Hustlers

Tags

2010's, Based on a true story, Cardi B, Constance Wu, Crime, Drama, Hustlers, Jennifer Lopez, Julia Stiles, Keke Palmer, Lili Reinhart, Lizzo, Lorene Scafaria, Mercedes Ruehl

Based on the true story of strip club workers scamming their clientele in efforts to make ends meet and sock it to the man, Hustlers is a colourful and surprisingly involving drama that makes time for comment on the strength of women and a sprinkling of humour. Also watch out for the talented cast, in particular a never better Jennifer Lopez.

It’s 2007 in New York, Dorothy(Constance Wu) is a young woman trying to make ends meet and help care for her ailing Grandmother. She’s working at a strip club, but not at all succeeding at making substantial money. Then she glimpses Ramona Vega( Jennifer Lopez), who is the resident queen bee that entices all with her sexy moves and charms. The two get talking and Ramona takes the inexperienced Dorothy under her wing and teaches her a thing or two. Dorothy soon goes by the name Destiny in the club and with Ramona’s guidance, starts to succeed. There’s a certain level of sisterhood between them that grows. Then the 2008 financial crash hits and things go south. Destiny discovers she’s pregnant and with business at the club running low and her boyfriend leaving her, she’s pretty desperate. The stripping business is not what it was and after meeting with Ramona( who she hasn’t seen in a long time), a plan begins to form. They will, along with other strippers that they know, make themselves available to men who are typically brokers or CEO’s on Wall Street , drug them and max out their credit cards. Although extremely dangerous, both women dive headfirst into this scam. Joining them are newbie strippers Mercedes and Annabelle( Keke Palmer and Lili Reinhart) who prove equally as adept at it. As the money rolls in things look good for the ladies, but soon greed begins to set in and events spin out of control for the merry band of women.

Lorene Scafaria is clearly a director who knows her craft and how to make a movie that entertains as well as invest you with its characters. Writing the script as well, she doesn’t condemn or condone what the women do and doesn’t exploit them endlessly in leering fashion either. Instead, Hustlers finds its footing presenting them as women pushed too far and hustling to survive in a cruel world that doesn’t reward the honest. Morality is a slippery slope after all and Hustlers presents that in fantastic fashion. In terms of highlights, watch out for Ramona’s sultry and commanding entrance which lets you know everything you need to about her without dialogue; it’s a standout sequence thats the definition of memorable. Scafaria references the work of the masterful Martin Scorsese in terms of bright visuals, montage and themes, with the good, flashy life of money and power slipping into chaos as things turn sour. places you right inside this world that the ladies are part of and pulls pulls you into their stories and reasons for taking part in a hustle. The world that they populate is best summed up by Ramona; who groups customers into ranks of how devious they are and how much money each is worth. Ramona is a pro at surveying people and a lot of the information we learn is through Destiny reiterating the words of this charismatic mentor. The framing device of Destiny/Dorothy revealing the details of the scams to a journalist played by Julia Stiles, who will write about it in the present, is cleverly employed and never too intrusive as to take us out of the film. A bit of repetition at the midway point can be pardoned for how the overall package is slick, thrilling and surprisingly evocative of the struggles women face and what happens when they take dangerous action. Mark my words, Lorene Scafaria is a director to watch out for in the future. While very much a drama, a liberal helping of humour abounds in Hustlers and is most welcome. Of particular note is the whip smart writing that allows for commentary on women taking control after being objectified and believably creating a camaraderie among the crew that feels very authentic. A killer soundtrack with some unexpected but fitting songs is a significant part of greatness in Hustlers and helps excel the narrative as it twists and turns.

Constance Wu heads the cast and is marvellous. Her curious face is our guide into Hustlers as she goes from downtrodden, vulnerable girl to successful woman, yet still retains a questioning backbone over her actions. She’s the audience surrogate but that is by no means a bad thing at all as Wu is simply stunning with both the humour and the drama. You truly feel for her too because of how convincing Wu is. What you’ve heard about Jennifer Lopez and her work in Hustlers is all true. Fierce, beguiling, bewitching and ruthless( but not without humility or compassion), Jennifer Lopez turns in career best work that reminds us what an actress she can be. Too often in the movies, she’s been in material that doesn’t show off her range( save for Selena and Out of Sight). Thankfully that’s been rewritten in Hustlers; she’s truly allowed to let her charisma and presence shine with alacrity, along with nuance and physicality. Trust me, Lopez is at the top of her game here and is worth every ounce of acclaim. She’s the main showstopper here and don’t forget it. Keke Palmer and Lili Reinhart both contribute plenty of energy and humour as the new girls on the block; both are given time to shine and develop their characters with humour and life. We have Julia Stiles as the journalist listening to the outrageous and audacious story and she displays a great amount of vacillating from feeling enthralled to being shocked at what she hears. She’s another pair of outsider eyes and ears in Hustlers and an effective pair too. Cameos from Cardi B and Lizzo are fun whenever they are present. I very much enjoyed the small but memorable role of Mercedes Ruehl. I found she injected great warmth and wisdom into her mother of the den part and I was entertained by her appearance here.

Stylish, highly entertaining but also insightful and filled with an array of talented actresses and director, Hustlers is one excellent and very surprising movie.

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Fire in the Sky

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1990's, Based on a true story, Bradley Gregg, Craig Sheffer, D. B. Sweeney, Drama, Fire in the Sky, Henry Thomas, James Garner, Mystery, Peter Berg, Robert Lieberman, Robert Patrick, Science Fiction

Inspired by the alleged alien abduction of Travis Walton, Fire in the Sky paints a mysterious yet very deep story of the impact of truth and whether people believe what is deemed extraordinary. Whether you believe the story or not, this film is bound to have an effect on you.

