The Killing of a Sacred Deer

Tags

2010's, Alicia Silverstone, Barry Keoghan, Colin Farrell, Horror, Nicole Kidman, Psychological Horror, Psychological Thriller, Raffey Cassidy, Sunny Suljic, The Killing of a Sacred Deer, Yorgos Lanthimos

Director

Yorgos Lanthimos

Starring

• Colin Farrell as Steven Murphy
• Nicole Kidman as Anna Murphy
• Barry Keoghan as Martin
• Raffey Cassidy as Kim Murphy
• Sunny Suljic as Bob Murphy
• Alicia Silverstone as Martin’s Mother

An unsettling psychological horror with the trademark Yorgos Lanthimos touch and reference to Greek myth, The Killing of a Sacred Deer is very disturbing but impossible to turn away from.

Cardiologist Steven Murphy has it all; a great career, a beautiful ophthalmologist wife Anna and two young, well-behaved children, Kim and Bob. His picture perfect life in the suburbs is seemingly here to stay, but there is a tiny and disturbing hitch too it. He has a friendship with a 16-year-old boy named Martin, who he meets and showers gifts upon. Although is friendly with Martin and introduces him to his family, there is something decidedly off about the whole arrangement that you can’t shake. And soon enough, the demanding Martin, when he’s not trying to set up Steven with his mother, becomes a thorn in side. He becomes more dependent and doesn’t seem to understand that his presence is not always needed. His obsession grows and starts to worry Steven, who mainly took interest in the boy after his father, who he treated earlier, died . Then, out of nowhere, Bob loses the use of his legs and is hospitalised. This is soon followed by Kim, which begins to have an impact on Anna who is in the dark on what is happening. Steven starts to unravel too as things turn worse for his idyllic family and he’s thrown into a tailspin. Yet as illness sets in, an increasingly menacing Martin reminds Steven of a past mistake of his that links to the young boy’s life. Soon everything is under crisis and  Steven’s existence is torn apart by his past actions and the boy who wants to even what he sees as the score.

With a catalogue of films that revel in dark subject matter, unusually black humour and an all round weirdness, Yorgos Lanthimos has really made a name for him. The Killing of a Sacred Deer is Yorgos Lanthimos working fluently and creatively to fashion a story of deep-seated revenge and culpability. He has this bubbling intensity and creeping eeriness that happens right from the startling opening of an open heart surgery. You know from that point on it’s going to be a disturbing movie, but what a movie it is. Lanthimos is in control here; cold and calculating in the style of Stanley Kubrick whose work clearly has an imprint. And while Martin is what seems to be the main antagonist of the piece, the other characters also sport unusual tendencies that mark them out as not as innocent or polished as they outwardly appear. For example, Steven is an arrogant man who can’t handle not being able to exercise control over things. This extends to his love life with his wife, who he has pretend to be under anaesthetic when getting intimate. The deadpan, almost robotic way of talking that has come to populate the work of Lanthimos is here, but does also allow for shadings of emotion and drama in there. And the uneasy and uncomfortable humour further sears itself on to the mind, as characters behave in ways that seem at once alien and yet so ordinary. It’s the kind of humour that you don’t know whether to laugh at or question, and is all the better for it. It sure keeps you on your toes as you navigate another weird world from the mind of Yorgos Lanthimos. And though some of it might sound familiar to lovers of psychological horror, it’s the execution that truly counts and Sacred Deer delivers with its own twist on things.

With long corridors of scrubbed white, cavernous interiors and a zooming, voyeuristic camera, The Killing of a Sacred Deer also deserves praises for what it visually gets across to the viewer. It’s a sinister and slithering atmosphere of increased dread as evil and retribution combine and you feel the hairs on the back of your neck stand up. Credit must go to the cinematographer that is Thimios Bakatakis for imbuing The Killing of a Sacred Deer with such an impending aura of doom and inevitable woe. We often observe characters from a distance or from a looming height; neatly edited and giving the impression of spying on events as they take shape.  The whole psychological aspect of having to make a horrifying decision for something you’ve done is creepy and more than makes its mark on you as the gears of tension continue turning. Discordant strings telegraph that something is not right from the word go and the addition of opera accentuates the tragedy here. The film is influenced by a Greek myth that gives the movie its title and accordingly, the swelling and rumbling of music heralds the approaching agony of loss and blame. Those looking for a comfortable viewing experiences better check those expectations at the door as The Killing of a Sacred Deer is not one for the easily frightened or spooked.

