see what you make of it. The balance of strange but darkly impressive humour with genuine shock and thrills is handled beautifully and in its own unique way here.

The big centre is the cat and mouse game of it all, though in many cases the roles switch to being both cats and both mice as Eve and Villanelle become inextricably linked . The scripts from a talented group of writers , mainly headed by the series show runner Phoebe Waller-Bridge, are crackerjack and have you wanting to see the next episode every time it hits the credits .  Special mention has to go to the episode ‘I Have a Thing About Bathrooms’ . It features a simply stellar scene as the two women size each other up after Villanelle breaks into Eve’s apartment and they go through varying emotions. From a curiosity, underlying tension and even it would seem a semblance of understanding, it’s a fine face to face for and once more lights the fuse of an already intensely unusual relationship that is escalating with unpredictable results right up to the finale. The visual style and editing of Killing Eve is cleverly used to emphasise the escalating tension and attraction between the principal women; framing them in shots that mirror each other and also giving us some beautiful locations where murder and mayhem ensue . A pretty eclectic soundtrack of country hopping songs  add a moody ambience to the proceedings with a certain 80’s feeling to it that still suits the contemporary setting.

Sandra Oh is simply marvellous as the eponymous Eve, who undergoes an unusual awakening as the episodes continue and her obsession builds. Eve is impulsive, emotional and bored yet this is what makes her relatable and down to Earth. Blessed with an animated and expressive face, the talented Oh is marvellous at getting us invested in Eve’s growing desire and evolving from minute to minute with nuance that’s astonishing.  And complimenting Oh and truly burning across the screen with a multi-layered performance is the wonderful Jodie Comer. Essaying a variety of personas, accents and walking the tightrope between vicious, outrageous killer and strangely lovable young woman, Comer is nothing short of a revelation as the assassin who does things her way regardless of consequences. Funny, often frighteningly intense and slowly revealing what’s concealed within a truly twisted mind, Jodie Comer is simply a marvel and deserving of every award going. It’s the crackling chemistry between the two ladies at the heart of Killing Eve that make it so fascinating . One can understand why each woman is obsessed with the other and that is down to the work from Oh and Comer which crafts an ambiguous and curious relationship between the most unlikely of characters. And it’s interesting considering they don’t actually spend a lot of time so far on screen together( apart from a brief but powerful encounter early on that starts the powder keg ) until later on in the episode run where they finally face off a few times. But the palpable feelings and vacillating motives between Eve and Villanelle have been built up so strongly that you know when they do finally confront the other, it’s going to be something special. 

The ever reliable Fiona Shaw knows how to throw in the odd curveball to surprise us while retaining a chilly outer persona that screams ruthless from every pour. She’s cold yet complex and you don’t know what you’ll get with her. That’s why I find her character of Carolyn so fascinating to watch and its all down to the subtle nuances that it works. Although he is essentially playing someone villainous, like Villanelle, there is a level to which you can’t help but love Kim Bodnia and his portrayal of handler Konstantin. Plus he’s dryly humorous when the occasion calls for it and Bodnia plays to that so well that you never know whether to laugh or be slightly fearful when he’s around . Sean Delaney has necessary smarts and a slightly awkward manner for the part of computer whizz kid Kenny, and there’s Owen McDonnell as Eve’s hangdog looking husband who grows deeply worried about her escalating obsession. Kirby Howell-Baptiste is witty enough though I don’t find her character the most compelling. And despite only being in a few episodes David Haig and Darren Boyd are both effectively memorable as very different men. Haig is avuncular and at times unexpectedly witty and Boyd is oily and smarmy arrogance personified.

Defiantly unexpected, darkly funny and above all compelling, Killing Eve is a stylish first season of thriller with two standout performances from Sandra Oh and Jodie Comer. I must say I’m very intrigued to see what follows in the next season.

The Village

Tags

2000's, Adrien Brody, Brendan Gleeson, Bryce Dallas Howard, Cherry Jones, Joaquin Phoenix, Judy Greer, M. Night Shyamalan, Psychological Drama, Psychological Thriller, Sigourney Weaver, The Village, William Hurt

Somewhat of a conundrum among movie fans and critics upon release, The Village is no doubt about it a flawed movie from M. Night Shyamalan. But there is something about it that always sparks my mind and it does have my opinion of it being a misunderstood movie.

