Jackie

Tags

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

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

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

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

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

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

The Black Cauldron

Tags

1980's, Animated, Disney, Fantasy, Grant Bardsley, John Byner, John Hurt, Nigel Hawthorne, Susan Sheridan, The Black Cauldron

Often forgotten in the wide spectrum of Disney movies and more frequently than not misunderstood because of its willingness to be dark, The Black Cauldron is in fact a rather excellent animated fantasy film.

In the mythical land of Prydain , Taran( Grant Bardsley) is a teenager who works as an assistant pig keeper with his guardian, the wise Dallben . Taran is a dreamer with ideas of being a warrior, but is often naive and foolhardy. One of the pigs he takes care of by the name of Hen Wen gets special attention, which Taran doesn’t understand at first. Though it becomes clear why Hen Wen is treated with such care when Dallben reveals a secret to the curious teenager . Hen Wen has the power of clairvoyance which puts her in a dangerous predicament. The ruler of Prydain is The Horned King( John Hurt), an evil demon who has his eyes set on discovering the mythical Black Cauldron. If he gets his hands on it, he can raise an army of the dead that will aid him in truly taking over the world.  fears that The Horned King would use Hen Wen to unearth The Black Cauldron and act out his diabolical plan for domination. sends Taran into hiding with Hen Wen, but Taran’s immaturity leads to Hen Wen being kidnapped by The Horned King’s minions. It’s up to Taran to rescue the pig. After infiltrating the castle inhabited by The Horned King, Taran helps Hen Wen escape but himself is captured. Thankfully along the way, he meets a host of characters who either aid him in his journey to stop the barbaric villain. There is the plucky Princess Eilonwy(Susan Sheridan), washed up and unlucky bard Fflewddur Fflam( Nigel Hawthorne) and unusual, fawning creature Gurgi( John Byner). Throw in dragon like creatures, three marsh witches and a group of underground fairies and the stage is set for adventure. 

There’s a rather epic feel to The Black Cauldron that’s reminiscent of The Lord of the Rings, and the two share a few similarities. A certain grandeur is here that adds levels of majesty for what it a film that’s really overlooked. I hope with this review I can bring The Black Cauldron to more notice among movie fans. While underrated, The Black Cauldron is far from flawless. At points, the tone can get a little scattershot and not quite know what to do with itself. Plus, some of the attempts at humour fall a bit flat and feel old hat. The story itself is standard swords and sorcery, but that shouldn’t be held against it because this movie is unabashedly dark and not afraid to be strangely mature and horrifying. Overall though and despite little foibles, it’s an undiscovered dark gem of a film that deserves a second chance and a new audience to appreciate what it was going for. The small quibbles shouldn’t detract from a Disney film with an overt difference and one that is often forgotten. When it goes for the creepy and menacing factor it definitely succeeds, due in no small part to the beautifully eerie animation and particularly The Horned King. The colours are moody and more subdued than most of Disney’s output, but is technically beautiful in their bleakness and sense of foreboding, with just enough light to bring hope. Scary and unnerving sequences abound in The Black Cauldron, it was after all the first animated film from The House of Mouse to revive a PG certificate upon release. Chief among the spooky and nightmarish scenes is the army of the dead. Anyone who has seen the film knows exactly which sequence I’m referring to and it still holds up as very disturbing and visually dazzling and dizzying. I’ll admit, The Black Cauldron is one of my favourite Disney films and mainly because it had the idea to go for something more grown up and not just pandering to little kids. The great Elmer Bernstein contributes a soaring, moody and wholly appropriate score that fits the fantasy like a glove. When the score hits the eerie heights, it’s really a thing of chilling beauty that doesn’t ignore the more rousing elements of the film.