Colin Farrell, who was so good in The Lobster, plays someone spineless and full of themselves here. His character’s  life is so meticulous and to his liking that it’s given a royal kicking when horror unravels. Sporting a bushy beard and his real accent, Farrell is extremely watchable as the cardiologist haunted by the past. Equally as good is the ever dependable Nicole Kidman, who’s been on a roll recently with her performances. With her face that silently projects inner turmoil and frazzled intensity, she’s ideal for the role here that could have easily just been a throwaway part. With Kidman in it, it’s impossible for it to be anything less than stellar, particularly when she comes into her own in the latter half of the film and everything gets laid bare. The Killing of a Sacred Deer is my first introduction to young actor Barry Keoghan. And if the rest of career is as good as his work here, great things await him indeed. He has this naturally mysterious and sinister presence, complimented by how he speaks the dialogue in a halting but intimidating way. It’s enough to set you on edge and Keoghan knocks it out the park as a vengeful teen, dishing out his brand of justice to an idyllic family. Raffey Cassidy plays the daughter of Steven and Anna; who is drawn to Martin even though he’s the one out to ruin her family. Young Sunny Suljic portrays the son, who is the first to fall ill and crank up the eeriness. And it’s nice to see Alicia Silverstone back on screen again with a very memorable one scene performance. She gets the movie’s best line after she is rejected by Steven for putting the moves on him. Everyone gets in to the mindset of the film and the unusual demands of it.

A spine-chilling, deeply unnerving and memorable horror/thriller with psychological terror at the centre, The Killing of a Secret Deer is a haunting movie that is hard to shake off.

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The Lobster

Tags

2010's, Angeliki Papoulia, Ariane Labed, Ashley Jensen, Ben Whishaw, Colin Farrell, Comedy, Drama, Jessica Barden, John C. Reilly, Léa Seydoux, Michael Smiley, Olivia Colman, Rachel Weisz, The Lobster, Yorgos Lanthimos

Director

Yorgos Lanthimos

Starring

• Colin Farrell as David
• Rachel Weisz as Short Sighted Woman
• Léa Seydoux as The Loner Leader
• Ariane Labed as The Maid
• Ben Whishaw as Limping Man
• John C. Reilly as Lisping Man
• Olivia Colman as Hotel Manager
• Jessica Barden a Nosebleed Woman
• Ashley Jensen as Biscuit Woman
• Angeliki Papoulia as Heartless Woman
• Michael Smiley as Loner Swimmer

A provocative and riveting satire on the societal pressures of being in a relationship, The Lobster has Yorgos Lanthimos at his most biting and weird with this drama, highlighted by very dark humour.

In a dystopian future, being in a romantic relationship is enforced. Those who are single are sent to a coastal hotel. David is one such person after his wife leaves him in the opening scenes. Sure enough, he is whisked off to the hotel. He is informed by the Hotel Manager that he must find a soul mate within 45 days. If he fails to meet this deadline, he will be turned into an animal of his choice( his being a lobster that gives the film its title.) Guests are expected to find someone who they share a certain characteristic with, no matter how small or seemingly insignificant. In this strange system, many rules must be obeyed and are punishable with force if one doesn’t submit to the way of thinking. David attempts to find a companion in this bizarre place, as he watches others go to unusual measures to ensure they aren’t transformed. The guests are given some chance at surviving as each night they are sent into the woods to tranquillize people known as The Loners. Each body tranquillised earns them an extra day to find a possible soul mate. After a brutal encounter with a heartless woman, David flees the hotel and into the woods. There he meets The Loner’s; headed by a steely female leader. She explains that The Loners don’t believe in or condone love. In fact, if anyone does fall in love while in their camp, they are buried in a shallow grave that they dug earlier and left to die. What was first an escape from what he thought was a nightmare, being in the company of The Loners is just as restrictive. But David can’t help but fall for a short-sighted woman, a connection that puts him and her in extreme jeopardy. Yet as he is caught between two evils, he must decide what must be done to survive and maybe experience love with the Short Sighted Woman.

