Pirates of the Caribbean: At World’s End

Tags

2000's, Adventure, Bill Nighy, Chow Yun-Fat, Disney, Fantasy, Geoffrey Rush, Gore Verbinski, Jack Davenport, Johnny Depp, Jonathan Pryce, Keira Knightley, Keith Richards, Kevin McNally, Lee Arenberg, Mackenzie Crook, Naomie Harris, Orlando Bloom, Pirates of the Caribbean, Pirates of the Caribbean: At World’s End, Stellan Skarsgård, Tom Hollander

The concluding part to the original trilogy of fantasy/adventure films( though two other sequels would inevitably follow), Pirates of the Caribbean: At World’s End is rousing but at times a very mixed bag. It’s very fun and has sublime action, it just gets a tad sidetracked with wrapping up many plot points. Still, it boasts quite an entertaining spectacle from Disney and I love it for that and how epic it feels.

The very existence of pirates is under attack from the evil and power mad Lord Cutler Beckett( Tom Hollander) . He has begun executing anyone associated with piracy, in the hope it’ll bring out the prominent members of pirate world out into full view for him. As his power grows, mainly due to him having control over the fearsome Davy Jones( Bill Nighy) after coming into possession of his cut out heart, pirates must form unlikely alliances to survive. In Singapore, Elizabeth Swann(Keira Knightley), the resurrected Barbossa(Geoffrey Rush) , Will Turner(Orlando Bloom), Tia Dalma(Naomie Harris) and others loyal to Jack Sparrow(Johnny Depp), arrive to meet with the famed yet shifty pirate lord named Sao Feng (Chow Yun-Fat). He possesses a navigational chart to the Locker, but being a crafty pirate he isn’t just going to give it over that easily. After their meeting is ambushed by The East India Trading Company and Navy, Sao Feng sends his crew along with the rescue group for Jack as he is prone to going with whoever benefits him and going whichever way the wind blows. The group need Jack in order to have someone who is part of the Pirate Brethren and can make a decision regarding the next course of action against Beckett and the fleet he owns. Each has a motive for wanting Jack’s return, particularly Elizabeth who feels guilty for her part in his imprisonment and Will who has plans that are personal to him . Will saw Elizabeth kissing Jack before his demise and didn’t understand that is was her distracting him. This is put a wedge between the lovebirds that both hope to overcome. Along the way, backstabbing occurs as loyalties shift and people attempt to survive the oncoming fight for their very lives. Journeying from Singapore to literally off the edge of the world, the real tag crew finally find Jack in Davy Jones Locker.  After much tribulation in an attempt to return to the normal world , now with a reluctant Jack, things seem to be on an even keel . But it’s not going to be plain sailing for them all, far from it. Elizabeth discovers her father Governor Swann( Jonathan Pryce) was murdered by and this ignites more action inside of her, we witness how she’s more than happy to go against the grain now and take charge in fierce fashion when it gets personal. Will wants to rescue his cursed father Bootstrap Bill(Stellan Skarsgård) from damned life on the Flying Dutchman . The only catch is that he must stab the heart but then become the captain of the vessel. This would mean he would be parted from his beloved Elizabeth and only every ten years for one day would he be allowed to see her is still mourning the goddess Calypso, who he loved and when she didn’t return to him, he became the monster he is at present . We learn that Calypso was bound to human form and that form is the ever enigmatic Tia Dalma , who has an axe to grind with the Brethren . Will has to align himself with the slimy Beckett to enable some of his plan to work while Elizabeth ends up with more responsibility than ever. Upon reaching where they need to be , opinions are raised about the future. It’s up to the to fight back against its enemies and though many present have differing motives and ideals, uneasy but needed unions are made as the time for fighting grows closer. Soon battle lines are drawn and it’s a battle that no one is going to forget.