It is 1975 in Snowflake, Arizona and happy go lucky logger Travis Walton( D.B. Sweeney) has just started working on a job in the White Mountains. He is on the team headed by his more serious friend and future brother in law Mike Rogers, who is the kind of man who tries to keep everything running smoothly in life. Then there is the rest of the group; hot-headed troublemaker Allan Dallis( Craig Sheffer) , trustworthy and religious David Whitlock( Peter Berg) and jokers, Greg Hayes(Henry Thomas) and Bobby Cogdill( Bradley Gregg) . On the night of November 5th, they are travelling in their truck back home when they see a brilliant red light in the distance. Curious, they go to look at it and here is where events get sinister. They come across what looks like an alien spaceship, though they can’t be sure. Travis gets out to examine it and is struck by a light. Fearing him dead as he doesn’t move, the team in terror leaves. Later on, Mike returns to look for Travis but there is no sign of him. Returning to their town, they relay what they saw to the local police officer. The arrival of seasoned detective Lt. Frank Watters( James Garner) coincides with the investigation as he digs into the story. At first he doesn’t believe their tale and believes there has been foul play involved. The townsfolk get wind of events and most people are highly skeptical of what transpired. Yet when after five days, Travis turns up, disorientated and traumatised, it leaves things wide open for interpretation. Especially when he ‘remembers’ what happened to him, much to the shock of others.

Robert Lieberman is at the helm of this film and he effortlessly infuses it with a sense of time and place. He contributes a very human touch to what many will say is fiction by not going overboard with the alien aspects, keeping a certain sense of realism to things that many may sniff at. Fire in the Sky lets you make your mind up on whether the extraterrestrial encounter took place or not. It edges towards believing Walton’s claims, yet leaves a welcome ambiguity and mystery to it. What’s most impressive about Fire in the Sky is how it doesn’t go for an over sensationalised angle and instead concentrates on the pain of losing a friend and how it sends shockwaves through an uneventful small town. The film is pretty character driven, particularly by and is all the more human for it. Naturally, it has filmic elements to add to the story( which I’ll speak about later that are effectively used), and that’s what makes Fire in the Sky a strange beast. It’s a film about s science fiction subject that’s played entirely straight. Now it’s not flawless by any means( I find some parts of it don’t add up and the denouement could have been stronger), but for my money, Fire in the Sky is a very underrated movie that’s worth your time.

And when it gets to the scenes of what what happened to Travis, horrifying is taken up several notches as we witness the torture and dehumanisation of this man. Shot like a chilling horror movie, it’s a scene that genuinely makes you uncomfortable and disturbed. Many will claim that these sequences embrace science fiction too much, but I think it’s just following the story as Walton told it with an obvious bit of elaboration for the movie to chill you. And that’s not a criticism, I mean don’t all movies based on real life take some different avenues in the name of entertainment? If anything, it’s one of the best scenes in the film in terms of what it presents and just how scary it makes it. Up until that point, there has been definitely strange but these sequences that come later on in Fire in the Sky really go for the jugular. The music by Mark Isham, strikes the right chords of emotion, fear and when needed terror, to create something that plays along to the movie’s strength.

The cast assembled here is a very good one that add a lot to the film. D. B. Sweeney, with his likeable face and jovial manner is ideal for the part of the dreamer whose suddenly taken. It’s impressive because his appearance in the film is mainly in the first quarter and then the last parts, the rest of the time focuses on the other characters related to him. Sweeney manages to make Walton a full character in the time he’s on screen with just the right amount of sympathy and belief, especially after his traumatic experience which is where Sweeney really shines. Robert Patrick is given the most material and boy does he act his socks off. Embodying determination, a head full of guilt and being the boss in life, Patrick explores excellently by giving him layers and making him very relatable. It’s stellar acting from Patrick as the heart of the story. Craig Sheffer, Peter Berg, Henry Thomas and Bradley Gregg flesh out the other members of the team, with particularly good skill from Sheffer as the belligerent member and Berg as the one who tries to smooth everything into a positive. James Garner is a huge plus to the cast and he’s obviously relishing the role of old school lieutenant. Still bearing that twinkle in his eye and wit that balances with notes of grim seriousness, Garner is superb.

Involving, emotional and by turns very creepy, Fire in the Sky is an intriguing film that I think deserves a bigger audience, especially for its acting and aforementioned revelations. I think many will enjoy the mystery and very human drama within Fire in the Sky.

Yesterday

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2010's, Comedy, Danny Boyle, Drama, Ed Sheeran, Himesh Patel, Joel Fry, Kate McKinnon, Lily James, Music, Richard Curtis, Romance, Yesterday

Danny Boyle directs this warmly engaging tribute to the Beatles and the journey of love in a film that’s inviting without being cloying. Yesterday is the definition of a feel good movie.

Jack Malik(Himesh Patel) is a struggling young man whose passion is singing but whose never had success. He’s beginning to see that it might be the end of the road in Lowestoft as he’s not amounted to much. His best friend and manager Ellie( Lily James) attempts to sway him into not forgoing his dreams as she believes in him. This is coupled with the fact that she is desperately in love with him, though Jack has never noticed it. He is on the verge of giving up when something unusual happens. He’s riding home on his bike one night when a global power cut ensues and coincides with him being hit by a bus. Thankfully, he lives and though injured will recover. But once he comes around, Jack notices one strange fact about the world around him: no one remembers The Beatles. At first, Jack things it’s a bit of a joke but a few searches online reveal that all knowledge of them has been wiped. This in turn has led to other things not being remembered but the big one is the iconic Beatles. Jack starts to sing their music as if it’s his own to bring it the attention it deserves. This backfires as people assume he has written these classic songs and he starts to become successful. Even Ed Sheeran is impressed and his manager Debra(Kate McKinnon), who worships at the altar of greed and business, snaps Jack up. Soon he’s famous for singing these songs, but struggling with his own feelings of guilt that started off  as him trying to be good. Yet just how much longer  can Jack live a lie? And what of his relationship with Ellie, who obviously loves him?