Yorgos Lanthimos is on dark and typically idiosyncratic form in his direction of The Lobster. His penchant for wide-angle shots and those that cut out faces are apparent and coupled with a number of close-ups. The grim and evocative cinematography of Thimios Bakatakis, shows the oppressive thinking of most in the film and is like a constant gloomy spectre over them. The fact that a lot of it is natural lighting adds a lot of dimension to the harsh surroundings and creepy underbelly of it. Typical of his work, Lanthimos spins mordant and very black humour into The Lobster. It infuses the movie with a strange tightrope that it walks admirably between dystopian shock and stinging lampooning. Absurdist is the order of the day as shocking events take place but are often undercut with a nasty glee and deadpan delivery. Which brings me to the script, as envisioned by Yorgos Lanthimos and his regular collaborator Efthymis Filippou. The strange, clipped way of speaking that was witnessed in Dogtooth is here, with more bite and laughs thrown into the mix. As troubling happenings and the full nature of both systems David finds himself in unravel, we are left with an acidic critique of modern dating and the implications of it. Lunacy is equated with normalcy here as guests of the hotel and The Loners represent two extremes of opinion and enforcement. Conflict with characters arises as both ends of the spectrum clash. And with most characters rendered no name, only a certain quality, weirdness continues to flow through the veins of The Lobster. Be warned, The Lobster will make you laugh as much as it unsettles with a collection of startling scenes. Macabre is one word that comes to my mind when describing this skewering of partnership and the way we all in some way conform to what’s expected of us in regards to relationships. how snap second judgements are apparent in real world relationships is explored heavily and symbolically by the policy of having to find someone who shares a similarity. Though events are exaggerated to grotesque and horrifying heights, they still have something to say to us about the world. And we are also left to deliberate a lot of things, building an ambiguous current from start to bizarre end. The piercing and often mournful score is unusual and another representation of just how outlandish the premise is and how twisted it is when you think about it.

A stellar cast get in touch with the weirdness and deadpan nature of The Lobster and what Yorgos Lanthimos envisioned. Colin Farrell displays great comedic chops, of the physical and verbal variety. Looking curiously out of sorts( plus shape), with various, vacillating expressions and with a biting look at things, Farrell is a very excellent lead of the film. Rachel Weisz shows the most emotion in the film, having the amazing ability to use a monotone voice(typical of the tone of the work of Lanthimos and in narration here) and have a face that expresses so much, particularly happiness and sorrow. It’s a fine piece of work from the always interesting and talented Rachel Weisz. Léa Seydoux is searing and very chilling as the leader of the opposition, whose methods are just as cruel and unusual as the ones David ran from back at the hotel. If looks could kill, Seydoux would be slaying us all with just how vindictively convincing and brutal she is. Ariane Labed has mystery to her as a maid who you never know if you can trust her or not, as there is something sneaky about her. Ben Whishaw and John C. Reilly exude a certain naïveté about them as two men who ‘befriend’ and both want to avoid transforming no matter what. The two guys work well together and are collaborators who understand the ideas at play here. I liked their scenes with Farrell, where the shared awkwardness is purposefully palpable. Out the supporting cast, Olivia Colman is superb at portraying the cold, blunt and seemingly unfeeling Hotel Manager. Colman is a big standout in her screen time for her timing and delivery.  Jessica Barden, Ashley Jensen and Angeliki Papoulia all embrace the outlandish and creepiness of the piece, with only Michael Smiley being left in the cold with not much to do.

An absurdist story of conformity, dating and dystopia, The Lobster will not appeal to everyone out there. But for those who know of Yorgos Lanthimos and his trademark approach, you are in for a dark but strangely amusing treat that will linger in the mind.

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.