Gore Verbinski still knows how to create a swashbuckler and succeeds in the stakes of action, adventure and fantasy. He has the right gusto to keep things spinning, even if the multitude of plot points is a chore. From doing my research, I saw that At World’s End was filmed back to back with its predecessor and you get the feeling more effort was lavished on Dead Man’s Chest than here . Which isn’t to say that the film is bad, it just can lack focus with all the varying strands it has to contend with and exposition runs heavily throughout. In the last two movies, I have mentioned the run times being a bit long. But here it really does feel overlong and sometimes needs an injection of something to get it going. It’s not hard to feel a bit confused with all the subterfuge at play and the plot points that need tying up getting drawn out. These areas tie the movie up in knots that derail some of the good that it has to offer. Mercifully, when the action and spectacle hit in At World’s Enf, they knock it out of the park in powerful fashion. The last hour or so is an onslaught of breathless action between ships in a stormy sea as the final battle takes place in grandiose style, following a rallying speech from the now fully fledged pirate Elizabeth . Water soaks, sails break and swords clash as the fight for freedom. And it’s pretty spectacularly mounted and executing from near every angle. It’s what the audience has been waiting for and it doesn’t disappoint. Earlier standout moments include the rousing rendition of a call to arms from those about to be put to death, the trippy purgatory of Davy Jones Locker , the rag tag crew slipping a boat over to escape the land of the dead and an extended battle in Singapore on wooden bridges over waterways. And that’s not forgetting the visual front of sweeping camerawork that captures many a cinematic moment, like the as two faction walk towards the other with equal intensity in their eyes that feels like a tribute to an old Western in the best possible way. The sets are gorgeously rendered and we have Hans Zimmer on music duties once more; crafting a suitably epic score that continues to build as the action explodes.

Johnny Depp headlines this end to the original trilogy with usual blend of outrageous comedy styling and moments of occasional seriousness. Jack is wily and up to his usual tricks but we see that he can loyal in his own roundabout way. Knockabout humour and action go hand in hand for Depp in his finely energetic performance that once more makes it mark as memorable. Orlando Bloom has come a longboard way  from the start and it’s great to see him play the ruthless and cunning yet still charming Will. Gone are the overly saintly antics of the first chapters of the character, and we have Bloom playing Will as someone who engages in piracy with efficiency and verve but still has shreds of integrity and selflessness to him. Keira Knightley impresses once more as Elizabeth becomes a fully fledged pirate once she realises that she has nothing left to lose following the murder of her father . She’s vengeful, spirited and knows how to cut anyone down with either words or sword. Knightley is a winner once more in how she’s portrayed Elizabeth throughout the trilogy; her emergence from well brought up lady to skilled, respected pirate is one hell of a journey thanks to the delightful young actress. And who else could look so fetching in pirate garb and command such deep respect from those around her like Knightley? Say what you will about some of the plotting in the trilogy, but the development of Will and Elizabeth has been a shining factor and hugely positive in the course of the three movies. Geoffrey Rush is back and as wickedly entertaining as ever, playing Barbossa with a glint in his eyes and spitting out amusing one liners whenever the occasion calls for it. Stellan Skarsgård, who I’ve aways found to be a really underrated actor, wrings out the sadness from his part of doomed father and damned man. There’s something in his eyes that just really evokes a feeling of pity. Nighy makes for both a terrifying prospect and a tormented man, ably supporting Naomie Harris as the enigmatic long lost love. Once we become privy to the knowledge of the history between these two, their story takes on more pathos that is thankfully a good plot thread that interests. Tom Hollander continues to grease it up as the skippering Beckett, a little man with big ideas who is quite the loathsome cockroach that many characters wish to kill. A wasted opportunity comes in the form of Chow Yun-Fat. He’s a commanding actor and has an elegance to him, but its not put to good enough use here which is most unfortunate. More successful is the stalwart Kevin McNally as the noble friend to all and the one who is the most approachable amid all the larger than life characters. They aren’t the favourite characters of everyone, Pintel and Ragetti(Lee Arenberg and Mackenzie Crook) that is, and but their buffoonery and blunders of quite entertaining when I see them. Some of it wears thin but they are clearly having a blast. Jack Davenport appears again as the Commodore who switches loyalties, and he successfully plays someone who grows a spine a little too late. Jonathan Pryce is sadly sidelined for his part, though the unexpected death of his character certainly sets in motion something within Elizabeth. Watch out for the much publicised cameo by Keith Richards as Jack’s pirate father( with added tongue in cheek humour as Depp based the part he plays on Richards himself)

So if it goes on too long and feels just a bit too convoluted, Pirates of the Caribbean: At World’s End can at least be praised for its acting, action and pure sense of escapism. After all, it’s a fun filled time for most of it that can prove worthy of your patience and viewership. And it caps off the trilogy in style so I can’t begrudge it that.

Pirates of the Caribbean: Dead Man’s Chest

Tags

2000's, Adventure, Bill Nighy, Disney, Fantasy, Gore Verbinski, Jack Davenport, Johnny Depp, Jonathan Pryce, Keira Knightley, Kevin McNally, Lee Arenberg, Mackenzie Crook, Naomie Harris, Orlando Bloom, Pirates of the Caribbean, Pirates of the Caribbean: Dead Man’s Chest, Stellan Skarsgård, Tom Hollander

The sequel to the highly successful first film, Pirates of the Caribbean ups the ante and continues on a darker but still entertaining path. My heart may belong to The Curse of the Black Pearl because of nostalgia, but this Disney swashbuckler is definitely a very close second with glorious set pieces and pure escapism galore.