Though it isn’t the first film to come to mind when I think of Danny Boyle’s directing, Yesterday shows him in mellow but touching mood. His eye for detail is very much on show with canted angles to signify the world being upside down for Jack and some pretty groovy transitions. Thinking on it, of late the underdog story has featured in Boyle’s films, only this time there’s a lot more laughs that show the director having fun. It’s aided by a winning script by Richard Curtis that mixes sarcastic humour and life-affirming love. Curtis often features lovable losers in unusual circumstances or being tested and Jack is no exception. The observations of what might have been without The Beatles are both funny and reflective, particularly in the last third where things get somewhat poignant. There’s a what if angle to a lot of Yesterday that’s delightfully daffy yet retains an emotional impact. And there’s a neat little unexpected twist that is very intriguing not to mention surprising. But because I’m a good guy, I shall not spoil it. Yesterday is t perfect and some areas seem overly familiar, but from an overall viewpoint, it’s a very nice experience and one that will leave you smiling.  Hearing the music of The Beatles is always welcome to my ears and hearing them performed with zeal and resonance in Yesterday is splendid. And I can’t not mention the romance of this film, which is tentative at first but eventually blooms as Jack realises just how important and loyal Ellie is to him.

Himesh Patel, who is best known for starring in Eastenders, is superb in the lead role of sympathetic Jack. Though his actions get him in trouble, he’s a character who tries to do the best and Patel brings that out of the part with a combo of subtlety and comedy. I hope to see in more movies as he’s really got potential as an actor. And I can’t forget his singing, which is also worthy for praise. Alongside him is the luscious Lily James, who is steadily becoming a very reliable actress. Her quirky mannerisms, winning smile and downright adorable nature are on full display for a lovely performance. You can’t help but fall in love with Lily James here. Ed Sheeran shows he’s not afraid to parody himself with a tongue in cheek role as a version of himself. I must say he does elicit quite a few laughs. Speaking of laughs, Joel Fry contributes fine humour as Jack’s right hand man whose not the brightest person, but who’s goofy heart is very much in the right place. On the other scale of laughs is Kate McKinnon who is simultaneously a ruthless bitch after money and an unhinged hoot The balancing act is effectively walked by McKinnon who is obviously revelling in being devious.

Capitalising on a strange but impressive premise and directed with skill by Danny Boyle, Yesterday is a charming, thoroughly enjoyable film, enlivened by the music of the Beatles and work of Himesh Patel and Lily James.

Scandal

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1980's, Based on a true story, Bridget Fonda, Britt Ekland, Drama, Ian McKellen, Jeroen Krabbé, Joanne Whalley-Kilmer, John Hurt, Michael Caton-Jones, Scandal

A dramatisation of the Profumo Scandal of the early 60’s, Scandal is a stylish and well acted evocation of the time and excellently focuses on the nature of guilt and a powder keg situation and who suffers and rises as a result of it.

In 1959, society osteopath and charming man Stephen Ward( John Hurt) meets the beautiful young showgirl by the name of Christine Keeler(Joanne Whalley-Kilmer). Immediately entranced, he asks her to live with him and she accepts. Their relationship is mainly platonic as he schools her in the art of moving in higher circles to which he aspires. After a makeover, Christine is ready for the future as Ward introduces her to wealthy gentlemen who she can spend the night with. Joining her is the saucy and fun loving fellow showgirl Mandy Rice-Davies(Bridget Fonda), who goes along with the fun of the time and enjoys the attention. At first, the girls are in it for the fun and Stephen is their sponsor as they share the beds of powerful men and he hears details. Keeler in particular is between the sheets with most notably Minister of War, John Profumo( Ian McKellen) and alleged spy Eugene Ivanov( Jeroen Krabbé) . An inevitable fallout begins when Christine feels used by the whole situation and you can see that Ward is realising he is out of his depth. Scandal engulfs everyone when an angry and dejected Christine sells the story to the papers, setting off a tragic set of events that brings down the Conservative Government and embarrasses the Establishment in the early 1960’s.

Michael Caton-Jones has the right feel for the time where you can sense that times were for the changing and the Sexual Revolution was about to explode. We also get insights into the people behind the headlines and a bit of insight into this revealing affair that captured everyone. Parts of the film drag on occasion and can get a bit dull, but the dark second half more than makes up for any langurs. I would have liked to have seen some characters a little more such as Profumo and , but when they were on screen they were good to view. A tiny bit of expansion is what I wanted just a bit more of, though I understand that the story was mainly focused on Ward. Although it deals with affairs and sexual encounters, Scandal isn’t overtly sleazy. Yes there is nudity and some unusual activity going on, but it doesn’t feel cheap and exploitative because of this immensely watchable true story that was quite the event in its day and shook things up on a massive scale. Plus, I think it skewers the whole myth of those higher up in society being above others in terms of decency, when in fact they are just as bad as anyone else. And who can forget the allure of Christine and Mandy getting ready for a night out; eyeliner going on and stockings being applied, to the sound of ‘Apache’? On a visual level, the glamour and chance of new promise that started with the 60’s is rendered beautifully.

The ever excellent John Hurt turns in one of his most underrated performances as the eventual scapegoat in the spiralling situation. While Ward was no angel, he was used as whipping boy and discarded by the friends in high society who themselves were far from lily white. John Hurt masterfully plays to the flaws of this charming man, but finds sympathy to his eventual fate that befell Ward, who paid for his attempts to move in the right circles. It’s a hard act to pull off, but Hurt does it with considerable skill in finding the lonely heart of a man undone by his actions and given the lions share of blame. Joanne Whalley-Kilmer project a feeling of naive innocence to start and then progress to unearth a sexy and alluring confidence. Whalley-Kilmer is a sensual presence on screen with her dark hair and doe eyes shining. Her biggest triumph is the mystery she encapsulates when playing Keeler; sometimes you are unsure of what she is thinking or likely to do. Through subtle flashes, we view a young woman at the centre of controversy and reacting in all sorts of ways to it.

A wonderfully and impeccably cast Bridget Fonda is a high point; clearly savouring her role as the sexy Mandy with whom Christine finds herself friends with. She’s got the confidence, razor sharp wit and slinky glamour that is superbly put to great use. It’s her who gets the humour and good lines in Scandal and makes the most of them. Although I would have liked to have seen more of him, Ian McKellen is reliably good as Profumo, showing a man paying for his desires and jeopardising everything he’s worked for in return for the company of a beautiful young woman. The same can be said of Jeroen Krabbé, though it’s Mckellen who emerges as the most interesting of the two. A sexy supporting part is afforded to Britt Ekland, who is a stunning beauty and makes the most of her short time on screen.

A well directed and well cast look at The Profumo Affair, Scandal is intriguing and inviting in its exploration of culpability and Parliamentary ruin.