A voice of largely English and upper crust voices bring their characters to life, though sometimes it can be a little too posh. Grant Bardsley is appropriately curious, adventurous and scrappy as our hero, while the soft voice of Susan Sheridan provides warmth and courage to the Princess Eilonwy. Nigel Hawthorne brings out distinction and humour as the bumbling bard swept along on the journey after being rescued from the dungeon; his voice is a case of it being amusing that he speaks so well and is so unlucky. John Byner uses an eccentric yet lovable voice to give life to the wild creature of Gurgi, who more often than not speaks in rhyme. He really gets the ups and down of the character well, showing both a cowardly nature and a growing loyalty. The voice you’ll remember the most though is the deep, gravelly tones of John Hurt as The Horned King. His voice booms with a menacing aura of authority and is truly spine chilling to hear. Without him as the voice, The Horned King wouldn’t work as a truly evil villain. Thankfully, the voice of John Hurt truly brings the monstrous demon to life to honestly scare the living daylights out of the viewers.

While immensely dark for a movie from a company marketed towards children, The Black Cauldron is definitely that but also a rousing fantasy adventure that maybe quite mature and shocking but has enough to make it a film that needs some re-evaluation.

Scandal

Tags

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.

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.

V for Vendetta

Tags

2000's, Action, Hugo Weaving, James McTeigue, John Hurt, Natalie Portman, Political Thriller, Stephen Fry, Stephen Rea, Thriller, V for Vendetta

Film Title

V for Vendetta

Director

James McTeigue

Starring

• Hugo Weaving as V
• Natalie Portman as Evey Hammond
• Stephen Rea as Eric Finch
• Stephen Fry as Gordon Deitrich
• John Hurt as Adam Sutler

A provocative and very arresting political/action thriller based on a comic, V for Vendetta is a confronting movie that tackles a lot of controversial topics and ideas with a sense of style and a brain that is sometimes lacking from films usually on this nature.

In a futuristic version of London, chaos has blighted everything along with an oppressive government. Being not dutiful to the ruling power results in imprisonment and death. Activists, homosexuals, and people of different races are frequently targeted just for being different. A virus has claimed many lives in the United Kingdom and Europe. Most prominently is the government in power, run by Adam Sutler; who exercises cruel control over nearly every aspect of the population’s lives. Evey Hammond is a meek young woman who works in a broadcasting company( that churns out propaganda to the people to keep them in line) is caught one night out after enforced curfew. The secret police threaten her and attempt to attack her, but someone comes to her rescue. That someone is V, a masked vigilante in a Guy Fawkes mask, who is skilled in swordplay and fighting. After saving Evey, he demonstrates his real purpose of spurning the population into revolution by blowing up the Old Bailey. The fascist like government doesn’t take very kindly to V’s actions, particularly when he later uses the broadcasting company that Evey works at to display his message of rising up. Every is caught in the middle of all of this and must decide where her loyalties lie. Meanwhile, Chief of Police Eric Finch investigates any leads he can into V, yet finds that his loyalty to the government may very well have been misplaced and manipulated over the years. V’s plans gather a quickening pace as he takes on the corrupt powers that be, with Evey becoming something of an unlikely ally and then ultimately a strong supporter of his cause.

The director, James McTeigue does an inspired and button-pushing job with his directions. He allows the political nature of V for Vendetta to take the centre stage and all the questions that go with it, while never sacrificing action in the process. The film is very much a thinking person’s film and while there are fight scenes and action, it never becomes repetitive because the essence of the story is kept intact. V for Vendetta presents an uncomfortable and shocking possibility of a future that is ruled with an iron fist and with extreme prejudice. Racism, homophobia, the accountability of the powerful and the manipulative agendas of government all come under the spotlight and are never shied away from. This film raises many terrifying what if scenarios that tap into our fears of what the world could become, which isn’t outside the realm of possibility when you think about the countless changes that this world has endured. There is something even timely about the film as it deciphers how fear and panic can be spread and lead people to be threatened by those more powerful than them. Now there are those that will view V for Vendetta as a film that is propaganda or in some cases a dangerous film that advocates terrorism( which I have heard a number of people imply), but I wouldn’t say that the film goes really far with those things. Yes, the main character is someone who uses violence and devastation to make his point, but I think it is up to the individual person to form their own opinion on what the film is presenting and what message it puts across. That’s the way I view V for Vendetta, it can be read on a number of significant levels. Some won’t agree with what it has to say and others may take note, but in the end, isn’t a film supposed to get you thinking? Granted, it may bang the political drum a little too loudly at fleeting points, but the topics it brings up are definitely thought-provoking and stay with you for a long time afterwards. On the visual side, the colour scheme that largely features red, black and white is memorably hard-hitting yet oddly resplendent in execution; showing a world at its knees and the potential of change emerging with the presence of V from the shadows. And there is quite a lot of action going on in V for Vendetta, as the masked title character does brutal battle with other forces in strikingly shot fight scenes. A steady score rises in levels along with events, forming a somewhat rousing musical accompaniment to both V’s aims and Evey’s journey.