The Beguiled (2017 Film)

Tags

2010's, Angourie Rice, Colin Farrell, Elle Fanning, Kirsten Dunst, Nicole Kidman, Oona Laurence, Psychological Drama, Sofia Coppola, The Beguiled

Film Title

The Beguiled

Director

Sofia Coppola

Starring

• Colin Farrell as Corporal John McBurney
• Nicole Kidman as Miss Martha Farnsworth
• Kirsten Dunst as Edwina Morrow
• Elle Fanning as Alicia
• Oona Laurence as Amy
• Angourie Rice as Jane

Previously filmed in 1971, The Beguiled gets a reworking courtesy of Sofia Coppola and its different approach makes it one memorable movie of mounting tension and burgeoning sensuality.

It is 1864, Virginia and the Civil War is in motion. A young girl by the name of Amy from a nearby school for young girls, is out gathering mushrooms for food. She comes across Corporal John McBurney, a badly wounded Union Soldier and deserter. Helping him, Amy brings the unconscious man to her school. Here we meet the stalwart headmistress Miss Martha Farnsworth, vulnerable and melancholy teacher Edwina Morrow, and a few students, including teasing and bored teenager Alicia. There is curiosity among the girls about the man; many thinking it treason to harbor the enemy, but also a pang of sexuality as there hasn’t been a man around the isolated place for a long time. All of the ladies at the school in one way or another find themselves attracted to and curious about the handsome man in their residence. For the protective Martha, he is something that is tempting but troubling to her position of power. To shy Edwina, he is a decent man who seems to treat her with compassion. And to the precocious Alicia, he is something to project her kittenish desires on to. With the other younger girls, particularly Amy, John is something of a mysterious but friendly stranger. McBurney, while convalescing, does nothing to stop fanning the flames he has stoked and proceeds to flirt with the women. Largely, he manages to ingratiate himself into the hearts of the surrounding women, hoping to remain at the school and not return to the battlefield. Yet his trifling with their emotions in such a confined setting, will not be tolerated once fevered feelings finally get aired. The women themselves, particularly Martha, Edwina and Alicia, find themselves vying for his attentions and wrestling with romantic and lustful feelings. Soon events become complex for all the ladies, as the attraction and jealousies give way to irrevocable circumstances that tear the school to pieces in the wake of deception and anguish.

Sofia Coppola is at the helm of this steamy tale of repression and revenge, and goes about it with a finely tuned subtlety that is its chief asset. In comparison with the Don Siegel version that was more lurid and in your face(effectively so too), Coppola’s interpretation is more on the side of suggestion and nuance. Stifled desires and flurries of jealousy are glimpsed in actions and facial expressions, finding an unspoken way to project the inevitable chaos that will ring out soon enough. The tale, under the direction of Sofia Coppola, takes shape from a woman’s point of view, featuring the female gaze as opposed to the male one that so many films favour. John is repeatedly observed and lusted after in a variety of ways, most memorably when Martha sponge baths him and has to stop as her stifled desire is beginning to surface above her ladylike visage. A surprisingly sly wit also courses through the movie’s veins, which is unexpected but most welcome in the end. Themes of isolation and female identity have been explored through Coppola’s filmography already, but The Beguiled finds it in a darker setting. The choice by Coppola to have The Beguiled focus on the women primarily is a beneficial one, that allows expansion of character but also levels of surprising ambiguity. Plus, we aren’t told what to think about these people, rather it lets us make our minds up over their actions and consequences as they slowly become unsheathed. Who is really being beguiled in the film? Both John and the group of ladies exhibit signs of it, but the grey areas are what makes it so much more compelling to watch. Sofia Coppola has focused on isolation and female loneliness in her filmography successfully, here in The Beguiled, it lends itself excellently to this darker story that displays her command over suspense. While The Beguiled is definitely a psychological drama, a thriller element as the temperature rises, emerges under Coppola’s command. She shows she’s got a dab hand at creating tension; starting in the most subtle of ways before layering it with more prominent menace as John’s stay pulls apart the fabric of the female dominated house but comes around to find him in the process. Some of it can feel a tiny bit too gentle for such a tense story, but this is a minor quibble because the overall subtlety and open to interpretation approach lends The Beguiled an immensely watchable and tightly compact air. The evocative cinematography, based on shadowy bronze and occasional smattering of natural light, heightens the intensely claustrophobic cage that is the school, both for the women and John. A lot of it takes place within the aura of candlelight and closed curtains, further reinforcing the Southern Gothic entrapment of John and the tightly wound wheels of passion that are just fit to burst. There is an element of a very dark fairy tale present in the visuals, with the shafts of light through trees both coming off as beautiful and strange. And look out for the final shot of this movie, trust me it’s one that really speaks volumes and is strikingly executed. A sparse but effective score gathers momentum as darkness creeps into the tale.