The Girl with All the Gifts

Tags

2010's, Colm McCarthy, Drama, Gemma Arterton, Glenn Close, Horror, Paddy Considine, Sennia Nanua, The Girl with All the Gifts

A horror drama with ethical and provocative questions at its core, The Girl with All the Gifts finds new life in the zombie horror genre with fine acting, scares and a surprising intelligence.

Some time in the future, most of mankind has been overrun by a virulent fungal disease that turns the sufferer into a flesh craving zombie. These people are known as “hungries” by others. In a secret underground army base, a second generation of these creatures in the form of young children are taught. Unlike their savage relatives, these kids can think and learn, but also have a craving for flesh. Humans have a certain blocker gel that masks the smell of human flesh, but that is still no long term guarantee. The story mainly focuses on one such child known as Melanie( Sennia Nanua), who is immensely gifted, polite and eager to learn. The growling Sergeant Parks( Paddy Considine) keeps things running in a brusque way, while head scientist Dr. Caroline Caldwell( Glenn Close)experiments on the zombie children in a search for a cure to the disease. Although most see the children as just mere monsters, teacher Helen Justineau( Gemma Arterton) treats them with respect and compassion which puts her in opposition with both. Just as Dr. Caldwell is making some breakthrough, the facility is attacked by hungries. In the confusion, Melanie, Justineau, Caldwell and Parks survive and head for what they hope will be safety. But as tensions mount and Melanie is fought over, it becomes clear that there is no easy answer to what’s going on. But is Melanie the salvation of destruction of mankind in the grand scheme of things? And just how long is she to be trusted as the world around her crumbles and slips into a worse state than it already is?

Colm McCarthy is a director who clearly wants to bring that something different to the zombie horror sub genre. And that he does with this film that is both eerily tense and reflective on thematic material. I like how things start out mysterious and gradually we begin to understand the horrifying vision of the future. And once it hits the half an hour mark, intensity reigns and the pace quickens considerably backing up the horror credentials. One can make successful parallels with 28 Days Later and with good reason, for both are exemplary entries into zombie horror with more on its mind than just action and blood. Not that there isn’t action or blood as is envisioned in kinetic style and blood soaked horror, like the standout sequence of the hungries attaching the facility with a ferocity akin to a war movie. These events sit nicely along with the deeper thematic value of the piece. Considering The Girl with All the Gifts wasn’t made with the biggest budget, it never shows as it’s a gorgeously and hauntingly visual film. This extends particularly to its version of London, one in which overgrown plant life has taken over like a vicious jungle of vines that will prove fatal to those who can’t survive. And lets just say there is plenty of meat to chew over( pardon the pun.) The battle between good and evil is blurred considerably and admirably. No one is clear cut bad or good, least of all the eponymous Girl who is a mixture of both. The Girl with All the Gifts asks us to feel sympathy for her but like most of the characters, keep a certain sense of worry about her true nature and whether it’s just a matter of fate that she becomes rabid. In fact, there’s a certain tragedy attached to Melanie. You witness that she wishes to be like everyone else but is cursed from it, Some might say some of it is typical zombie fare and while there are going to be some cliched moments in here( no one said it was flawless), but what the film accomplishes is something with more heart and smarts than your average flick in this genre. A shimmering and reverberating score should rightfully be praised. It hums and throbs with an alarming intensity and haunting aura.

As the titular Girl, Sennia Nanua is a revelation in her first main role. For such a young actress acting alongside more seasoned co-stars, Nanua shows no sign of nerves and turns in a layered performance that is at once sympathetic and menacing. And what a cast it is. Gemma Arterton, of pleasing, warm face and expressive eyes, beautifully portrays the teacher who treats her charges as if they were just average children. In her eyes, although they are dangerous, they still matter and it is a fine.y judged, emotional performance from Gemma Arterton. Glenn Close( a superb actress of the highest order) is once more on amazing form as the ruthlessly determined scientist who seems heartless but possesses some care within her. Close doesn’t make her a villain and although she’s questionable as a character, it’s that flawed nature that Close gets across so well. Paddy Considine is on hand for sarcastic, aggressive lines and action as the skilled soldier navigating a crew of at odds survivors through a hellish London.

A chilling, thrilling but also deep examination of moral dilemmas set against a world gone mad, The Girl with All the Gifts discovers inventive and astute ways to blend post-apocalyptic horror and sensitive drama about ethical and ambiguous questions on humanity, science and the complex link between good and evil.

Watership Down

Tags

1970's, Adventure, Animated, Denholm Elliott, Drama, Harry Andrews, John Hurt, Martin Rosen, Michael Graham Cox, Richard Briers, Watership Down, Zero Mostel

Director

Martin Rosen

Voice Cast

• John Hurt
• Richard Briers
• Michael Graham Cox
• Harry Andrews
• Denholm Elliott
• Zero Mostel

An animated tale of survival in nature that is surprisingly mature( and many would say traumatising), Watership Down is often referred to as a film that terrified a generation of kids who thought they were seeing a film about cute bunnies. Yet while brutality is certainly not shied away from here, it’s the soul and message of Watership Down that shines the brightest.

In a warren in the English countryside, a group of rabbits live with their own beliefs on creation and how life is supposed to be. It seems so peaceful, but it is about to be shaken to the core. One rabbit by the name of Fiver has a strange vision of the destruction of their warren and warns everyone to get out. His brother Hazel believes him but they are shunned by the chief rabbit. Along with a small band of other rabbits, they stealthily leave the warren at night, joined by one of the Owsla( or in human terms, person of authority and order) Bigwig, who was originally skeptical of Fiver’s vision. They encounter all manner of danger in their search for a new home, including vicious predators, the human world and the only doe being picked off by a bird. Now without a woman among their number, they have to find some in order to continue their species. Aided by a crazed but helpful gull named Kehaar, they may just find it. It’s when the group encounters the tyrannical General Woundwort , who rules over his warren of rabbits with supreme brutality, that things turn very dark and tense for everyone. For Woundwort is a brute who will kill anything as soon as look at them, if they disobey his regime. With Hazel at the helm, he mounts an attempt to free the does from the harsh control of Woundwort. But it definitely isn’t going to be easy to create this dream paradise for them all to live in once everything is over.