As the eponymous V and with only movement and voice to use, Hugo Weaving is masterful. His deep voice is utilized to maximum impact, investing the role of the masked V with an elegance and intelligence. He may be a character capable of lethal and fatal action, but there is something so immersive about him that you can’t help but watch. His graceful movements almost mirror those of a proficient dancer, as he glides with purpose and something deadly too. The part wouldn’t have been the same without someone of Hugo Weaving’s calibre in the role, he just completely embodies it. Natalie Portman is just as good in the role of Evey; whose encounters with V and the aftermath provide a lot of thrust of the narrative with Portman giving a range of feeling to the part that grows stronger and more pronounced as the film progresses. If you’re expecting the part of Evey to be someone who kicks ass and physically fights, you aren’t going to get that. And to think that misses the point that she is an ordinary woman thrust into difficult circumstances and forced to make a stand. Portman plays the journey of her subtly yet expressively, ensuring that there is a natural progression that is believable from scared girl to fearless woman ready to do something. Although her accent is a little shaky, that’s the only foible in the work from Natalie Portman( who memorably shaved her head for the part), who emerges with a strong performance of gathering gumption and depth. The excellent Stephen Rea is well-chosen for the role of the police chief, slowly peeling the layers of deceit back and going between being frightened of V and inspired by him. Solid support comes courtesy of Stephen Fry as a television host having to hide who he truly is and the late, great John Hurt as the imposing dictator with a whole lot of power.

A movie with a lot to say and the balls to go forth with it, V for Vendetta is a film that elicits discussion from many, due to the things it addresses and the ultimate message. For me, it is an engrossing film that while it has required action, puts the story first and packs a punch with its refusal to lessen the blow of what it covers.

R.I.P John Hurt

Tags

John Hurt

I was deeply saddened to read of the passing of the iconic John Hurt at the age of 77. He was an acting that I highly admired for his presence and of course that gravelly voice. Just looking over his film credits, he was extremely prolific and successful. He really made his mark of cinema and audiences, and I will remember him for that. For me, he was a class act all around and his appearance in movies were always ones I enjoyed. May his soul rest in pace and his wonderful memory live on through his movies.

Alien

Tags

1970's, Alien, Harry Dean Stanton, Horror, Ian Holm, John Hurt, Ridley Scott, Science Fiction, Sigourney Weaver, Tom Skerritt, Veronica Cartwright, Yaphet Kotto

Film Title

Alien

Director

Ridley Scott

Starring

• Tom Skerritt as Captain Dallas
• Sigourney Weaver as Ellen Ripley
• Veronica Cartwright as Lambert
• Harry Dean Stanton as Brett
• Ian Holm as Ash
• Yaphett Kotto as Parker
• John Hurt as Kane

Alien is a classic hybrid of science fiction and horror that brought a lot to the table upon its release. The claustrophobic and horrifying influence of this chilling film can be felt on many a horror flick, but I don’t think anything has ever matched its shocking and frightening power. With the talented Ridley Scott at the helm and Sigourney Weaver entering cinematic history with her performance as Ripley, Alien still holds up as one of the most effective horror films I’ve ever seen.