Jack Sparrow(Johnny Depp) is on the run from the Navy after his escape in the last movie. But the Navy is the least of his worries when he is given an ominous piece of news by Bootstrap Bill(Stellan Skarsgård), who is Will Turner’s damned father. Jack owes a debt to the infamous Davy Jones(Bill Nighy); the chilling captain of the Flying Dutchman who has a lot of mystical forces on his side. If he doesn’t pay his debt and become a member of the doomed crew, he’ll be dragged to Davy Jones Locker by the beast known as the Kraken. Meanwhile, lovebirds Elizabeth Swann and Will Turner are set to marry buy on the blessed day, their nuptials are interrupted by the East India Trading Company and they are arrested for helping Jack escape. A warrant is also issued for Commodore Norrington( Jack Davenport), though he is now far from the Navy and a very different person now. The East India Trading Company is headed by the arrogant and conniving Lord Cutler Beckett(Tom Hollander) . This contemptible  weasel tries to strike a deal with Will. If Will can retrieve the magic compass that Jack owns that points to what the use desires, Beckett will pardon him and Elizabeth. The compass would lead to the whereabouts of the Dead Man’s Chest; the heart of Davy Jones that if anyone owns can rule the sea and make others fall under command. Along the way, Will meets his father and after bonding attempts to save him from eternal damnation. Elizabeth is freed by her father(Jonathan Pryce) and she begins to join the hunt for the Dead Man’s Chest after striking something of a bargain with for information on the whereabouts of her man and what he’s seeking. This is also so she can be reunited with her beloved Will and insure his safety. But this time, something begins to creep up on Elizabeth. A frisson with Jack leads to complex emotions becoming known, which troubles Elizabeth. In between loyalties shifting, an islands of cannibals that captures the main crew at one point, an encounter with swamp dwelling clairvoyant Tia Dalma(Naomie Harris)and meeting with the fearsome Jones, it’s going to be anything but plain sailing for the characters. Soon everyone has their sights on the Dead Man’s Chest for their own personal reasons. Just who will emerge with it?

Gore Verbinski is directing again with great flair for skullduggery and action of the highest order . He isn’t afraid to raise the seriousness as well, while still retaining some of the knockabout charm the audience knows and loves. Dead Man’s Chest feels darker than it’s predecessor The stakes are higher here and it shows in feelings of being epic. There’s quite a bit of brutality and darkness in this film(particularly some of the opening shots of prisoners and their fates), but nothing too grisly as it knows just went to push things and when to leave it up to the viewer’s imagination. As I’ve mentioned, is my favourite of the series, yet Dead Man’s Chest is a very enjoyable sequel with plenty to thrill an audience and that’s why I do hold it in high regard. The length of the film is a smidgeon too long but the sheer amount of action and adventure more than makes up for the long running time. The action set pieces come thick and fast, especially in the last half of Dead Man’s Chest. Of particular note is the extended fight for the eponymous chest as all manner of people get their hands on it and lose it in elaborate fashion, Combining humour with breathless action when we see Jack, Will and on a severed wheel from water mill duelling for their lives as it careens through jungle , it’s one hell of a ride on my book. The visuals are of high quality too, crafting many a fine moment of magic. Particularly deserving of the praise is the computer generated design of Davy Jones, who is an amalgamation of sea creatures, most notably having a squid face of innumerable tentacles. The effects make him come to life in very creepy fashion and seem so real, as if he could leap out of the screen in full villainous form. Hans Zimmer takes over score duties and builds on the already impressive atmosphere and then sum. His score thunders along with an epic sweep that pulls you in and is more than a match for the stunning visuals on show.

