Widows

Tags

2010's, Bryan Tyree Henry, Carrie Coon, Colin Farrell, Cynthia Erivo, Daniel Kaluuya, Drama, Elizabeth Debicki, Jacki Weaver, Liam Neeson, Michelle Rodriguez, Robert Duvall, Steve McQueen, Thriller, Viola Davis, Widows

Director

Steve McQueen

Starring

• Viola Davis as Veronica Rawlings
• Michelle Rodriguez as Linda
• Elizabeth Debicki as Alice
• Cynthia Erivo as Belle
• Bryan Tyree Henry as Jamal Manning
• Daniel Kaluuya as Jatemme Manning
• Colin Farrell as Jack Mulligan
• Robert Duvall as Tom Mulligan
• Jacki Weaver as Agnieska
• Liam Neeson as Harry Rawlings
• Carrie Coon as Amanda

A reinterpretation of a Lynda La Plante novel that was also a television series in the 80’s, Widows, as directed by Steve McQueen is an enthralling and character driven slow burn of a heist thriller and drama with superb acting.

In Chicago, a heist that was organised by Harry Rawlings goes horribly wrong and results in his and the other members of the criminal group being killed. Following this, Harry’s widow Veronica is threatened by mob boss Jamal Manning , who Harry stole from and who wants money back to finance his campaign to run for alderman. He warns her to get $2 million to pay him back soon or suffer the consequence, which will most likely come in the form of his terrifying brother Jatemme . His rival for his desired position  is Jack Mulligan, a slimy, spoilt politician who wants to step out of his father’s shadow who also will figure in a certain capacity of the story. After acquiring Harry’s notebook of plans for another heist, Veronica contacts the widows of the other dead men. Linda, who owns a dress shop is in a similar predicament as her husband sold her business without much thought for her and Alice is a battered young woman who is strapped for cash and harangued by a harridan of a mother. One widow isn’t interested in it, so Veronica enlists the help of the fierce Belle, who it just so happens to be Linda’s babysitter. She plans to relocate and could do with a chunk of money to help with this. The plans of the heist starts to form with the group, but various things throw up stumbling blocks and set in motion what could be deadly for the ladies if they don’t succeed.

Steve McQueen is already an established director who is on fire here, bringing his knack for looking at dramatic subject matter and blending it with some really tight tension. We get a plot that seems straightforward, but is actually very twisty and frequently takes you by surprise. We also get commentary on many themes such as racism, hypocrisy , sexism and crime, but thankfully they are given good rendering and not heavy-handed. McQueen clearly has something to say and his cinematic talents lend themselves well to his vision. One great example is Mulligan moving from an impoverished area to his plush house which is a minute away. The fact that the windows of his car are blacked out show how little he and sometimes others understand social divide. This is a heist thriller with a difference as the main characters are not professionals in the art of stealing and the heist itself is not the most important part of the film. Undoubtedly, it forms a ticking time bomb for the characters but it’s watching how these people react to the seemingly impossible task ahead that provides Widows with its biggest impact. We get to know these women and their lives and what ultimately brings them together. They don’t want to be friends or even know each other that well, but all are drawn into a certain sisterhood of unfortunate circumstance that leaves them with no choice but to resort to planning a heist. These are women who are realistic and not simply superheroes, a film like this is too good to go down that route to making it a matter of fluffy caper. There are real stakes here and ones dripping with double-crossing danger. Some may take issue with the gradual build up, but I thought it added more dimension to the film as we viewed growth within characters and their actions. McQueen should be commended for how he keeps all the stories and arcs spinning in tune and given time to breathe. It could have fell apart as there is sometimes a lot going on in Widows, but Steve McQueen and the screenplay from him and Gillian Flynn keep us firmly rooted and invested in the ways they link. The editing, which cuts back and forth in time at various intervals and can be choppy one minute and contemplative the next is something to admire. And set against a building and rumbling score from Hans Zimmer, Widows particularly soars.

A string in Widow’s ever impressive is the ensemble cast, which is simply to die for. Viola Davis heads proceedings with an intimidating and grim seriousness, that also allows for humanity and sadness emerging. Davis rocks the role of a woman who has lost everything and becomes an unlikely but indomitable presence in something she never thought she’d have to do. It’s when she doesn’t say anything that she truly comes alive; her face a canvas of subtle and nuanced emotion. It’s a very fine performance by an always impressive actress who it appears is incapable of disappointing. Michelle Rodriguez is a little softer here than the usual tough chick she plays and it works surprisingly well. I just wish she’d get more roles that blend her toughness with that something else like the one displayed here. Elizabeth Debicki is another standout as the often needy and almost childlike Alice, who it appears is incapable of having a relationship with anyone who won’t abuse or mistreat her. Debicki plays her like a broken down China doll, only later on she starts to harden herself and increasingly mature. Cynthia Erivo rounds out the main ladies with an abrasive attitude and no-nonsense visage that is palpable and strong from the moment we see her.