Martin Rosen beautifully captures the poignant emotion and red and tooth in claw depiction of nature in the Richard Adams’s novel. Though a bit more on the running time might have been in order, Watership Down is really hard to find fault with. The animation, which boasts the feeling of landscape, watercolour painting and a naturalistic colour palette, is second to none and partnered with some unusual dreamlike sequences that stand out for their terror and vision. I mean, when we see what became of the original warren it is some skin crawling stuff. The claustrophobia of rabbits squashed on top of each other, their red eyes glowing as they are gassed is freaky and nightmare inducing. And people thought this was a movie simply for young kids? Now sometimes it is hard to tell the difference between certain rabbits, but this is a minor hitch in what is otherwise an immensely moving and startlingly honest look at how nature works. The morals of sticking together and the dangers of oppressive tyranny are well observed, with obvious parallels to the Second World War. The thematic value of Watership Down is what has made it endure for so long. It doesn’t pander to the audience or patronise, and while there are those who criticise the violence and horror, they should remember that the overall message of the film is one of finding peace, even though life is a hard journey. But as violence and shock are big parts of the movie, they can’t be ignored. I must admit to still being surprised how visceral many of the scenes are that are featured here, they still hold up on gruesome and unflinching score. The fighting, blood and bleakly brutal vision of nature is never far from view and many scenes have a lot of palpable tension. But in a way, featuring genuine violence( albeit involving anthropomorphic bunnies), it presents something different in an animated movie. Many times we go in expecting something squarely aimed at children, but I’m certain many were surprised when they discovered the bleak overtones and poignancy of Watership Down. I have massive amounts of respect for Watership Down in retaining the novel’s unflinching examination of survival and not dumbing it Down one ounce for audience satisfaction. Sometimes films try to be just a little bit too kid friendly, to the point that the film is ridiculously cheery. Believe me when I say, that is most definitely not the case when it comes to Watership Down. And I can’t review this movie without mentioning the haunting addition of ‘Bright Eyes’ sung with conviction by Art Garfunkel. It’s bound to bring a tear to the eyes.

The talented voice cast, featuring John Hurt, Richard Briers and Michael Graham Cox are exemplary at giving life to their characters and finding heart there. With such a wide breadth of voice work( also including Harry Andrews as the terrifying Woundwort, Denholm Elliott as a rabbit whose as enigmatic as he is creepy and the comedy stylings of Zero Mostel as a bird that helps the main rabbits out), it’s hard to not appreciate the ability and skill that each of them brings to the table.

Visceral yet beautifully rendered and vividly thematic, Watership Down is a film to treasure, no matter how graphic some of it is. After all, you’ll probably never forget this movie once you’ve viewed it.

The Aftermath

Tags

2010's, Alexander Skarsgård, Drama, James Kent, Jason Clarke, Keira Knightley, Romance, The Aftermath, World War II

Director

James Kent

Starring

• Keira Knightley
• Alexander Skarsgård
• Jason Clarke

A melancholy and passionate story of Post-War desire and the long-lasting impacts of war itself, The Aftermath is not that original, but does she’d some light on the psyches of people learning to live after conflict. Plus, it’s complete with a handsome cast and is wonderful to look at.

It’s been five months since the Allied victory and the world is trying to move on from the destruction and darkness of the Second World War. Into the ruins of Hamburg comes Englishwoman Rachael Morgan(Keira Knightley). She is there to live with her estranged husband, Colonel Lewis Morgan(Jason Clarke) , who is closed off and reticent with emotion.  He is stationed in Hamburg and is one of those charged with rebuilding the city. There is an obvious distance between the couple, which we learn is a result of the harrowing death of their young son during the War. They move into a grand house, which until recently was occupied by widowed German architect Stefan Lubert(Alexander Skarsgård) and his teenaged daughter. After losing her son, Rachael is apprehensive and hostile towards Stefan and other Germans. Lewis seems to adopt a more diplomatic position, trying to not group innocent Germans into the stereotype of all being Nazi’s. A further wedge is driven between Rachael and Lewis when he reveals that he will let Stefan and his daughter stay in the house. He thinks it is wrong to simply kick them out of the house. Rachael is vehemently against the idea of letting them stay, but Lewis insists on it. While Lewis is busy and not communicating with his wife about what’s become of their marriage, Rachael struggles to cope with life and her own feelings of hurt and anger. Around this time, the tensions between Rachael and Stefan move into an intense and unexpected affair. Rachael discovers a strength and semblance of normality again, brought out by the wounded but sensitive Stefan, who lost his wife in the war. Their love intensifies once Lewis is away on duty. But their affair isn’t meant to last and will no doubt have harsh consequences if ever revealed.

James Kent, who previously directed another war drama in Testament of Youth, once more provides his efficiency and sensitivity to this emotive story. He’s got the right hand to steer what is a familiar tale and still keep it interesting. While it isn’t as deeply felt or tragic as the aforementioned Testament of Youth, Kent acquits himself admirably here. Familiar is a word many reviewers have applied to this film and I can see why. But familiar doesn’t mean bad in any way, just a tad repetitive in some areas. Where The Aftermath most succeeds is its ruminations on the difficulty of grief and how war is not always black and white. We examine how the War did damage on both sides and that the impact of it didn’t just leave people once the fighting ended. There was a whole world of sadness, regret and hardship among millions affected by the length of World War II and what it brought with it. The three principal characters are all hurting from loss and bottling it up, setting the stage for it to come out unexpectedly. There are some moments that occasionally ring a bit hollow and sometimes events play out in predictable fashion. The subplot of Stefan’s daughter falling in with a Nazi who still wants to fight for the cause is pretty boring and not at all well handled. There’s a lingering feeling that a bit more oomph may have benefited The Aftermath. But a few unexpected moments and the way it quietly yet perceptively examines hardship and the pain of war, makes The Aftermath have a certain emotional quality that overcomes a few flaws. In regards to how The Aftermath looks, it’s gorgeously shot with snowy vistas a plenty and a certain glow, as well as passion in the love scenes between Knightley and Skarsgård. Yet it doesn’t shy away from the destruction of war and the dark remnants of conflict hang with a gloomy air alongside splendid winters. Costumes and sets are also of a high quality, matching the period with immense detail and style. And the music, which is a big highlight, has a romantic longing and sweeping angle that is just right for The Aftermath. Plus, the lovely usage of ‘Clair de Lune’ is a nice touch and always a joy to my ears.