A game cast is on hand to flesh out this fantasy adventure. Johnny Depp is at head of it as the one and only Jack Sparrow. Depp embodies the sneaky and shifting loyalties of someone used to playing the game. Sparrow is a flawed character as he’s more than happy to sell his friends down the river with a cheeky grin on his face, but Depp evinces the hidden decency that catches up with him. Only Depp can play Jack Sparrow this way and make it truly work, which is one of the highest compliments I can give him. Orlando Bloom is definitely stepping it up as Will, finally throwing off the shackles of being a holier than thou hero. He’s definitely still got some honour, but it’s fun to see him embrace pirate instinct and action, feeling more dynamic than ever before. Keira Knightley excels once more as the ever evolving Elizabeth, who really shows off her flinty and cunning side on this adventure. Knightley, clearly relishing the chance to partake in more action,  possesses the right balance of determination and confusion when her romantic inclinations begin to go in a way she never imagined. The whole triangle is played out excellently as both have things Elizabeth wants, adding further fuel to the fire in the process. A combination of great animation effects and a fine actor in the form of Bill Nighy craft a ruthless character in Davey Jones. Created via motion capture and then with the computer generated design overplayed onto the face of Nighy, Jones is a chilling villain with Bill Nighy lending a great deal of presence and impact to it. The effects are very convincing and worthy of praise but it’s the inhabiting of the part that makes it so impressive on the part of Bill Nighy. His distinctive eyes are noticeable through the CGI and the voice he adopts has a real spine-tingling quality; while a certain pathos and glimmers of someone who isn’t all that bad emerges from this. We are also introduced to the mysterious voodoo priestess Tia Dalma, who provides much in the way of intrigue surrounding her knowledge of Davy Jones. Naomie Harris plays the part with an enigmatic grace and knowing playfulness that is most intriguing as the part is a peach. Jack Davenport reappears as the now dissolute and fallen from grace Commodore, who ruined his image and promise by chasing Sparrow. Stellan Skarsgård makes for a welcome addition to the party as the tragic Bootstrap Bill. Hidden behind layers of crustacean make up, his melancholy delivery is surprisingly touching in the long run. Villainy of the human kind is found within Tom Hollander and his portrayal of a ruthless chairman for the East India Trading Company. Constantly belittling others and acting superior, you really start to despise the character. Which in my book shows how good an actor Hollander is to elicit such strong feelings. Lee Arenberg and Mackenzie Crook provide more knockabout humour as the idiotic pirate duo never far from a scrape, while the stalwart abilities of Kevin McNally are on show as the ever faithful Gibbs. Jonathan Pryce, though only in a supporting part, works his talents to make sure that his character isn’t merely throwaway.  

With plenty of action, darkness and an upping of stakes, Dead Man’s Chest makes for a compelling sequel of fantasy and adventure on the high seas.

Pirates of the Caribbean: The Curse of the Black Pearl

Tags

2000's, Adventure, Disney, Fantasy, Geoffrey Rush, Gore Verbinski, Jack Davenport, Johnny Depp, Jonathan Pryce, Keira Knightley, Kevin McNally, Lee Arenberg, Mackenzie Crook, Orlando Bloom, Pirates of the Caribbean, Pirates of the Caribbean: The Curse of the Black Pearl

A swashbuckling fantasy adventure inspired by of all things a famous ride at Disneyland, Pirates of the Caribbean: The Curse of the Black Pearl is rousing, high spirited fun full of action and derring do. I’m sure many were doubtful about a film based on a theme park and how it would go were very surprised by how effective and throughly entertaining it turned out to be.

It’s the 18th Century in the Caribbean and in Port Royal, things are about to get very interesting. The arrival of the infamous Jack Sparrow( Johnny Depp), he of the keen wits, outrageous antics and swagger, is picked up on by the admiralty after he arrives in port minus a ship. Meanwhile, the beautiful Elizabeth Swann( Keira Knightley) is being prepped for marriage to the newly promoted strait-laced Commodore Norrington(Jack Davenport). But this is not as simple as it seems as Elizabeth is chafing at society and there is someone else who carries a flame for her. That someone is dashing blacksmith Will Turner( Orlando Bloom), who admires her from afar but doesn’t act on it because of how rigid society is. Elizabeth helped rescue Will as a boy when he was found floating in the sea when she was making the journey to Port Royal as a little girl. She took the necklace that was around his neck as it identified him as being related to pirates. Years later she has the necklace and is still intrigued by pirates. However society and her protective father Governor Swann( Jonathan Pryce)have subdued these ideas of a life on the high seas. The gold piece soon brings danger to Port Royal when a menacing ship by the name of The Black Pearl attacks. The vicious pirates aboard kidnap Elizabeth, though through her pirate knowledge she manages to stay alive. She is taken to the cursed ship and here she meets the wily Captain Barbossa( Geoffrey Rush) and she gives a false name(Will’s last name) that intrigues the crew. Barbossa is in search of  the last piece of gold from a cursed treasure chest, which currently hangs around the neck of Elizabeth. The curse renders anyone who touches it to become one of the living dead, which Barbossa and his crew are. Only by the spilling of blood from one of pirate lineage can break the curse, which the crew mistakenly believe is Elizabeth. Though Commodore Norrington wants to go about things in the proper way befitting his training, the determined Will has other plans to get Elizabeth back. Will can’t stand pirates, as he is unaware of his own historical link with the sea faring scoundrels, but decides to implore Jack Sparrow for help. Springing Jack from jail and still distrustful, he begins to work with the rapscallion that is Jack. After all, The Black Pearl was Jack’s ship before Barbossa proposed a mutiny against him, thus leaving the crafty cursed pirate as captain. Elizabeth emerges as a stronger person along the way, with much in the way of being resourceful and surviving among buccaneers. Jack Sparrow and Will still have a bit of animosity but work some of it out in their quest to rescue Will’s beloved from the hands of Barbossa . Jack always has something up his sleeve that allows for many turns and twists in what is an epic journey. Much adventure, double crossing and events across the high seas follow for the characters in this adventure.