While it is the ladies of the ensemble who take the lion’s share of screen time, the men also show they are no slouches. Particularly of note is rising star Daniel Kaluuya who bristles with an unnerving swagger and alarming intensity. He puts you on edge throughout Widows and it’s a big credit to him that you feel that way. Bryan Tyree Henry also has an intimidating nature, but one that is tempered with shrewd smarts. Colin Farrell is really fleshed out as a conflicted politician who almost expects everything simply because of standing but also a desire to escape the way his father thinks. It’s a fine balancing act and one that is played well opposite the always watchable Robert Duvall. Liam Neeson, mostly seen in flashback, is like a spectre on proceedings as he is the one who instigated everything and has his fingers over all. Also here is Jacki Weaver, who plays in a short but memorable time the vile and suffocating mother of Alice, whose idea of trying to help is by attempting to coerce her into prostitution. Carrie Coon may be given the least amount of screen time but from what we see, her presence figures unexpectedly into things.

With a focus on characters and depth, Widows earns high points and is simply put, a very well made film with heart and tension. Steve McQueen crafts this engaging and twisty thriller drama that must be seen.

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The Umbrellas of Cherbourg

Tags

1960's, Anne Vernon, Catherine Deneuve, Drama, Foreign Language Film, Jacques Demy, Marc Michel, Musical, Nino Castelnuovo, Romance, The Umbrellas of Cherbourg

Director

Jacques Demy

Starring

• Catherine Deneuve as Geneviève Emery
• Nino Castelnuovo as Guy Foucher
• Anne Vernon as Madame Emery
• Marc Michel as Roland Cassard

A colourful but also melancholy musical of love and circumstances changing it, The Umbrellas of Cherbourg is if nothing else an experience from beginning to end. This is largely down to the tribute to old musicals and the undercutting of it with an aching sadness not often seen in films of that nature.

In the French town of Cherbourg, 1957, where it seems to rain almost constantly, a passionate love is at play between 17-year-old Geneviève Emery and mechanic Guy Foucher. Geneviève works in her mother’s umbrella shop that is about to go into financial dire straits. The love shared between Geneviève and Guy is intense and idealistic with them hardly going a minute without thinking of the other. But, the mother of Geneviève disapproves of the relationship and wants her daughter to marry for security. Guy and Geneviève plan to marry and have a daughter, but fate has different plans. Around this time, Guy is drafted to serve in the Algerian War, meaning that he will be separated from his beloved for a long time. After a farewell of spending the night together and saying goodbye at the train station, Geneviève learns she is pregnant and is left in a predicament. Her mother has the idea to marry diamond merchant Roland Cassard, who is entranced by Geneviève. The marriage is to be one of convenience and after hearing only once from Guy, Geneviève makes her decision. Her decision in the end has far-reaching consequences and a different outcome than expected for her and Guy.

Jacques Demy was clearly a man with a vision to use certain tropes from classic Hollywood and mould them into something different and beguiling for us all. His eye for colours and unorthodox approach present his vision to us in a glorious way. His prowess crafts a story that’s enchanting as it is tragic and totally spellbinding. Moments really stick with you from this film. The collection of colourful umbrellas that cover the titles, the love shared between the lovers at the heart of things and a really tear inducing farewell at the train station. As the lovers are parted and the camera pulls away from their embrace, leaving Geneviève alone, the music swells to heavenly heights and shows the power of cinema over emotions .While a musical, The Umbrellas of Cherbourg is anything but traditional. For starters, every word is sung, no matter if it’s just something mundane. This brings with it a level of fantasy, that is counteracted by the seriousness of subject matter and the ultimate tragedy of it all. We really feel every word sung because of its intensity and sincerity on show. The colour design that really pops with candy and pastel shades in every lovingly rendered frame also acts as a juxtaposition to the sadness of the central love story and the way life doesn’t always work out for us. The main story is quite simple when you look at it, but it’s the telling of it that truly makes it the classic it is revered as. It’s a boy meets girl situation told with sophistication and something that alternates between nostalgic romance and heartfelt loss. It may look like the kind of Technicolor extravaganza that MGM where so good at making back in the day, but under the surface is a real feeling of something bittersweet. This adds to the beauty of the film as it isn’t part and parcel and here’s your happy ending, it goes down another path that I respect. Cherbourg is not afraid to defy convention in its own way. Now no mention of this film would be complete without mentioning the ever-present score from Michel Legrand. As every line of dialogue is sung, a nice rhythm is established in proceedings. The most haunting refrain that translates into English as ‘I Will Wait For You’ is the music you’ll remember the most for its romanticism and ambience. Believe me, it will take a while to shake.

This is the film that introduced the world to Catherine Deneuve and what an introduction. She gives a gentle, charming and melancholy performance that really touches you. It’s all in her angelic face and soulful eyes as she goes through the pain of love and circumstance. Nino Castelnuovo is equally as good, finding hopes and dreams in Guy’s face and his outlook, which eventually gets changed over the years. The two really sell the romance and idealism of the couple, which says a lot considering that they spend large stretches of the film apart. Their first interactions are gorgeously played, while there is a more serious tone when they meet years later. It’s the kind of chemistry many movies dream of having between a romantic pair. Anne Vernon and Marc Michel round out the cast, but it’s the romantic two at heart of the movie that you’ll remember.

An unusual but wholly engaging and moving undertaking by the talented Jacques Demy and his visual(not to mention musical team), The Umbrellas of Cherbourg is classic movie watching for all.

A Star Is Born

Tags

2010's, A Star Is Born, Bradley Cooper, Drama, Lady Gaga, Musical, Sam Elliott

Director

Bradley Cooper

Starring

• Bradley Cooper as Jackson Maine
• Lady Gaga as Ally
• Sam Elliott as Bobby Maine

The fourth version of a classic story of two careers in opposite directions, A Star Is Born certainly has pedigree. And though some may have scratched their heads at why another remake should be done, I’m sure they’d agree that this version sits up there with the best of them, thanks to what Bradley Cooper and Lady Gaga do with it.