In the late 1890’s, a sheltered village borders a foreboding woods. The Elders of the village speak of creatures referred to as ‘Those We Don’t Speak Of’, who inhabit the woods but who not many have actually seen . No one is supposed to cross the boundaries between the village and the woods as their is a truce stating this and that never the twain shall meet. The villagers all go about their days seemingly in harmony but whenever they see a red colour they must discard of it and appointed members take a nightly watch over the village and the woods. The quiet yet thoughtful Lucius( Joaquin Phoenix )has an idea to trek through the woods in order to get medical supplies for those in need of it as recently a little boy died who could have lived if medicine was around. The request by Lucius is denied by the village Elders, which include his guarded mother Alice(Sigourney Weaver). We learn that the mentally disabled Noah Percy(Adrien Brody)has once been in the woods but supposedly wasn’t seen by Those We Don’t Speak Of. Noah also has feelings for Ivy(Bryce Dallas Howard) , who is the blind daughter of Elder Edward(William Hurt) . Ivy though loves the stoic Lucius and is determined to bring him out of his quiet shell. Things change within the village when Lucius briefly steps over the boundary before being spooked and returning home. After this breach of truce, animal carcasses are found about the village, red warnings are left on doors and Those We Don’t Speak Of appear to menace the villagers. It soon becomes clear following a near tragedy that someone must pass through the woods in search of help. But just what will be discovered when the brave Ivy does?

M. Night Shyamalan is a very skilled director and he definitely knows how to stylishly delivery creepy imagery and emotion, plus a twist ending that is always going to be debated. Sequences like entering the village and menacing the locals are appropriately creepy as is Ivy’s eventual journey through the forbidden woods. These show M. Night Shyamalan exercising immense cinematic ability in displaying the build up in pace as we get to know the dwellers and their lives/routines.  I’m going to just put it out there that The Village is an imperfect film that while intriguing, leaves a lot of things vague and sometimes it doesn’t quite make sense. In some ways it provides a watchable mystery with a human heart, but then there are areas that really don’t add up when you actually give them some thought. Saying this, I do find that The Village  was pretty miss marketed at the time of release as a straight up horror movie when it’s more of a psychological drama/thriller in period costume. I think this made the public’s idea of what it would be to be very different from the finished article. And as a study in secrecy, belief and how fear/grief make an impact on those attempting to steer away from it, The Village is different but effective in its execution of those themes.

In terms of visuals, The Village looks glorious especially throughout, owing the mood enhancing cinematography of Roger Deakins that coats a lot of the unfolding film in a golden, near sepia tone which resembles flickering candlelight . This along with Shyamalan ‘s use of long close ups that start slow and then zero in on the faces of the cast add to the creepy and uneasy atmosphere. One of the best things in The Village is the sublime score from James Newton Howard and featuring the talents on solo violin of Hilary Hahn. It is by turns menacingly creepy and poignant in equal measure as the mystery unravels and the sense of sadness comes through to the sounds of ambience from James Newton Howard and the mournful yet expressive violin of Hilary Hahn . The duo deserve every inch of praise for their haunting contribution to a confounding movie.

Where The Village doesn’t falter is in its cast , which is pretty stacked with talent from top to bottom. Joaquin Phoenix, who I find is one of the most reliable and dedicated actors out there , is commendable as ever here. Contributing a thoughtful take on a man who often finds it difficult to express himself but who has enough gumption to begin to emerge from his shell, Phoenix is thoroughly superb. In an early role that helped her get notice and show off her talent we have Bryce Dallas Howard. Radiating a delicacy and alternating iron will , she’s beautifully convincing as Ivy. Though the character is blind, Howard makes her a character who refuses to be defined by this and instead is a rather forward thinking woman, who is braver than most of the eponymous village and not afraid to show it. Adrien Brody is effectively tragic as the misunderstood Noah, who finds himself in trouble but is not really aiming for it as he is not treated with the appropriate help, except from a sympathetic and beautifully understanding Ivy. William Hurt and Sigourney Weaver exhibit stoic secrecy and a guarded authority as the village elders who are a lot more than meets the eye . Brendan Gleeson emits a melancholy and dejected persona as a man who lost his son and is wrestling with the unimaginable grief. The impressive Cherry Jones is also effectively used as a high up member of the village with her own private sadness to hide .It’s only really Judy Greer that gets shortchanged with the role of Ivy’s sister. It’s not that Greer isn’t good, in fact she’s a very talented actress. Unfortunately it’s just that the part of Kitty doesn’t leave a lot of scope to do much with.

The Village has quite a bit to recommend and is quite an eerie and melancholy film from M. Night Shyamalan with many a great performance( particularly the one from Bryce Dallas Howard) and a superlative score. It’s still got many head scratching moments that can render some of it ambivalent for the viewers. Yet I believe some reassessment is in need for The Village, as it does have some forms of merit within it’s often mind bending story.