Gore Verbinski fashions a rollicking adventure yarn with a flair for humour and a really good time of excitement for almost everyone. He clearly knows what he’s doing and provides us with a film that is thoroughly sweeping and action packed. There’s something delightfully old fashioned about The Curse of the Black Pearl, which is mixed with a contemporary and irreverent sense of humour. The two aspects melding make the film very appealing to a pretty wide audience with old school feeling of swashbuckling and off the wall humour and modern cinema techniques proving rather good bedfellows. Pirates become fun and the genre of the swashbuckler is resurrected in style. As I said earlier, I’m sure many expected The Curse of the Black pearl to fail because of its origins. These naysayers were obviously thrown for a loop when it turned out to be a rip-roaring fantasy adventure that both critics, audiences and this reviewer loved. You’d have to be Scrooge to not find something to tickle your funny bone or make you feel swept along on a great voyage in The Curse of the Black Pearl. Set pieces and action are what allows the film to flow on a well tuned ocean of entertainment and swordplay. The effects are rather excellent too, especially when it comes to the undead crew. They are rendered gloriously creepy in the moonlight and make many a good sequence, particularly the first reveal of them to a startled Elizabeth. One little flaw is that the film is a bit overlong and could have used some trimming. Though you can forgive it as the ride is a fantastically enjoyable and enthralling voyage into a time of swashbuckling action and spectacle. The score from Klaus Badelt is a splendid accompaniment to the events on screen, while mixed with a slightly jaunty air that permeates through with brio.

One of the biggest things that stands out in The Curse of the Black Pearl is obviously the cast, headed by a wonderfully creative and attention grabbing Johnny Depp. Portraying the flamboyant and witty Jack Sparrow who always seems to be able to get out of a scrape, Depp is obviously having a ball putting all manner of eccentric traits into the part with superb comic timing and suitable panache. From the drunken walk, ability to confuse those in his way with riddle like language and a daring glint in his eye, Jack Sparrow comes alive thanks to the reliable and unique talents of Johnny Depp. He’s the definitive scene stealer in this adventure and make no mistake about it. The Curse of the Black Pearl would not be the same without him. Then we have Orlando Bloom as the main hero of the piece. Bloom, while not being the finest actor around, has the right physicality and noble presence to compensate for some niggles in his range. Plus he makes for an attractive partner for Keira Knightley as the two characters begin to find themselves acting on their feelings after keeping them under wraps. It’s Keira Knightley, who was rocketed to stardom with her performance here, that really goes through the biggest journey over the course of the movie. Knightley moves from well-mannered but curious lady of upper society/damsel in distress to a strong fighter and smart player of the pirate game. While being a striking presence and mature in demeanour with a tall figure, alert eyes and enviable cheekbones, it’s the spirited energy of a woman not wanting to be apart of a stifling status quo that Keira Knightley brings which sells the part of Elizabeth successfully here. On stellar form as well is the reliable Geoffrey Rush, who is delightfully tongue in cheek yet bristling with a creepy menace. His scenes with Depp are delightful as sworn enemies sparring with both swords and wits. Jack Davenport nails the duty bound honour of a man married to his job and enjoying being the bus, but not quite succeeding on the romance department. Jonathan Pryce has the right elder statesman presence as Elizabeth’s elderly father whose biggest concern is the fate of his daughter in all of this. Kevin McNally embodies the person with the most sense of loyalty, first mate Gibbs. He’s both a hoot and a source of calm among all the chaos around him. The devious pairing of Lee Arenberg and Mackenzie Crook as two of the cursed pirates by the names of Pintel and Ragetti, who are prone to all sorts of trouble is also a source of humour, particularly Ragetti. He has an eye that never seems to stay in place and is found often popping out at the most inappropriate times, causing much in the way of slapstick that both actors play too. 

Rip-roaring, gloriously riotous and a whole barrel of delightful action, Pirates of the Caribbean: The Curse of the Black Pearl is the definition of a fun time at the movies. For adventure and thrills, look no further.