Jackson Maine is a country rock star who has seen better days. Plagued by tinnitus and an addiction to booze and pills, his life is going through the motions. Drunk and in the middle of touring, Jackson stops in a drag bar. It is here he encounters Ally; a young woman in a dead-end job with dreams of being someone. She’s a talented singer and has a tough personality but is crippled with insecurity over the shallow people in the music industry who have dismissed her appearance in the past. Jackson is immediately struck by her and she is curious too. They grow closer to each other and Jackson helps Ally make a leap for stardom. They fall in love and marry, with Ally being a good influence on Jackson. She eventually becomes famous after Jackson invites her on stage to perform. Despite her initial nerves, she blows everyone away with her voice. Yet as stardom beckons, people want to mould her into something else and as her success soars, Jackson’s falls. Ally tries to retain her individuality, but her pushy manager has her switch her act and lose herself more and more. This causes an immense feeling of jealousy and resentment that has Jackson reaching for the booze and pills again. All of it hurtles towards tragedy for the couple as one career rises and the other inevitably falls.

Bradley Cooper makes a remarkably involving and emotional movie with A Star Is Born. He gets straight to the heart of the material and the themes of celebrity and tragedy with cracking results. It’s hard to believe that this is his directing debut, as he displays a deft understanding of film making and how to bring us close to the story in many ways. This version feels a bit more gritty, raw and stripped back and is all the better for that. That’s not to say it doesn’t have its nice and quiet moments though and many of this scenes stand out for their impact that has darkness but some lighter touches too. But where the film shines brightest is in the performance numbers. With a soundtrack written predominately by the two leads, A Star Is Born is brimming with show stopping tunes with a deeply personal undertone. One of the best is ‘Shallow’, a duet between Cooper and Gaga where both give it their all and Gaga telegraphs Ally’s burgeoning belief in herself. This song that packs the biggest emotional wallop however is ‘I’ll Never Love Again’. Seriously if you aren’t weeping during that sequence, you’ve obviously taken leave over your heart. a restless camera that often has extreme close-ups of faces and actions is employed throughout A Star Is Born. We are put into the action as love blooms for Ally and Jackson, but resentment grows as Ally’s career takes off and Jackson spirals further out of control. The story of A Star Is Born is familiar to most of us, but the new flourishes show it’s a tale that can be very timeless and take on many guises. It’s been told many times but when done right, like it is here, it really soars.a restless camera that often has extreme close-ups of faces and actions. We are put into the action as love blooms but so does resentment and addiction which spiral out of control. Some may find it to up close in the way it’s shot and that time flies a bit too quickly sometimes , but it’s still mightily effective storytelling despite some minor quibbles. The story of A Star Is Born is familiar to most of us, but the new flourishes show it’s a tale that can be very timeless and take on many guises. At the centre is a tragic love story that is strongly told and fraught with melancholy. It’s been told many times but when done right, like it is here, it really goes to new heights.

Bradley Cooper turns in one of his strongest performances in his career. Over the last few years, Cooper has steadily become a very reliable actor and a versatile one. Here, with his usually amiable voiced lowered considerably to a growl( and surprising musical chops), he displays such raw anger, sadness and tiredness that is very believable. Jackson is someone who has success but usually doesn’t see it and instead drowns in pity. Ally may represent the light for his safety, but Cooper finds that Jackson is so wound up and dependent on addiction that the once bright spark will eventually go out. Cooper is nothing short of a knockout here and this is extremely excellent work from him. Any worries that Lady Gaga’s image as a pop star will overshadow her performance are put to rest immediately as we witness her immense talent for acting by drawing on some of her own experiences. We all know she can sing, but here she takes it to another level and rocks us to the core. And her acting is one of the biggest assets of this movie. With personality, strength and vulnerability, she plays Ally tremendously as he feels so real and natural in this film, signifying her skill in this arena. We observe someone growing in confidence but being faced by many trials along the way and it’s played with an authentic and engaging edge. Gaga is at the top of her game with a compelling and sympathetic turn that announces great promise in an acting career. Cooper and Lady Gaga make for an incredible couple as their chemistry is immediate and extremely genuine that we feel the emotional highs and lows of their lives. Sam Elliott, of the moustache and grizzled, deep voice, steals whatever scenes he appears in as Jackson’s aggrieved brother. He’s been there for his brother but has a very fractious relationship with him. Elliott shows him to be the person who says it like it is often bluntly, but ultimately wanting to help his brother in the long run.

An excellent version of a classic story with two amazing central performances and  emotional material, A Star Is Born is strong movie making that has an impact on you. And after watching this excellent version, I’m very tempted to see the other interpretations again.

The Company of Wolves

Tags

1980's, Angela Lansbury, David Warner, Fantasy, Horror, Micha Bergese, Neil Jordan, Sarah Patterson, Stephen Rea, The Company of Wolves

Director

Neil Jordan

Starring

• Sarah Patterson as Rosaleen
• Angela Lansbury as Grandmother
• Micha Bergese as The Huntsman
• David Warner as Father
• Stephen Rea as Young Groom

A visually arresting and thematically rich dark fairy tale from the pen of Angela Carter and immense craftsmanship of Neil Jordan, The Company of Wolves sucks you right into its world of haunting dreams and metaphors that will be impossible to shake once you’ve viewed them.