Set in the future, the commercial spacecraft Nostromo is returning to Earth. The ship is controlled by a sophisticated system code-named Mother. The crew comprises of Captain Dallas, Warrant Officer Ripley, navigator Lambert, engineer Brett, Science Officer Ash, second engineer Parker and Executive Officer Kane. The crew of seven are in hyper sleep but Mother picks up what seems to be a distress signal coming from a nearby planet. Although many of the crew are doubtful of what to do, according to the laws of the company, they must answer the signal. Upon landing on the planet, the ship is temporarily broken and in need of repair. Dallas, Lambert and Kane set foot on the planet in an attempt to find the cause of the distress signal. What they find is a strange ship apparently abandoned, but filled with multitudes of egg like objects. Unfortunately for Kane, one of the eggs hatches and a strange creature attaches itself to his face. Fearing for him Dallas and Lambert bring him back to the ship where Ash lets them in. Ripley is infuriated by this as it could jeopardize their safety or bring harm to any of them. After a while the creature seems to vanish and Kane appears to be fine. But during breakfast after the ship has been fixed and is in orbit, the real horror of the situation arrives. Kane convulses violently before dying as the creature emerges from his chest and flees into the bowels of the ship. With the beast on the loose and safety in danger, the crew attempt to kill it. But as bodies hit the floor and the alien grows rapidly into a terrifying creature, it all comes down to Ripley to survive the carnage and kill the alien.

The first thing to praise about Alien is the direction. Ridley Scott balances the interesting characters and the encroaching carnage with certainty and skill. The pace of Alien is magnificent as suspense builds and builds before erupting into terror and horror. The visual design of the Nostromo is second to none as well as the Alien itself, a horrifying creature that bleeds acid, has a double jaw that can pierce skulls and the ability to blend into its surroundings. A tense atmosphere of ghoulish uncertainty gives Alien a slow-building but effective backbone that brings many fears to light in disturbing fashion. We have the fear of bodily intrusion as the Alien lives inside a host before hatching, the fear of the unknown thing stalking the members of the crew and we have the fear of entrapment as the layers of the spaceship become a prison for the crew as they do battle with the creature. Jerry Goldsmith’s ambient score is a terrific asset in Alien’s already impressive arsenal, bringing that humming menace and gradually building terror to the forefront as the alien turns the ship into its personal hunting ground.

The effective cast brings a refreshingly adult sensibility to the film and it’s really refreshing to see grown ups instead of screaming teenagers running around. Tom Skerritt brings weariness to Captain Dallas, as he realizes that bringing Kane back onto the ship was a bad idea. The real revelation of Alien is Sigourney Weaver as the tough Ripley. Weaver brings inner vulnerability, grave authority and determined strength to the character as she gets in touch with the warrior inside in order to eliminate the threat posed to her. Ripley would go on to become an iconic character in the science fiction genre and rightfully so because of Weaver’s talent and power in the part. Veronica Cartwright is suitably wide-eyed and scared out of her wits as Lambert, while Harry Dean Stanton is sarcastic as Brett, a blue-collar worker complaining about company procedure. Ian Holm brings a quiet sort of uneasiness to Ash, who is concealing many secrets beneath his humane demeanor. Yaphett Kotto is great as Parker, Brett’s sparring partner and fellow mechanic, while John Hurt brings something devastating to the part of the tragic Kane and enters cinematic history as a result.

Haunting and horrifying, Alien is one of the best science fiction/ horror films out there and its impact can not be underestimated.

 

The Skeleton Key

Tags

2000's, Gena Rowlands, Horror, Iain Softley, John Hurt, Kate Hudson, Peter Sarsgaard, Supernatural Horror, The Skeleton Key, Thriller

Film Title

The Skeleton Key

Director

Iain Softley

Starring

• Kate Hudson as Caroline Ellis
• Gena Rowlands as Violet Devereaux
• Peter Sarsgaard as Luke Marshall
• John Hurt as Ben Devereaux

A creepy supernatural horror/thriller with Gothic ambience and strange imagery, The Skeleton Key in my book is an underrated entry in the supernatural horror genre. Trust me you won’t be sleeping soundly after viewing this film.