Ronin

Tags

1990's, Jean Reno, John Frankenheimer, Jonathan Pryce, Natascha McElhone, Robert De Niro, Ronin, Sean Bean, Skipp Sudduth, Spy, Stellan Skarsgård, Thriller

Film Title

Ronin

Director

John Frankenheimer

Starring

• Robert De Niro as Sam
• Jean Reno as Vincent
• Natascha McElhone as Deirdre
• Stellan Skarsgård as Gregor
• Sean Bean as Spence
• Skipp Sudduth as Larry
• Jonathan Pryce as Seamus O’Rourke

A thrilling and exhilarating spy thriller cast to perfection and filled with excitement and intrigue, Ronin blends political undertones with pulse-pounding action for a film that will leave you breathless.

Ronin begins with a group of operatives from different agencies who have turned mercenary meeting in Paris. Present are quick thinking Sam, unassuming Vincent, getaway driver Larry, German tech expert Gregor and Spence . Assembling them is Irishwoman Deirdre, who informs the men of why they have been summoned. They are to obtain a metallic briefcase from Nice, of which the contents remain clouded as her superiors won’t reveal what is inside it. Doing this won’t be easy as it is heavily guarded, yet with all the skills of the group it could be achieved. Yet each of the group is weary of the other and simmering distrust builds slowly. Spence is exposed as a fraud by Sam and subsequently dismissed for his gung-ho attitude. Despite this hiccup, Deirdre sets in motion the plan with all involved receiving money and if they can get their hands on the case a larger sum. They put the plan into action and initially it seems as if the case is in their sights and for the taking. Yet loyalties become blurred and betrayals take centre stage as everyone vies for the case and the hunt begins for the mysterious object. In the game of spying, trust is something hard to come by and that is especially the case as Sam teams with Vincent to discover who out of the team is lying and what the case could possibly represent for the respective parties willing to kill for it. The chase is very much on in this spy thriller.

John Frankenheimer is excellent in his direction of Ronin; creating a sense of unease right from the slow-burning start. He is well equipped at building tension before unraveling the divided feelings and machinations of the group as they pursue each other for the mysterious briefcase( which in itself takes influence from Alfred Hitchcock and his love of the MacGuffin). A scintillating and cool script offers up exciting action and well-rounded characters in a constant game of dangerous cat and mouse. I like to be surprised in a spy thriller and it was provided in many forms in Ronin. Red herrings are tossed in and with all the distrust on display, it is a maze of a story that grips like a vice. The fact that the characters all have mystery to them about their affiliations and past careers gives the brain an exercise as you try to pinpoint who among the international crew is betraying who and the loyalty of each. A part of Ronin that marks it out as something special is its refusal to dumb things down for the audience. It treats them with respect and allows their imaginations to fill in what isn’t said between people.  The spectre of the Cold War is very much on the film and this in turn aids Ronin with the political slant and the feeling of an old-fashioned movie, sparked with modern intrigue. As convoluted and complex as the story becomes, Ronin doesn’t short change us on the action front. And when I say action, my oh my there is some creative highlights present. Most of all it is the car chases through the streets of France that provide the appealing and gripping centre of Ronin. These car chases are not glamorized and achieve a realistic edge to them that sets it way above the average chase scenes. You are left gasping for breath at the sheer intensity of these frenzied pursuits and that is in the best possible way. A classy and building score is just the ticket for conjuring the necessary tension and ghost of the Cold War that weighs heavy on the characters.

Whoever assembled the vast international cast of Ronin deserves a massive pat on the back as they did superb in their selection. Heading it is the wonderful Robert De Niro in a fantastic performance. With a quick wit, keen intellect and cynical attitude, his Sam is a character that we root for in the scope of the shifting maze of loyalties. He shares great chemistry with Jean Reno, who is equally as good as the quiet but very skilled Vincent. Out of the group of characters, these are the two that have an implicit trust throughout and have each others back. And with De Niro and Reno in the roles, they come to life vividly. As the lone female of the cast, Natascha McElhone infuses Deirdre with an icy personality and stand offish tendency, which makes her even more mysterious in the cloak and dagger proceedings. Stellan Skarsgård is marvellously cast as Gregor, who appears to be on the sidelines in the initial stages but reveals an unseen ruthlessness as the mission gets more intense. Sean Bean is present in mainly the first half of Ronin and he has the right bravado for his part as the lying Spence, who doesn’t quite have the stomach for this kind of spy work. Skipp Sudduth as the getaway driver has a smaller role that is still impressive, along with Jonathan Pryce as someone very interested in the briefcase too.

Ronin is everything you could ask for in a spy film. It has atmosphere, excellent characters and espionage unease. Not to mention the fact that it knows how to deliver the thrills when needed and blow you away.