The Company of Wolves takes place almost exclusively in the dreams of a young girl by the name of Rosaleen. She dreams of living long ago in a village, surrounding by a foreboding forest. Her older sister is killed by a wolf, sending the village into shock. Her Grandmother, who is wise and filled with stories, arrives and begins informing the sheltered Rosaleen on dark subjects. She explains that her sister wasn’t taken by any wolf, but a werewolf. She goes on to warn her granddaughter of not straying from the path in the wood and keeping distance from men whose eyebrows meet in the middle. Grandmother also gifts Rosaleen with a red shawl, which she almost always wears. At this time, Rosaleen is fascinated by the stories, which include one about a husband going missing. When he returns, his wife has remarried and his rage comes flying out in the form of a transformation into a wolf. Despite the warnings from Grandmother about wolves and that many of them are hard to tell in human form, Rosaleen can’t help but be curious about the opposite sex and alternates between running from growing up and grasping for it. One day, she is sent to visit Grandmother meaning she must take the path through the forest. Let’s just say things get interesting and many things Grandmother told her come into fruition once she meets a mysterious and most unusually seductive Huntsman.

Neil Jordan is the perfect director for The Company of Wolves, due to his skill with visuals and also haunting atmosphere. Both are very much in evidence here as is his wise decision to focus on story rather than just scares. Don’t get me wrong, The Company of Wolves is most certainly an adult horror, but it has more thoughtfulness going for it than you’d think. In short, Jordan is at his best with this movie. The Company of Wolves chock full of symbolism and Freudian overtones, plunging us further into the mind of a young girl who is both excited by and terrified of her own burgeoning sexuality. Carter, adapting from her own spin on fairy tales that was entitled ‘The Bloody Chamber’ and collaborating with the visually inclined Neil Jordan, are a dream team at incorporating the sense of innocence being lost and the feverish emotions of puberty, when the world seems alien to a person. As a viewer, you are taken on quite the experience that slowly intensifies and gathers staggering momentum in terms of thematic material and. The sexuality angle and subject of changing is never far from the screen, with lycanthropy standing for the body altering as you grow up and the way that Grandmother warns of not leading the path( in other words, straying into sin).  It’s not a movie for everyone as the narrative and structure may confuse certain viewers. But for those willing to see a dreamlike horror fantasy that covers curiosity, sexuality and darkness, you should be in for a treat. The effects, mainly in the transformation scenes, use animatronics which might not have the smoothness of CGI, but at least have something more unusual and downright creepy to them. I found myself getting very unsettled as people morphed into werewolves and screamed out in pain as their bodies underwent a severe transformation, which contains all member of messages and interpretations. The eerie sets resemble something from a Hammer Horror and are accentuated by a red heavy colour palette, combining danger, passion and death into an already heady cauldron. A spooky and bubbling score from George Fenton further amps up the unsettling nature of the stories and the dreamlike way they are presented to us.

Young Sarah Patterson possesses a radiant innocence and naivete that is played well and you can see her mind in overdrive as the temptation of adulthood comes calling to her. With her soft voice and angelic face, she is an ideal vision of Little Red Riding Hood in this passionate and very dark fable. Angela Lansbury is on scene stealing duty; capturing a loving kindness and uneasy creepiness of the wise Grandmother who is full of story and warning. Lansbury is a pro in every sense of the word and I loved her eccentricity and slightly off kilter appeal in The Company of Wolves. Micha Bergese has this downright slippery and creepy vibe that is employed to fine effect as he slinks his way around Rosaleen and tempts her. It’s all in the voice and the eyes with him. David Warner is the young girls father in a supporting role, while Stephen Rea makes his story undeniably unnerving and spine-chilling. But by far the biggest star is the atmosphere of it all.

A dark and menacing variation on Little Red Riding Hood and a commentary on reactions to coming of age, The Company of Wolves spins a compelling web of creepy fairy tales and evocative material that you’ll find yourself thinking over for a long time.

Doghouse

Tags

2000's, Comedy, Danny Dyer, Doghouse, Emil Marwa, Horror, Jake West, Keith Lee-Castle, Lee Ingleby, Neil Maskell, Noel Clarke, Stephen Graham, Terry Stone

Director

Jake West

Starring

• Stephen Graham as Vince
• Danny Dyer as Neil
• Noel Clarke as Mikey
• Lee Ingleby as Matt
• Keith Lee-Castle as Patrick
• Emil Marwa as Graham
• Neil Maskell as Banksy
• Terry Stone as Sergeant Gavin

A horror comedy that has as much blood and chaotic antics as it does salty and sometimes questionable aspects, Doghouse never fails to entertain in what it provides.

Vince is feeling low after his recent divorce. His friends- cocky Vince, geeky Matt, henpecked Mikey, harangued Patrick, Graham, who is openly gay and lay about Banksy – organise a lad’s weekend in the English country for him to help him get over it mainly through booze. Neil is the main organiser who likes to think he’s irresistible to women and he has heard through Mikey that the village they are to visit has a large population of women. On a mini bus, the group travel, though is late and has to make his own way. Things could be looking up for Vince, but that is soon not the case once they arrive in the sleepy destination. A biological weapon test has caused every woman to turn into a vicious, man-eating predator who attack on sight. It’s becomes a race of survival as the lads are joined by an army sergeant who knows about what’s going on. Now they are faced with the marauding town of zombie women who all want a piece of them, just not in the way many of them would have hoped.