A handsome cast fleshes out their roles with emotion and clarity. Heading the lot is Keira Knightley, who has poise, sadness and the eventual emergence of hope down to a tee. Her face expresses so much of what Rachael is trying to hide and she reveals emotion slowly but effectively. Knightley is definitely the right person to embody unresolved anger, deep melancholy and bruised hardship in a period setting. Simply put, Keira Knightley is excellent in her role. Plus her chemistry with both Alexander Skarsgård and Jason Clarke is spot on in different ways. Alexander Skarsgård has the looks and quiet dignity for his role as romantic stranger sweeping Rachael up into an affair. But he’s no wolf, simply a man who is decent and also hurting from the impact of World War II. Just like Rachael, he is searching for someone to understand his grief with and Skarsgård plays that beautifully. Jason Clarke is often the most quiet character of the peace, being the utmost definition of the stiff upper lip. He’s a man whose feelings are coiled within and that he tries to keep in check. Clarke, who possesses a sad eyed demeanour and the feeling of internal strife, riveting at playing a man dedicated to his job which allows him to bury his troubles. But once they come spilling out, all the pain and bitterness is there plain to see. The two sides of the part are telegraphed wonderfully by the often underrated Jason Clarke. These three actors do their thing with admirable skill at delving into the damaged minds of each character and how they need to unravel.

So while it gets a bit clichéd in quarters, The Aftermath is still watchable as a stylish evocation of grief and the emotions pertaining to it. Handsomely shot and nicely performed, it’s far from a masterpiece, but still a movie with enough emotion to stir.

Donnie Darko

Tags

2000's, Beth Grant, Donnie Darko, Drama, Drew Barrymore, Holmes Osborne, Jake Gyllenhaal, Jena Malone, Katharine Ross, Maggie Gyllenhaal, Mary McDonnell, Noah Wyle, Patrick Swayze, Richard Kelly, Science Fiction, Seth Rogen

Director

Richard Kelly

Starring

• Jake Gyllenhaal
• Jena Malone
• Mary McDonnell
• Holmes Osborne
• Katharine Ross
• Beth Grant
• Patrick Swayze
• Drew Barrymore
• Noah Wyle
• Maggie Gyllenhaal
• Seth Rogen

A genuine cult film that defies being boxed into a specific genre, Donnie Darko is a mind bending film, that’s layered with thematic material, a biting edge and eerie ambience galore.

Donnie Darko(Jake Gyllenhaal) is a suburban teenager in the 1988 who is prone to sleepwalking and disturbing thoughts. He’s a charismatic, smart but troubled young man who seems to delight in challenging authority whenever he can. His parents ( Mary McDonnell and Holmes Osborne) and sisters (one being Gyllenhaal’s real sister Maggie) are confused by him and don’t know how to react to him. On medication to combat his anti-social behaviour towards others and what is seen as paranoid schizophrenia , he one night starts hearing a voice telling him to come outside. Once he gets there, he discovers the voice comes from a frightening looking, six-foot tall rabbit named Frank. He is informed that in twenty-eight days, six hours, forty-two minutes and twelve seconds, the world will end. After waking up far from his house, once he returns he finds that a jet engine crashed into his bedroom. This further highlights the weirdness in Donnie’s life and functions as another indicator of potential doom for everyone. Donnie starts to attend a psychotherapist(Katharine Ross), who tries to fathom what’s going on in Donnie’s mind, but has extreme difficulty opening it up. Most adults seem to act unusually around Donnie, which aids his further alienation from life. Some however seem to understand like the rebellious English teacher Karen Pomeroy (Drew Barrymore), her boyfriend/ fellow professor of science Kenneth Monnitoff( Noah Wyle)and new girl Gretchen( Jena Malone). But then there is the over zealous and devout gym teacher Kitty Farmer(Beth Grant) who is buttoned and wants everyone to follow her lead and slimy motivational speaker Jim Cunningham( Patrick Swayze). As Donnie’s doomsday visions become more frequent and he is driven to commit violent acts by the spooky rabbit, Frank’s mention of time travel sends his mind reeling about what the visions represent. Picking up a book from his professor on the subject, Donnie dives into discovering how he fits into this apocalyptic vision. Is the world really going to end? And if so, what is Donnie supposed to do to stop it?

Richard Kelly made his debut with this film and though his output since has been mixed( though I did like the often maligned and misunderstood The Box), at least he can be remembered for creating this iconic and complex movie. Kelly transports us into the strange world of teenage years and what was going on in the 80’s, but amps it up with the theme of time travel and cause and effect. You just know from the question raising opening that you’re in store for something very unusual and far from conventional. The script, written by Kelly,  is unnerving, caustically funny and highly imaginative, which is a bonus for someone who enjoys all those things when done right . It fleshes out a mystery in the film and creates a fine character in the form of the title anti-hero. He’s disturbed there’s no doubt about it, but he speaks quite a lot of sense when others won’t. And at first we aren’t sure whether what he sees are hallucinations or not, but you definitely know they point to something extremely ominous in the future for everyone. Coming of age is a big theme here and one can view the film as an analogy of puberty and adolescence, as it’s often a time associated with change and something pulling us in a specific direction. And the countdown motif telling us how many days until Armageddon is a real nerve shaker.