Colin Farrell has the dashing good looks but also the talent to play the catalyst of The Beguiled. He is definitely someone who is manipulative and insincere in his promises, but an added depth comes out. Farrell brings with him a vulnerability that ultimately brings about his conniving behaviour, effectively he is brought down by his own plans. While Farrell is impressive in his part, the main focus of The Beguiled is the women. And they deliver brilliant work along the way. Nicole Kidman is both steely and motherly as the headmistress, who is not immune to feelings of passion that are stirred by John’s arrival. Through her watchful yet conflicted eyes, Kidman splendidly discovers a tough will and domineering hold over all who she sees; she is both protector and something of a jailer at the same time. For me, Kirsten Dunst, who has long been one of my favourite actresses, is the standout when starring as the wounded and easily lead Edwina. Her face presents a palpable sadness and a sincere hope of something that will take her away from the life she leads, a hope she thinks John will assist in. But Dunst also manages to inhabit something unpredictable in Edwina once betrayed, that rises with the jealousy of the characters around her. It’s an understated but very memorable performance. Elle Fanning, all pouting lips and come hither glances, nicely plays the teasing seductive student whose interest in John is far from wholesome. Young Oona Laurence makes a mark with a wide-eyed portrayal of children’s innocence, while Angourie Rice also stands out as one of the students growing attracted to the man in the school.

A decidedly Gothic and arresting drama of psychological desire and it’s consequences, The Beguiled finds Sofia Coppola stepping our of her comfort zone a little and fashioning something very haunting. Strikingly composed and executed, plus boasting some fine acting from a largely female cast, The Beguiled is very worthy of the praise it has been receiving.

Cassandra’s Dream

Tags

2000's, Cassandra's Dream, Clare Higgins, Colin Farrell, Drama, Ewan McGregor, Hayley Atwell, Sally Hawkins, Thriller, Tom Wilkinson, Woody Allen

Film Title

Cassandra’s Dream

Director

Woody Allen

Starring

• Ewan McGregor as Ian
• Colin Farrell as Terry
• Tom Wilkinson as Uncle Howard
• Hayley Atwell as Angela
• Sally Hawkins as Kate
• Clare Higgins as Dorothy

A dramatic thriller from Woody Allen that suffers from odd pacing, a none too special script that rehashes old ideas Allen has explored in other movies more successfully and lack of involving events, Cassandra’s Dream had currency but nearly every element conspires against it and we’re left  watching a sub par film from a talented director.

Ian and Terry are two cockney brothers; the oldest Ian helps his somewhat  lax father in his restaurant, whereas Terry works as a mechanic in a local garage and is engaged to the sweet Kate. What binds both of the brothers is the sense of financial dissatisfaction. This is heightened even more when Ian meets the beautiful but demanding actress , who he becomes very attracted to. Having always had aspirations to set up hotels in the Suns of California, inspires Ian to make some money to fulfill his dreams but also benefit her in the long run. Terry, who is prone to booze and excessive gambling despite being a well-meaning man, falls into debt and owes a lot of money to loan sharks who know how to hurt. With both brothers desperate for monetary stability and fast, help seems to come in the shape of their Uncle Howard, who they have always looked up to. He has helped the family in the past and being a self-made man, has worked his way up to being a millionaire. Yet for all this hard work, a lot of his deals have been on the very shady side. He agrees to endow his nephews if they first do one thing for him. It appears that one of Howard’s associates is threatening to expose some of his less than savory antics. The cunning and sinister Howard says the only way to stop his crook tactics in business from being exposed is to have the man killed, which he asks Ian and Terry to carry out. Both brothers are shocked by what he is asking them to do, but both come round to the idea( despite Terry becoming still twitchy about the lack of morality.) The brothers eventually manage to carry out the murderous deed successfully, but it begins to change their relationship. Ian, who wanted the money to keep up with high maintenance Angela, decides to think as if nothing happened as he becomes enamoured with the lump sum coming his way. On the other hand, Terry becomes eaten up by unspeakable guilty that consumes him more and more each day that leads to the shattering of him and his brother’s close friendship and spells very bad circumstances for both men.