Jake West has a quickness of pace that speeds the film along while leaving time for outlandish enjoyment to be had. Along with his skills in editing, the laddish banter and camaraderie shines as the often idiotic characters have to survive a living hell that is something of payback at the same time. What’s noticeable is how Doghouse manages to incorporate some thoughts on sexism into the prism of a horror flick. Doghouse may not be going for making massive sweeping statements on society and attitudes towards women, but it definitely and in a satirical manner has a blast with the zombie version of the battle of the sexes. It sails close to being misogynistic, but the canny script steers the ship and allows for things to be subverted a little more than usually permitted in some genre outings. And on the gore front, Doghouse delivers by the bucket load as the outnumbered blokes fear for their lives as limbs and blood go flying. It’s an imperfect film and doesn’t rival Shaun of the Dead for the zombie horror comedy crown, but it’s still a blast.

The main group of guys are good at playing somewhat idiotic but amusing men st the mercy of their worst fear. Stephen Graham is the most subdued in a surprising performance, that gathers steam as it goes along. He’s probably the most relatable guy here and the one who shows the most common sense, though the others have their moments. Danny Dyer is his usual cheeky geezer self as the main lad of the group, who believes women are simply there for his pleasure. The rest of the guys all have good personality and the way they interact is very fun in the long run.

While it won’t be to the tastes of everyone, Doghouse is a diverting way to spend an hour and a half with gory thrills and humour to boot.

Don’t Breathe

Tags

2010's, Daniel Zovatto, Don’t Breathe, Dylan Minnette, Fede Alvarez, Horror, Jane Levy, Stephen Lang

Director

Fede Alvarez

Starring

• Jane Levy as Rocky
• Dylan Minnette as Alex
• Daniel Zovatto as Money
• Stephen Lang as The Blind Man

Don’t Breathe is an economical home invasion horror with jolts of terror throughout. Best watch this movie with the lights off for the full effect.

In Detroit, a trio of teenagers are perpetrating a number of robberies. They are Money, Rocky and Alex. Each of them does it for different reasons. Money is a major hothead with a chip on his shoulder , whereas Rocky wants money so she and her sister can escape her mother and Alex is something of a tag along. When their latest heist and the things they procure don’t sell or bring in a profit, they think it’s time to step it up. Money hears of a possibly lucrative heist that should be easy enough. A former army veteran, who was blinded in conflict, supposedly got a big cash settlement when his daughter was killed by a driver some time before. Although Alex is resistant to the idea, he ultimately goes along with their plan. Once they get through the locks and evade the snarling dog, their plan seems to fall into motion. Just as quickly, the Blind Man wakes up and shows how deadly he can be by murdering Money. For Rocky and Alex, things have gone from bad to worse. What ensues is a terrifying night of attempted survival as the remaining two realise that the Blind Man is really not the person they should have taken for an easy target.

Fede Alvarez brings us an unrelenting ride of tension and heart-pounding horror. He is clearly a student of the genre who knows exactly the buttons to press to get a reaction from the audience. Alvarez gets that silence is golden and wisely limits dialogue, to really stress the situation if the character and how the tiniest noise will alert the Blind Man to their presence. And though there have been a whole host of home invasion movies in the past, (some good and some bad), Don’t Breathe is definitely in the former category. And by having the people invading the house being the unwitting victims who are terrorised, the usual formula is flipped and the power goes to the antagonist. And speaking of antagonists, one could argue that the larcenous trio who  break into his house are just as bad as the man himself. Though once they reach the basement, things switch rapidly and you’re back on their side. Night vision plays a big part in creating the claustrophobic setting for the film, particularly when the teenagers are forced into darkness with barely a light for them to follow. It functions to show that the Blind Man more often than not has the upper hand on them which they come to discover.  Don’t Breathe can get really nasty when the occasion rings for it and in one instance, it’s very unexpected ( and this is coming from a seasoned horror viewer.) Those who have seen Don’t Breathe will know exactly to which bit I refer, but I won’t spoil it for those who haven’t viewed this twisted cat and mouse game of a movie. All I’ll say is twists come in plentiful fashion here. Sound design is heightened to coincide with the acute senses of the Blind Man, so every little creak of a floorboard or scurry of a footstep reverberates with maximum scares. The music of Don’t Breathe blends beautifully with the sound effects to create real ambience.

The trio, specifically Dylan Minnette and Jane Levy, show that their characters while committing crimes, are not all necessarily bad people. In particular, Levy stands out for her work as the terrified and determined Rocky, who realises she must fight a hell of a lot in order to survive. But it’s the main source of tension and terror that takes the acting plaudits. Stephen Lang, although he barely speaks, resonates with deep rooted menace and surprising agility. There is even some pity that he evokes in the central threat, but he works best when showcasing his keen senses and viciousness that won’t give up.

With a high load of tension and credible atmosphere on show, Don’t Breathe is a lean, mean horror perfect for this time of year in the run up to Halloween.

The Shallows

Tags

2010's, Blake Lively, Horror, Jaume Collet-Serra, The Shallows, Thriller

Director

Jaume Collet-Serra

Starring

• Blake Lively as Nancy Adams

An energetic, nail-biting horror thriller, The Shallows is entertaining in many ways. Originality is checked at the door and we are vibes a fun and at times terrifying fight for survival between woman and beast. This is the first entry into my Month of Horror.