Believe me, you’ll find yourself thinking about Donnie Darko a lot after viewing it. The enigmatic story which has a lot of layers and ideas on its mind engages the brain, but refuses to give cheap, easy answers. It’s too smart for that and instead functions as ambiguous and challenging. Whichever angle you want to view the film from, there is something here for everyone to sink their teeth into and think of their interpretation of it all. You can see it as a biting satire in suburbia and conformity, with the disturbed Donnie being the one who fights back against it, coupled with social drama. Or as a sci-fi flick about time travel and how events play out differently because of change. I’d say the film is both of these things and that’s partly why I love it so much. It plays by its own rules and doesn’t try to be like everything else, something which I applaud. I mean you know a film is challenging and complex when there are thousands of websites dedicated to deciphering the many meanings of it. From a visual standpoint, Donnie Darko is extremely atmospheric and immersive thanks to creative camerawork such as slow zooming shots and a gloomy yet strangely majestic colour in cinematography, occasionally punctuated by brightness. Music plays a key role in Donnie Darko; exemplified by the 80’s heavy soundtrack( filled with Tears for Fears, Echo and the Bunnymen and Joy Division) and unusual, distorted thumping of the score that keeps going with alarming intention. One of the best uses of music is the cover of ‘Mad World’ which is stripped back and haunting as it plays over panning shots of all the people impacted by Donnie in a masterful sequence.

In the role that really announced him as a major acting talent, Jake Gyllenhaal is simply put excellent as the main protagonist. He has to go through so many changing emotions, often very quickly and he does it all without missing a beat. The sly, sardonic smile that reveals his disdain for others, the intense stare of alienation and disillusionment and a certain nuance to the mercurial mood swings are all embodied to a strangely charismatic height by the greatness of Gyllenhaal. It is the definition of a star-making role that Gyllenhaal made the most of and clearly shows him as one of the best actors of his generation. Jena Malone boasts a haunting quality as his love interest, who wrestles with her own demons during the course of the movie. Mary McDonnell and Holmes Osborne both make impressions as Donnie’s parents who are bewildered and bemused by his behaviour, as does Katharine Ross as his psychotherapist. A major standout is the scene-stealing Beth Grant. Playing someone whose vicious, unapologetic antagonism is disguised as righteousness is both a hoot and something alarming. She scolds, lectures but never seems to be able to understand others thanks to her bigoted ways and watching her come apart, especially as a result of Donnie, is a sight to behold. And also really standing out is Patrick Swayze; filtering his natural charm offensive into something more charlatan and far from what it first appears. It’s one of the most interesting and different roles Swayze ever took and it shows off his considerable talent. Drew Barrymore has the right rebellious but dedicated attitude for her part of a teacher, persecuted for trying to engage with her students in a way that contrasts with the conservative approach of others. Ably supporting that feeling of challenging conformity is Noah Wyle, who opens Donnie up to the idea of time travel. Maggie Gyllenhaal makes her present felt, with her sparring and jabs at her brother and especially in the later half in emotional fashion. Plus, look out for an early role from Seth Rogen.

A hypnotic, unusual and engaging story of creepy certainty and eerie atmosphere, twined with fine acting and ambiguity, Donnie Darko is simply a must see.

The Mule

Tags

2010's, Alison Eastwood, Andy Garcia, Based on a true story, Bradley Cooper, Clint Eastwood, Crime, Dianne Wiest, Drama, Laurence Fishburne, Michael Peña, Taissa Farmiga, The Mule

Director

Clint Eastwood

Starring

• Clint Eastwood as Earl Stone
• Dianne Wiest as Mary
• Bradley Cooper as Colin Bates
• Michael Peña as Trevino
• Laurence Fishburne as Head of DEA
• Taissa Farmiga as Ginny
• Alison Eastwood as Iris
• Andy Garcia as Laton

Clint Eastwood directs and steps in front of the camera once more with The Mule, which takes basis from a true story of an elderly man who was an unlikely drugs mule for a cartel. With it being Eastwood there is undoubtedly talent here and good spots. The trouble is The Mule stumbles in the mid section and I can’t help but feel it could have been better than it was.

Earl Stone is a 90-year-old horticulturist who has seen better days. He’s become bitter and out of sync with society. His business is approaching foreclosure and after being so neglectful of his family, most of them have shunned him and his wife Mary has divorced him. His granddaughter Ginny hasn’t turned her back on him and invites him to her engagement party. It’s at the party that someone gives Earl a tip-off of a job where all he needs to do is drive. Desperate, Earl accepts, little realising that he’s becoming a drugs mule. Even when he does discover what he’s transporting, he asks no questions as he is so in need of the cash. With the money he gets from each job, he tries to make amends with people he’s wronged in the past and attempts to build more bridges with his estranged family. This goes very well and his efficiency in the job earns him some respect in the cartel community, particularly the head honcho. But the DEA is trying to crack down on drug smuggling and a transportation in Illinois and as headed by the purposeful Colin Bates, they aren’t going to stop until they reach the source of the illegal acts. Earl keeps going with the job, slowly coming to see the darkness he has put himself in. Yet as the DEA closes in and the cartel start to fight amongst each other, Earl is stuck firmly in the middle of what could be a very dangerous situation.

Clint Eastwood brings his usual professional sheen to the film and focuses on characters, primarily Earl. Character development of the titular mule is what this film does well. I especially though there was poignancy to the fact that Earl feels so out-of-place in a technical, modern world that he doesn’t understand. That was one thing that came through loud and clear when watching The Mule. Not all of Eastwood’s decision behind the camera pay off, for starters the film runs too long and falters in the middle part. But his sophistication and handling of the main narrative is excellent and provides at least some emotional tie. If anything’s to blame for The Mule not being an overall excellent movie, it’s the script. Although it does bring out moments of dramatic worth, I need felt it all came together clearly or pleasingly enough. Having the other story of the DEA dragged a lot and didn’t feel not nearly as compelling as watching Earl slowly make attempts at redemption while he goes along on this dangerous ride . And though The Mule has its share of humour and lightness, the middle part where Earl sees the corrupt but intriguing wealth of drug dealers doesn’t quite sit right with the rest of the film. It only is really there to show what while he’s old, he’s still got some rascal about him with the ladies and can still have a good time. This isn’t to say that The Mule is a terrible movie( it’s actually quite good but flawed in execution), I just expected a bit more from it. I’m firmly on the fence with this offering from Eastwood, but his undeniable talent is still alive which I’m grateful for. Once seriousness kicks in, the last half of The Mule redeems quite a number of the foibles that so ruined the earlier parts. It’s here when we get the weight and emotional heft of a man coming to terms with what he’s done and these are the best moments. Eastwood’s love of jazz is prevalent too, using any opportunity he can to indulge us with melodies.