Stigmata

Tags

1990's, Gabriel Byrne, Horror, Jonathan Pryce, Nia Long, Patricia Arquette, Rupert Wainwright, Stigmata, Thriller

Film Title

Stigmata

Director

Rupert Wainwright

Starring

• Patricia Arquette as Frankie Page
• Gabriel Byrne as Father Andrew Kiernan
• Jonathan Pryce as Cardinal Daniel Houseman
• Nia Long as Donna

A cross between a horror with heavy religious overtones and a thriller questioning the teachings of Catholicism, Stigmata emerges as a flashy, creepy film filled with striking imagery and thumping soundtrack. Yes, there may be inconsistencies and a few flaws, but Stigmata on the whole  generally effective and disquieting for most of its duration that leaves with a few questions.

Frankie Page is a nonchalant party girl and hairdresser in Pittsburgh. She is the kind of person who lives for the moment. Yet after she receives a gift of rosary beads from her mother, she experiences the first of the five wounds of stigmata, which are the wounds suffered by Christ on the crucifix. This unexplained phenomena appears to have occurred because of the arrival of the beads, which belonged to a devout and recently deceased priest. Terrified by this, Frankie doesn’t know what to do and how to escape. Father Andrew Kiernan, a recently ordained priest who also has history in science and travels the world debunking supposed holy miracles, is sent to investigate the unusual case. It is interesting that he should be sent because he was present at the church were the original owner of the rosary beads died and a statue of the Virgin Mary begin to weep blood. One he arrives in Pittsburgh, he is initially dismissive because Frankie is an atheist and most stigmatics are deeply religious people of immense faith. Yet as Andrew digs deeper into the case and Frankie’s condition worsens with every injury inflicted, complete with some sort of possession that talks in a dead language not used for centuries, he sees that Frankie is actually channeling something much more dangerous and questionable. These findings could have dark implications for the church and shake their very foundations to the core. And while Andrew is somewhat more open-minded with his beliefs and is a lot more concerned with saving Frankie’s life, his superior Cardinal Daniel Houseman, is prepared to resort to the darkest acts in order to keep these findings from being revealed.

I’ve read that upon release Stigmata was lambasted by critics as being a shallow, style over substance and exploitative film. I personally think that those criticisms are more than a little harsh, though sometimes the style does overpower the story. But what style and imagery it is with scenes overlapping, slickly executed cut backs and forth and religious liturgy taking centre stage in a style reminiscent of a music video. At least Stigmata still has a story that pushes many buttons on an interest level to back up such strong visual impact. And though Stigmata is very much a horror film that can be very unnerving, clearly witnessed in the harrowing scenes of Frankie suffering the titular injuries in gruesome detail, there is a mystery angle about the history of religion and there possibly being something else to say. It must be said that there are inconsistencies with this and sometimes it comes off as a bit illogical, but for me the mystery angle didn’t buckle under these flaws and did leave me questioning things. An unusual but highly appropriate score and soundtrack combine electronic beats, hard rock and whispering chorus to capture the melding of ancient religion with a contemporary host.

Patricia Arquette is an excellent choice for the role of Frankie. Bringing in the beginning a humour and no cares attitude to her as she parties a lot, she successfully incorporates a sense of disbelief, pain and vulnerability once Frankie becomes afflicted with Stigmata. The part is made all the better because of Arquette being in the role and making Frankie a sympathetic character going through unimaginable horror. Gabriel Byrne is well cast as Father Andrew, whose history as a scientist often clashes with the more spiritual around him. There is a sense of grave concern that Byrne invokes Andrew with as his main concern becomes saving Frankie from death as the wounds get worse and her health declines. Jonathan Pryce brings authoritative menace to the part of the corrupt cardinal intent on keeping the message from Frankie deeply buried away from anyone. Nia Long, on the other hand, is wasted as one of Frankie’s friends.

So if you can forgive a few lulls and inconsistencies, Stigmata is an eerie, stylish horror/thriller.

Tomorrow Never Dies

Tags

007, 1990's, Colin Salmon, Desmond Llewelyn, Gotz Otto, James Bond, Joe Don Baker, Jonathan Pryce, Judi Dench, Michelle Yeoh, Pierce Brosnan, Ricky Jay, Roger Spottiswoode, Samantha Bond, Spy, Teri Hatcher, Tomorrow Never Dies, Vincent Schiavelli

Film Title

Tomorrow Never Dies

Director

Roger Spottiswoode

Starring

• Pierce Brosnan as James Bond
• Jonathan Pryce as Elliot Carver
• Michelle Yeoh as Wai Lin
• Teri Hatcher as Paris Carver
• Gotz Otto as Stamper
• Ricky Jay as Henry Gupta
• Joe Don Baker as Jack Wade
• Vincent Schiavelli as Dr Kaufman
• Judi Dench as M
• Desmond Llewelyn as Q
• Samantha Bond as Moneypenny
• Colin Salmon as Robinson

After the huge success of GoldenEye, Pierce Brosnan had his second outing as James Bond in Tomorrow Never Dies. It may not be as strong as its predecessor, but it does the job efficiently and has some interesting flourishes to add to the iconic series of 007 movies.