Nancy Adams is a medical student who has traveled to Mexico in the wake of her mother’s death. She goes to a beach she knows her mum loved in order to honour her memory and avoid dealing with her father, who it seems is distant from her. She takes to the surf and is relaxing in the sun. After encountering a dying whale, a monstrous Great White Shark attacks her. Nancy’s leg is injured, but she manages to clamber up onto some rocks. Being a medical student, she treats her wound the best she can as terror sets in. Being miles from land and knowing that the tide will soon wash her away and her safety, she has to embrace an inner toughness and fight back in order to live in the face of the shark. The question is, just how long can Nancy survive as the tide turns and the shark comes looming?

Building on a simple prestige of the lone female being menaced by something horrible, Jaume Collet-Serra ratchets up the tension from the start. He drip feeds smidgeons of foreshadowing that something bad is going to happen among the glorious cinematography. The Shallows deserves kudos for its visual appeal, especially in the lighting and scenery. The lush surf is rendered gorgeously as a paradise before the predator comes calling for food. Plus, the technique of showing us the time and connecting Nancy with others, in this case a videophone, leads to some wonderfully nifty shots. Added to this are frequent close-ups on her face that display her resilience and terror in the face of horror. Now The Shallows isn’t a perfect movie, some areas lag, but it isn’t trying to be the best movie out there. What it wants to do is scare and excite, which it does with ruthless efficiency. It’s a B-movie with a little bit of that something extra. And it has touches of humour in the form of a Seagull that gravitates to Nancy and earns the nickname, ‘Steven Seagull’. The score is excellent at slowly carving out scares and the perilous journey that Nancy attempts to go on in order to survive the shark that is menacing her.

One of the best things in The Shallows is Blake Lively. Getting to grips with the physicality of the part, she also displays courage, heart and fierce steel as she does battle with the shark. Lively is a beauty and often her acting gets overlooked, but she shows here that she’s definitely more than a pretty face. In the hands of someone else, the part could have been just eye candy, but that’s not the case with Lively. It’s a commendable piece of work because the film largely rests on her athletic shoulders. Luckily, she is up to the task of it.

A tense and thrilling survival horror with a fine lead performance and terror at almost every corner, The Shallows is a movie that truly entertains and scares in equal measure.

Doctor Zhivago

Tags

1960's, Alec Guinness, David Lean, Doctor Zhivago, Drama, Epic, Geraldine Chaplin, Julie Christie, Omar Sharif, Rod Steiger, Romance, Tom Courtenay

The always sensational, lovely and talented Maddy is doing a blogathon that pays tribute to the great mastery of David Lean. I decided to review Doctor Zhivago.

Starring

• Omar Sharif as Yuri Zhivago
• Julie Christie as Lara Antipova
• Geraldine Chaplin as Tonya Gromeko
• Tom Courtenay as Pasha Antipov
• Rod Steiger as Victor Komarovsky
• Alec Guinness as Yevgraf Zhivago

A sweeping epic of romance set during the Russian Revolution and War, Doctor Zhivago is a classic of film making from the imagery to the acting. It’s an epic in nearly every sense of the word.

The movie begins with General Yevgraf Zhivago searching for what would be his niece. He finds a girl who he believes to be the one and narrates the story of his half-brother and lover. The story flashes back to Yuri losing his mother. He is taken in by the Gromeko family and moves to Moscow, where he is raised along with their daughter Tonya. He grows up to be a doctor and in his spare time, he writes poetry that reveals his romantic outlook on life. Meanwhile and nearby, Lara is a beautiful young woman who is in a relationship with passionate revolutionary Pasha, but is seduced by the much older and nastier Victor Komarovsky. Being naive and unsure of her feelings, she is used by him as he does with nearly everyone else. Yuri and Lara briefly meet when she shoots Komarovsky for his brutal treatment of her. Though it is brief, Zhivago is taken with the beautiful Lara. When World War I breaks out, Zhivago is drafted into service for his medical knowledge and Lara volunteers as a nurse. This is where their romance begins, though it is interrupted frequently by the upcoming Revolution and the chaos of events. Yuri marries Tonya but he still holds a flame for Lara, though he doesn’t act in his romantic feelings for her. Over the course of years, their love deepens as Zhivago flees from the rise of Communism  and they continue to meet but be separated. Though they pursue romance, fate and time has other ideas for the pair that aren’t going to run at all smoothly.

David Lean, whose movies are so full of majesty, is on dazzling form here. He spins the story of the star-crossed lovers in a changing world and though the film is epic and grand, manages to convey the intimacy of the love story among all the chaos. He’s a true artist of the form of movie making and his fingerprints which are extremely stylish and sensitive make Doctor Zhivago a treat. His immense eye for detail is on full show and the sheer scope of images that haunt the mind are too many to list. Aiding him is Freddie Young’s atmospheric and sublime cinematography and the iconic Maurice Jarre score, which features the lilting ‘Lara’s Theme’. Special mention must go to production designer for his sets which are striking in every way . With Lean at the helm with ever meticulous style, all these elements make Doctor Zhivago a visual masterpiece. Memorable scenes abound like the dragoon attack on peaceful protesters, a perilous train journey and Lara and Yuri’s getaway in an ice-covered dacha. Many have accused this movie of oversimplifying events during the Revolution and to some extent, it does do that. But it’s not to any detriment of the movie and as so much happened in the Revolution and War, it would be impossible to cover everything. Instead, we are at least given an understanding of a country changing rapidly and the impact it has on lives. Robert Bolt’s screenplay gets to the centre of upheaval and makes it accessible for the audience to follow in the films long running time. And what events they are as the Revolution and World War I alter the world irreversibly and the romance at the heart is tested at every turn. It’s not aiming to be a factual lesson, but it still has enough clout at capture the ups and downs of life at the time of World War I and the Russian Revolution. The starkness of the times is deeply felt as the world undergoes significant change. And it brings with it great emotion, especially in the thwarted and doomed romance of Zhivago and Lara. If you don’t feel at least moved by the movie, you must have a heart of ice.