While it must be stated that Woody Allen is a very gifted director and writer, Cassandra’s Dream doesn’t really paint his talent in the best way because of a number of issues and inconsistencies. You see Cassandra’s Dream is billed as a dramatic thriller with a morality theme at the centre(much like many of Allen’s later movies), yet it is curiously neither thrilling or dramatic. Granted, there are a few scenes with a bit of tension, yet none of them feel very suspenseful or at all that riveting. The way that the pace varies from very quick to a snail-like drudge does not help matters whatsoever. Cassandra’s Dream may be set in London like Match Point, but whereas that movie really had an urgency and dealt with themes of ambition, a sense of wealth and the cruelty of life, the same can’t be said of this misstep. A lot of it feels very clichéd and unlike some of his other work, many characters aren’t interesting enough as people to invest in or relate to. Thankfully there is at least some respite to be found in a gloomy visual style and a moody score from Philip Glass, that lends a degree of darkness to the film which it sorely lacks throughout a lot of it.

One other thing that keeps Cassandra’s Dream at least bearable is most of the cast, who rise above the somewhat checkered source material to turn in good work despite the script’s shortcomings. Despite them both sporting dodgy cockney accents, Ewan McGregor and Colin Farrell impress the brothers in predicaments and torn apart by their actions. Ewan McGregor makes Ian likable and the most ambitious of the two, who seems to become more avaricious after committing murder and wanting the good life. Colin Farrell is the real standout, wearing his heart on his sleeve as the nervous Terry. Never has Farrell shown so much vulnerability and gentleness before, but here he really makes quite the impact with this change of pace as the emotionally tormented man forced into a dire situation that ruins him from the inside. As excellent as Tom Wilkinson is as the scheming and blackmailing Uncle Howard, I would have preferred to see more of him as I am a big fan of Tom Wilkinson. That doesn’t mean that he was bad here, he is far from it, he just feels shortchanged and not featured enough in the story, especially as his actions have a lot of effect on the story. Despite the underwritten nature of their characters, Hayley Atwell and Sally Hawkins do their best as the demanding, opportunistic Angela who bewitches Ian and the caring and tolerant Kate, who starts to worry for boyfriend Terry. The same can’t be said of Claire Higgins who is criminally wasted as the boy’s mother.

With little in the way of thrills or tension, Cassandra’s Dream falls very flat and despite some good parts, none can make up for the disjointed quality of what ranks as one Woody Allen’s weakest outings as director.

Ladies in Leather

Tags

Chris Hemsworth, Chris Pine, Colin Farrell, Kirsten Dunst, Ladies in Leather, Marion Cotillard, Sarah Michelle Gellar, Sienna Miller

Once again, it’s another ladies post. This time it’s a bevy of stunning actresses rocking leather. Leather has so many connotations, ranging from sexual dominance to elegant sophistication and that’s why it’s such an interesting choice of clothing. But don’t worry all the ladies out there, there’ll be two guys for you to look at near the end of the post, also clad in leather. And once more I’d like to extend my thanks to Zoe, for giving me the inspiration for these posts.

The gorgeous Sarah Michelle Gellar brings a rock chick sensibility to this sexy get up.

The delightful Kirsten Dunst encompasses the role of a playful vixen in this shot.

The sensual Sienna Miller displays athletic prowess in this racy photo.

The stunning Marion Cotillard exudes a Gothic sophistication in this sombre outfit.

And now for the guys, who also sport leather. Today for all my blogging sisters out there we have Chris Hemsworth, Chris Pine and Colin Farrell. Chris Hemsworth is at the request of Table 9 Mutant.