Caroline Ellis is a caregiver in New Orleans. She has become disillusioned with working at a nursing home after seeing the way that when a patient dies the place can’t wait to dispense with them. Caroline has always felt a certain amount of guilt for not being there for her father when he passed away and through her work she sees it as an opportunity to make up for this. After quitting her job at the home, she finds an advert in a newspaper for a care worker at an old former plantation house deep in the heart of Southern Louisiana. In need of work, Caroline applies for the job. She is to care for Ben Devereaux, an old man who had a stroke the year before and has paralysed most of his body. Ben’s wife Violet doesn’t take to kindly to Caroline at first, but grows to tolerate her. The creaking house is a strange and mysterious place that soon becomes interesting to the curious Caroline. She is given a skeleton key by Violet and as one would, she begins to explore the house. She finds her way into the dusty attic that is anything but ordinary. She discovers various paraphernalia belonging to Hoodoo,  a form of conjuring. It seems the house once belonged to a rich man who had two servants who were practitioners of hoodoo and were lynched when it was discovered they were attempting to teach the rich man’s children to conjure. Caroline learns the story from the steely Violet, but remains skeptical surrounding it. The thing with Hoodoo is that it is harmless only if you don’t believe it. But Caroline’s discovery is far from good as various strange events begin to occur around her and her faith in logic is tested by awaiting horror.

From the opening shots, The Skeleton Key has marvellous visuals that radiate the smoky, Southern Gothic atmosphere of the house and the surroundings. The sense of mysticism abounds through various symbols such as old, scratchy records and folk stories that are weaved into the narrative thread. You can almost feel the humidity of the place. The various flashback scenes of the house’s history are visually stunning, using a cross cutting technique between black and white and colour. Iain Softley directs with a sure touch that helps slowly engulf us in the creepy story that awaits us and Caroline. He manages to build some great suspense and sense of dread with the narrative. Sure some moments may have hints of schlock and the occasional lull, but The Skeleton Key is still riveting and effective viewing.

What gives The Skeleton Key the edge as a supernatural horror/thriller is the talented cast. Kate Hudson sheds the rom com girl image to play the part of the caring and curious Caroline. Hudson creates a sympathetic and believable character who is far from the screaming heroines of some horrors. She is an intelligent woman caught up in the creepy mystery surrounding the house and attempting to escape the horror that slowly moves in. I hope Hudson chooses more roles like this in the future, as she is talented in more serious fare than people give her credit for. Gena Rowlands is ideally cast as the imperious Violet, who at first just appears to be a stubborn old woman stuck in her ways. She emerges as something much more scary and enigmatic than this. Peter Sarsgaard provides able support as Luke, the lawyer for Ben and Violet. John Hurt does some great acting in the underwritten role of Ben. Hurt rises above the scripts limitations and manages to convey fear, shock and uncertainty all through his eyes.

It may be far from original, but The Skeleton Key is an engrossing and spooky horror elevated to a higher level by the cast and with a sly and shocking ending that will leave you sleepless.

 

Tinker Tailor Soldier Spy

Tags

2010's, Benedict Cumberbatch, Ciarán Hinds, Colin Firth, David Dencik, Gary Oldman, John Hurt, John Le Carre, Kathy Burke, Mark Strong, Simon McBurney, Spy, Stephen Graham, Svetlana Khodchenkova, Thriller, Tinker Tailor Soldier Spy, Toby Jones, Tom Hardy, Tomas Alfredson