Clint Eastwood can do the grumpy, old guy act in his sleep and he portrays something akin to that here. But being Eastwood, it’s not just cut and dry. He inserts charm, humour and sadness into the character often with just a look or movement of eyes. The character is morally complex and flawed, which Eastwood is adept at bringing forth here and throughout his career. And credit to the guy, he’s 88 and still going strong, even if he’s made to look more frail and weathered here than he actually is. He’s one of the biggest assets going in The Mule and of the best things in it. In yer,s of acting, Eastwood is given the most to do. Dianne Wiest makes the most of her role as the ex-wife who still can’t shake him, despite vehement arguments that she is fine alone. Her scenes with Eastwood really have an emotional hook to them that both play beautifully. On the other hand Bradley Cooper, Michael Peña and Laurence Fishburne are all underused as DEA agents closing on the cartel. All three are great actors, but they aren’t provided with sufficient meat to savour on and make them memorable in this flick. Taissa Farmiga does what she can with her role as the only person who seems to see the good in her flawed Grandfather, while Alison Eastwood(Clint’s actual daughter) has her moments reconnecting with her estranged father that hit hard. In a brief part, Andy Garcia is highly entertaining as the cartel boss with flamboyant style.

Immensely uneven but definitely watchable, The Mule is a mixed offering from Clint Eastwood. I’m firmly in the middle in my opinion, but I can’t deny that Eastwood’s still got it, even when the work is minor and not quite a pitch on his more successful films.

No Man of Her Own

Tags

1950's, Barbara Stanwyck, Drama, Film Noir, Henry O'Neill, Jane Cowl, John Lund, Lyle Bettger, Mitchell Leisen, No Man of Her Own

I was asked by the lovely Maddy and amazing Crystal to take part in a blogathon honouring the one of a kind Barbara Stanwyck. Naturally I jumped at the chance to write about this powerhouse of an actress.

Director

Mitchell Leisen

Starring

• Barbara Stanwyck as Helen Ferguson/ Patrice Harkness
• John Lund as Bill Harkness
• Lyle Bettger as Steve Morley
• Jane Cowl as Mrs Harkness
• Henry O’Neill as Mr Harkness

A drama about a desperate mother taking on another identity, No Man of Her Own is tinged with a film noir style atmosphere which is largely beneficial. And even if the story has moments you have to take with a pinch of salt, Barbara Stanwyck and some nice, efficient direction are two major assets to the film and ones that aid it.

Helen Ferguson is pregnant by her louse of a man, Steve Morley. He cruelly discards her even though she barely has any money and will be left an unwed mother. All Steve does is give her a ticket from New York to San Francisco, which is Helen’s original home. With nowhere to turn, Helen who is eight months pregnant, boards to the train to an uncertain future. She is shown kindness on the train by recently married couple, Hugh and Patrice Harkness. Patrice is also pregnant and shows great mercy to the struggling Helen. While they are getting ready for the next stop, the train is involved in a catastrophic crash. Helen survives and is taken to hospital, where her baby is delivered. Patrice and Hugh die almost immediately after the train crashes. As she is wearing the wedding ring of Patrice(which she was minding while the real Patrice was washing) and is pregnant, Helen is mistaken for the dead woman. And as her affluent in-laws never met her, they assume that Helen is in fact their new daughter in law. Delirious, she tries to explain the truth, but everyone thinks she is still suffering from trauma and is not aware of what she is saying. Although she feels guilty and torn about taking her place in the family by lying, she’s so desperate that she can’t help but accept the open arms of the loving family. The mother and father are so very kind and Hugh’s brother Bill takes an almost immediate liking to her. As time goes on, life turns good for Helen as she assumes the place of Patrice and finally feels welcome somewhere, possibly for the first time in her life. But her happiness takes a turn when the twisted Steve shows up in her life again. He plots to blackmail her and asks for money to secure his silence. Helen is once more thrown into another predicament that could have terrible ramifications, just as her life was becoming comfortable and she was feeling accepted. Desperate times it seems call for even more desperate measures.

No Man of Her Own is  a combination of the woman’s picture and film noir. Though that may sound like a strange hybrid, with the deft hand of Mitchell Leisen at the helm, it largely coalesces well and has some fine atmosphere. From the opening of a peaceful middle class street, accompanied by the ominous voice over from Stanwyck, it captures the attention a lot as you aren’t sure which way No Man of Her Own will go. As darkness grows, a noir atmosphere of dread and desperation is never far behind Helen, with shadows and plays of light helping to show her in a very hard predicament. But you’re with her every step of the way and aligned with her attempts for a better life and to improve that of her child. Some leaps of faith need to be taken with some elements of the story and how neatly they fall in place. In the second half, the pace hits a bit of a lull but is thankfully rescued by watching Helen formulate a plan to rid herself of the loathsome. It’s only when the ending arrives that some of the greatness was supplanted as it feels a little too wrapped up and cheery for such a serious story. But despite these flaws, No Man of Her Own is immensely watchable in my eyes. A grand musical score compliments the atmosphere and emotion of the piece in that special way it seems only old movies can do.

Holding everything together is the powerful Barbara Stanwyck. Always someone who 100% to any role, No Man of Her Own is no exception. Exhibiting pain, relief, desperation and doubt, often within seconds of the other, Stanwyck is never short of compelling here. It’s all there in her face and we feel every ounce of emotion to it, and just how expressive it is. Even when the story stretches credulity, it is the determined Barbara Stanwyck that brings everything back together and worth watching. Stanwyck is a powerhouse no matter what she does. John Lund is a tad wooden as a possible suitor for Helen, but he gets better as the movie progresses. Exuding weasel tendencies and a nasty glimmer in his eye, Lyle Bettger is superbly cast as the main antagonist who could jeopardise what Helen has tried to do in order for a better life. Believe me, he’s one nasty piece of work. Rounding out things are Jane Cowl and Henry O’Neill as two lovely and welcoming in-laws.

Though it’s far from a perfect film, No Man of Her Own survives via the committed work of Barbara Stanwyck and the stylistic look of the film. These are elements that you will remember after viewing this movie.