Omar Sharif quietly conveys the longings and sensitive nature of the title character. Some may say he seems like a bystander in his own story, but Zhivago as played by Sharif is very much alive, especially when in the company of his beloved Lara. It’s all in his eyes and how they react to the world around him. The lovely Julie Christie supplies the inspiration and romance of the film with her turn as Lara. With her face(which my Grandfather said was made for cinema), you can witness the growth of a woman from vulnerable girl to passionate survivor over the course of the film. And she looks so beautiful in this movie; those blue eyes and prominent cheekbones complimenting her serene and soulful delivery of muse to. Understated passion is her biggest triumph that she contributes to events. Plus, her chemistry with Sharif is palpable and extremely convincing as the love story plays our against fate and time. Geraldine Chaplin has a radiant and almost motherly quality that she brings to the screen, while the excellent Tom Courtenay captures the anguish and loss of morality of a revolutionary forever altered by the brutality he encounters. Rod Steiger is a huge standout as the loathsome but not altogether evil Komarovsky. He’s a slime ball who sides with anyone he can in order to make his way, but Steiger discovers a certain level of humanity beneath the leering and vindictive face of the man. And rounding out the main players is the ever reliable Alec Guinness, who functions as narrator.

Passionate, full-blooded and breathtakingly beautiful, Doctor Zhivago has David Lean displaying all his talents and sense of epic vision.

Shadow of a Doubt

Tags

1940's, Alfred Hitchcock, Henry Travers, Hume Cronyn, Joseph Cotten, Patricia Collinge, Shadow of a Doubt, Teresa Wright, Thriller

The delightful Maddy asked me to take part in a Second Alfred Hitchcock Blogathon and I just couldn’t refuse. I had to review Shadow of a Doubt, which is one of my favourite Hitchcock movies.

Director

Alfred Hitchcock

Starring

• Teresa Wright as Charlie Newton
• Joseph Cotten as Uncle Charlie Oakley
• Henry Travers as Joseph Newton
• Patricia Collinge as Emma Newton
• Hume Cronyn as Herb

A cracking thriller pulling apart the image of picket fence America, Shadow of a Doubt has director Alfred Hitchcock on scintillating form. Working in a smaller scale, it’s a movie that features many interesting themes and wonderful performances.

Charlie Newton is a bored young girl living in the picturesque town of Santa Rosa, California. She feels she has nothing to do and that her life is dull. Her thoughts of this are quickly changed when news that her Uncle Charlie, who she was named after, is arriving in town. Her family is very happy about the incoming arrival of him as they adore him. What young Charlie doesn’t know is that her beloved Uncle is in fact the Merry Widow Murderer, who is fleeing Philadelphia. Everyone is in awe of Charlie and he lifts everyone’s spirits, particularly his niece. He is accepted right back into the bosom of the picture postcard town. But as much as young Charlie admires her uncle and fawns over him, various things start to worry her about her favourite relative. His behaviour occasionally becomes erratic and dark and two detectives, posing as journalists, also appear in town looking for the man they believe to be the killer. Soon Charlie becomes suspicious of the uncle she always adored and digs into his past. This of course puts her in danger as we aren’t sure whether Uncle Charlie will kill her because she knows too much.

Alfred Hitchcock displays his directing prowess in many ways and brings out the story with darkness and keen insight. Darkness pervades this movie and the eternal battle of good against evil is waged in circumstances that seemed comfortable but are disturbed by something sinister. Suspense builds as Young Charlie wrestles with what she feels about her Uncle Charlie and how he is far from the man she idolized. Doubt tears apart the picture perfect image of society with irony and dark humour. A cracking example is Charlie’s father and next door neighbour whose main interest is discussing mystery and murder. The delicious irony that a serial killer is under the father’s roof is excellent. Plus, I love all of the references to doubles and twins, particularly how the main characters share the same name but at are different ends of the morality spectrum. Shadow of a Doubt may not boast the big set pieces that some Hitchcock movies have, but it features a lot of his artistry and penchant for generating suspense. By being more small-scale, the story comes to the forefront and the characters are the centre. For me, it’s one of the directors finest movies as it explores deep darkness and has fine acting and writing. Hitchcock was always fascinated by the dark side of human nature and his direction and themes are aided by a screenplay that really compliments his vision. The best example is when Charlie and Uncle Charlie are in a bar and he begins to talk of the nastiness behind closed doors that so many people don’t see because of the veil of niceness. While bleak and extremely creepy, Uncle Charlie is definitely on to something that still rings true today. It’s a spine chilling scene that says so much about Uncle Charlie’s character and his view of life. Dimitri Tiomkin provides the score, that undercuts events with a beauty and idyll, while simultaneously revealing the shocking truth and evil within the character of Uncle Charlie.