Film Title

Tinker Tailor Soldier Spy

Director

Tomas Alfredson

Starring

• Gary Oldman as George Smiley
• Colin Firth as Bill Haydon
• Tom Hardy as Ricki Tarr
• John Hurt as Control
• Toby Jones as Percy Alleline
• Mark Strong as Jim Prideaux
• Benedict Cumberbatch as Peter Guillam
• Ciarán Hinds as Roy Bland
• David Dencik as Toby Esterhase
• Simon McBurney as Oliver Lacon
• Kathy Burke as Connie Sachs
• Stephen Graham as Jerry Westerby
• Svetlana Khodchenkova as Irina

Based on the classic by John Le Carre, Tinker Tailor Soldier Spy is a labyrinthine spy thriller with a perfect eye for detail and intelligent plot full of puzzles and mysteries. Boasting an all-star cast, precise and articulate direction by Tomas Alfredson and hauntingly scored by Alberto Iglesias, the film proves that the intelligent spy film that favours covert affairs and deception over shoot em up action are not dead.

The time is the 1970’s and London is a dour place of muddy yellows and muted mauve. Control, the elderly head of British Intelligence( commonly nicknamed “The Circus”) sends agent Jim Prideaux on a mission in Hungary to uncover information. The mission goes wrong when Jim is shot, captured and later presumed dead. In the ensuring crisis, Control and his right hand man, George Smiley are pushed into retirement. A year later, Control has died and Smiley is contacted by Oliver Lacon, a civil servant with a particularly interesting case. It appears that Ricki Tarr, an agent who was believed to have defected, has unearthed knowledge of a Soviet mole at the top of British Intelligence. It is either one of a few men including; the new aggressive chief Percy, the suave deputy Bill Haydon, the slimy Toby Esterhase or the silently menacing Roy Bland. Before his death, Control had the same suspicions about one of these men and as a result George accepts the difficult task of finding who the mole is in a web of lies, covert information, shifting identities and Cold War intrigue. Prepare for a spy thriller with a precise plot and genuine sense of suspense as Smiley uncovers many things as he nears the mole he is so desperately searching for.

One word of advice before watching the film is to not expect an action-packed narrative, Tinker Tailor Soldier Spy relies more on secret meeting, cryptic code names and shifting loyalties to keep the meticulous plot going. It is the kind of film that demands your attention, if you blink you could miss an important plot point or something of significance. There are those that will say it is boring, but if you like intrigue with intelligence then watch this. Tomas Alfredson directs with an inventive eye for detail and framing, capturing the weary existence that these characters occupy in this distrustful world. The complicated plot is carefully handled and you are really left wondering who the mole could be. The evocative score by Alberto Iglesias compliments the melancholy time and the many revelations uncovered in the course of Smiley’s investigation.

The biggest draw of the piece has to be the exceptionally talented cast assembled. Leading the cast is Gary Oldman in a restrained performance as George Smiley. Oldman excels at showing the rather unassuming looking and seemingly cold man but quietly revealing the immense intelligence that lies within him. His voice rarely rises above a whisper, but you can sense the emotions within him because of Oldman’s excellent portrayal. Colin Firth, Toby Jones, Ciarán Hinds and David Dencik all rivet the attention as the men suspected of being the Soviet mole within the high-ranking part of the service. Mark Strong is very effective as Jim Prideaux, the rather unlucky agent whose shooting opens the film. Strong imbues Jim with both a desolation and a determination that compliments his character’s journey in the complex narrative. Tom Hardy is another person who makes his part his own, as Ricki Tarr who wrestles with his duty whilst falling in love with a beautiful Russian woman in Istanbul. Benedict Cumberbatch is utilized to great effect as Peter, who becomes George’s right hand man in the search for the mole. The ever reliable John Hurt, commonly seen in flashback, is a great choice for the part of the elderly Control. In smaller parts, Kathy Burke and Stephen Graham appear as two staff members who were removed from the service. Simon McBurney has his moments as the pompous civil servant drawing Smiley into the ring of deception. Svetlana Khodchenkova is luminous and mysterious as Irina, the woman who steals Ricki Tarr’s heart whilst holding some valuable information.