In the thrilling opening, Bond stealthily makes his way through an arms bazaar in order to recover missiles. After an explosive battle, Bond just manages to escape with the missiles in tact. After this, the main focus of the film appears. Elliot Carver is a prominent media baron, with his finger in every form of the media pie that his eyes can see. Because he has been refused broadcasting rights in China, he decides to cause chaos. He has his team of specialists on a stealth boat destroy a British Navy ship in Chinese Waters, giving him the story he needs and helping set in motion a potential conflict between the nations as he believes the British will blame the Chinese for the attack on them. Carver plans to cause a war between England and China so that he can have the monopoly on the media and satisfy his desire for ultimate power. Worried about the possibility of a full-scale war, M sends Bond to investigate the barbaric and potentially devastating plan of Carver. His mission takes him to Hamburg, where Bond is reunited with a former flame, Paris Carver, now the wife of the corrupt Elliot. Bond and Paris had an eventful relationship, but his loyalty to the job got in the way. Bond’s previous relationship with her comes with tragic consequences and Bond soon realizes the extent of Elliot’s plan for media supremacy. With the help of skilled Chinese agent Wai Lin, Bond tails Carver from Saigon to the South China Sea in an attempt to avert an impending war.

Incorporating themes of media manipulation, digital technology and the fact that what lies beneath the surface is very sinister, Tomorrow Never Dies does have an interesting story. But at times it does veer into unpredictability and to be honest Carver’s plan is a little over exaggerated to say the least. Yet director Roger Spottiswoode manages to keep Tomorrow Never Dies on track and gives this Bond offering action, wit and excitement a plenty. There is a feeling that the movie brings nothing new to the table in terms of originality but this can be forgiven as Tomorrow remains exciting and well-paced throughout. With the theme of digital technology in place, it should be noted the effectiveness of the gadgets supplied by Q. A car that you can drive by using a mock keypad, a bomb triggering watch and a finger print manipulator are all examples of the modernism apparent in this film. Action is adrenaline packed and a standout has to be a chase on motorbike through the crowded streets of Saigon with Bond and Wai Lin handcuffed and forced to rely on one another for direction. David Arnold is on hand to provide an electrifying score of orchestral movements and hints of electronic, to highlight the meeting of the modern and old. Sheryl Crow sings the title song which is a little dull but has a certain slow-burning effect that aids the bizarrely enthralling title sequence of curvaceous girls formed from media circuits and seas of communication data.

Pierce Brosnan gives a great performance as Bond, capturing the suave essence of the spy, the intellect of the man and the physical capabilities in a fight. He also has fun with some very snappy one-liners provided by the witty script. Jonathan Pryce provides an unusual quality to the power mad Elliot Carver, the character may not be the best villain but Pryce certainly makes him watchable. Michelle Yeoh is excellent as Wai Lin, the Chinese agent who reluctantly teams with Bond to take down Carver. Yeoh showcases her intelligent independence, calm and collected demeanor and athletic prowess in a role that shows she is very much an equal for Bond. It’s great to get a female character who isn’t easily won over by the smooth charm of Bond almost immediately after meeting him and Yeoh gives the part a fiercely independent streak that won’t be easily tamed. Teri Hatcher handles the brief role of Paris well, showing us an unhappy woman still yearning for James who will ultimately pay the price for her desire. Gotz Otto brings physical menace to the role of psychopathic henchman Stamper and Ricky Jay embodies the slimy personality of techno wizard Gupta. Joe Don Baker returns as the fun-loving Jack Wade but isn’t used well enough to be memorable. Vincent Schiavelli makes a brief but highly menacing and unusual cameo as a doctor of death, whose efficiency in his line of work can’t be questioned. Judi Dench is back as M, and this time she definitely means business as we watch her attempt to avert world crisis with her sense of judgement and action. Samantha Bond gets some amusing lines as Moneypenny, while there is an amusing performance from Desmond Llewelyn as loyal Q, who is still asking for his gadgets back in one piece but never seeing this happen. Colin Salmon is good as a fellow agent who helps Bond in the beginning of the film.

It may not be the best of the Bond movies, but Tomorrow Never Dies more than does the job and remains an entertaining spy yarn to enjoy.