Leading events is Teresa Wright, who has the right mixture of youthful enthusiasm and eventual maturity as she is faced with her worst nightmare. The sweetness Wright brings is just the amount needed so as not to become cloying, but watching her grow up fast is fascinating and melancholy at the same time. Wright is simply put marvellous as the young girl learning the hard way about the evils of life. Joseph Cotten is a revelation as Uncle Charlie; balancing charm and beguiling nature with a worryingly dark intensity. He does this sometimes in the blink of an eye, making the part one that is unpredictable. Cotten commits to the part, using his usual nice guy persona to deathly, smooth effect and colouring what’s there with something extremely sinister. It is Wright and Cotten who are the big stars here and deliver the goods splendidly. Henry Travers and Patricia Collinge are well suited to their roles as parents, doting on the family and raising their kids the best they can. Travers enjoys a fine rapport with a debuting Hume Cronyn, who steals his scenes as the murder obsessed neighbour.

A wonderfully unnerving and successful thriller from one of the best directors there has been, Shadow of a Doubt is a must see.

The Day of the Jackal

Tags

1970's, Alan Badel, Cyril Cusack, Delphine Seyrig, Derek Jacobi, Edward Fox, Fred Zinnemann, Michael Lonsdale, Political Thriller, Ronald Pickup, The Day of the Jackal, Thriller

Director

Fred Zinnemann

Starring

• Edward Fox as The Jackal
• Michael Lonsdale as Claude Lebel
• Cyril Cusack as Gunsmith
• Ronald Pickup as the Forger
• Derek Jacobi as Caron
• Delphine Seyrig as Colette

A superbly crafted and tense political thriller based on the renowned novel by Frederick Forsyth , The Day of the Jackal has fine precision and the ability to make you sit up and concentrate.

It is 1963.  An underground group known as OAS in France is outraged by President Charles de Gaulle’s decision to award independence to Algeria. Various attempts are made on his life, yet none are fruitful or successful. After one such attempt, many members of the group are apprehended, arrested and the leader is executed via firing squad. In anger, the remaining members of OAS enlist the services of The Jackal. He is a mysterious assassin with no background but immense skill at his job. Around the time of hiring him to kill de Gaulle, the police learn after some interrogation of a OAS member of The Jackal and an assassination, but nothing further. The Jackal meticulously plans the assassination, getting what he needs from a number of people and often killing them when they cross him. Meanwhile, Deputy Commissioner Claude Lebel is brought in to head the investigation by the Interior Minister. He is to uncover when the assassination will take place and hopefully prevent it. Lebel is a fastidious man who doubts he is cut out for this enormous job at first, but shows his worth and sharp mind in searching for the assassin. And so begins a cat and mouse game as both head towards their goals, each with the idea for a different outcome.

Fred Zinnemann is the shining star of The Day of the Jackal; his understanding of pace  and how to sustain a high level of unease is admirable and dexterous. The film may run for two and a half hours, but it sure doesn’t feel like it due to his handsome and taut handling of the material. Which isn’t to say that the film is rushed, instead its methodical and enthralling with how painstakingly it documents The Jackal’s planning of his job and Lebel’s analytical mind. You see it’s not about the main action of the piece; it’s all about the planning of it all. By cutting between the Jackal and Lebel, immediacy is created and used to spellbinding effect . You see how carefully and fastidiously both parties go about their business and objective. There’s real efficiency and uncertainty created in the viewers mind as Lebel closes in on the Jackal, but finds him most elusive at nearly every step. The editing is the second star of Jackal for how it combines the two characters in their fields of work and the inevitable confrontation between them. Add to that voice overs that carry over to other scenes and it’s a seamless way of telling a story  This is a thriller that is about intellect and plotting rather than over the top violence and blood. Granted, there is violence but most of it is hinted at rather than show, giving it a more chilling quality. The murders committed by The Jackal are skilled and briefly brutal, much like the man doing them. He is a man who is coldly ruthless and immensely determined, which is a deadly combination.  much like Jackal is a movie that demands your undivided attention as so much goes on. It’s largely compelling and there are only a few things that may have benefited from more explanation. But the vast majority of things are coolly and compulsively rendered for us to view and appreciate. Any little languors can be ignored because of how skilfully The Day of the Jackal tell it’s story and patiently but rewardingly pulls you in.

This movie features a wide cast, but there are those who really stand out. Heading things is Edward Fox as the eponymous killer. His boyish looks are employed with ruthless charm here, making him a charismatic but very dangerous fellow. This coupled with an icy stare and cool efficiency is perfect for the part. Seriously, I can’t imagine anyone bringing the menace and suaveness to the role that Fox does. Michael Lonsdale plays his part of detective with a sense of savvy and intellect. There’s a doubting quality there, but an immense dignity and steadfastness too. All of that compliments things greatly. In support there is Alan Badel as the hassled Interior Minister and look out for Cyril Cusack and Ronald Pickup as two men who aid The Jackal. Also a young Derek Jacobi makes an appearance as Lebel’s assistant and a tragic Delphine Seyrig as a woman romanced by the Jackal are worth praising.

A skillfully executed thriller with immense suspense and a keen eye for showing how the legwork of investigation can be, The Day of the Jackal is rightfully held in high regard.