As scrupulous as the mechanics of a prized watch and as twisting as a serpent, Tinker Tailor Soldier Spy is a classy, stylish and complex spy film. There are those that will become lost in the many turns and become confused by the many facts thrown at them, but the film succeeds none the less at capturing a specific time and creating interesting characters who populate a labyrinth of uncertainty and intrigue.

The Proposition

Tags

2000's, Australia, Danny Huston, Emily Watson, Guy Pearce, John Hillcoat, John Hurt, Nick Cave, Ray Winstone, Revenge Drama, The Proposition, Western

Film Title

The Proposition

Director

John Hillcoat

Cast

• Guy Pearce as Charlie Burns
• Ray Winstone as Captain Morris Stanley
• Emily Watson as Martha Stanley
• Danny Huston as Arthur Burns
• David Wenham as Eden Fletcher
• John Hurt as Jellon Lamb
• Richard Wilson as Mikey Burns

Brutal, blood-soaked but also thought-provoking and strangely poetic, The Proposition is an Australian western that delves deep into the minds of its characters. Scripted by Nick Cave, of the Bad Seeds fame, the film is visually exemplary and excellently performed. If it’s a western that focuses on the characters and the repercussions of their actions, then The Proposition is the film for you.

In 1880’s Australia, English lawman Captain Stanley captures two brothers, Charlie and Mikey, of a famous band of outlaws after a brutal shootout. They are accused of the heinous murder of a colonial family, including the woman of the house. Stanley, who has his own version of justice, gives Charlie the title proposition; either he hunts down and kills his psychotic older brother Arthur or his feeble-minded younger brother Mikey will hang in the number of weeks that precede Christmas. The laconic Charlie goes in search of his brother in the arid Australian outback whilst deliberating what he will do. Meanwhile Stanley’s superior Eden Fletcher has decided to make an example of the young prisoner, which disturbs Stanley as he tries to wrestle with his conscience. The eponymous proposition will have consequences for every character involved as the film moves towards a shocking climax.

Nick Cave, best known for brooding songs about death, violent, bloody revenge and choice, fashions many of these themes into his poetic screenplay. It is as if he had written a song and extended it into celluloid. Unlike some westerns that feature constant shoot-outs, The Proposition, although violent and bloody throughout, focuses more on the choices and actions of the characters to move the story along. This is more effective as it paints a bleak and haunting portrait of a lawless time in which there are no easily identifiable bad guys. Cave also provides an atmospheric music score that compliments the long-lasting consequences of fatal decisions and gives Charlie’s journey to track down Arthur an almost mystical edge. Cinematography is a key component, showing both the savage and unforgiving state of the town and the arid beauty of the outback, sometimes at the same time. A fine cast of actors flesh out Cave’s challenging characters, with Guy Pearce, Ray Winstone and Emily Watson making the biggest impacts. As Charlie, Pearce exudes weariness at his difficult proposition, although he doesn’t share much love for his older brother, he still struggles to decide whether to kill him or save his other sibling in a strange Cain and Abel way. As Stanley, the lawman who is by turns violent and kind, Ray Winstone reveals new-found depths as an actor that make his character interesting to watch. As one of the few women in the picture, Emily Watson is reliable as ever as Stanley’s wife Martha, who is delicate and haunted by the murder of her friend. It is she who brings out the kinder side to Stanley but also shocked and repulsed by the lawlessness surrounding her. Watson delivers a powerful monologue that speaks of her dreams of her dead friend that is so poignant and poetic, mainly because of her faultless phrasing and delivery. In supporting roles, Danny Huston as the psychopathic Arthur and John Hurt as a drunken bounty hunter, both imbue their characters with unstable menace that is very disquieting.

As I mentioned earlier, the film is quite violent in parts, especially when Mikey is brutally lashed,  so be warned if you are squeamish. But if you can handle it you shouldn’t miss this revenge riddled western that paints a brutal picture of crime and lawlessness and is scripted and acted to a high standard.