Children of Men

Tags

2000's, Alfonso Cuarón, Charlie Hunnam, Children of Men, Chiwetel Ejiofor, Clare-Hope Ashitey, Clive Owen, Julianne Moore, Michael Caine, Pam Ferris, Peter Mullan, Thriller

A bleak but hopeful film directed by maestro and having a certain prescience with the events of the world today, Children of Men is a futuristic thriller shot through with darkness and the possibility of salvation that’s powerful and thrilling movie making.

The year is 2027 and the world is in meltdown following disease, mass violence and the startling fact that it’s been 18 years since the last baby was born. The United Kingdom is now in the grips of a police state that persecutes asylum seekers by placing them in internment camps once they enter the country and the infertility has caused violent unpredictability in the people who occupy this grey, oppressive time. The world is on the brink of utter collapse as fighting, deceit and mistrust tears apart the fabric of society and rebels and government are pretty much in the same boat of not being entirely truthful or clear cut as they make out. Theo Faron(Clive Owen), a cynical, alcohol dependent bureaucrat with a bruised past, has no faith in this world since he lost his son to a flu pandemic. His only source of some happiness is good friend and ageing pot smoker Jasper(Michael Caine), whose affable natire is a source of brightness in a time of uncertainty and panic . Theo’s existence is shaken up when he’s contacted by his former love and activist Julian Taylor(Julianne Moore) for help with a mission that involves the militant group or ‘freedom fighters’ The Fishes. The two have history as it was the death of their son that tore them apart and some scars are still not able to be healed. She wants Theo to help her secure transit papers for a young refugee named Kee(Clare-Hope Ashitey). Julian offers money to Theo who reluctantly accepts this offer despite having long ago vowing never to return to any form of activism or help of another. Things become more volatile and the stakes are raised when Kee reveals that she’s heavily pregnant( the first person in 18 years to become so), which puts her in a truly precarious position. It also soon becomes clear that some of The Fishes, in particular the beguiling (Chiwetel Ejiofor) and angry, short-tempered (Charlie Hunnam) have less than altruistic motivations for taking an interest in Kee and if the government discovers the pregnancy, it could spell danger and near death. Aided by loyal former midwife Miriam(Pam Ferris), Theo and Kee escape and head towards The Human Project; a scientific group who some believe are just legendary but who may be able to help Kee and her baby, as well as possibly having the cure for infertility. It soon comes down to Theo, who genuinely begins to care for Kee and her baby , to help her carry the fate of humanity and get her to safety before anything more brutal can stand in their way.

Alfonso Cuarón is at the peak of his directing powers here, fashioning a startling thriller and drama of the last hope for humanity in a world that’s in essence dying. infuses the material with imagination and heart, while never shying away from the brutality of what happens society is in free fall. Co-scripting with other talented writers, Cuarón brings out themes redemption, faith and hope when it seems that the world has truly gone insane. And thankfully, these themes don’t fall into the overly preachy category, instead settling for genuine what if possibilities and how when there is something to live for, it can truly inspire even the most reluctant of us. Interestingly as well, the government is portrayed as corrupt but so are the alleged freedom fighters. This adds more to the danger of how skewered the world can be when there isn’t a clear cut, black and white situation at hand and once again feels rather prescient given the current world climate. Children of Men is probably most famous for its visual style and for very good reason. The long takes that Cuarón and talented cinematographer Emmanuel Lubezki use are simply exquisite in positioning us right at the centre of events, most prominently in a car scene that turns brutal and a climactic running battle that Theo and Kee find themselves in. Scenes like this and the technical wizardry and panache are why Cuarón and Lubezki make such a fantastic team; they obviously have a very fine understanding of each other’s styles and how to really craft something that looks highly innovative. I can’t wax lyrical enough about how Children of Men looks and how this plays into the overall feel of the movie which is rather prophetic of certain situations occurring right now in the world. A few parts lag but the vast overall impact of Children of Men more than makes you forget them and focus on the sheet excellence throughout . A well chosen soundtrack compliments the movie, as does pieces of heavenly voices that hint at redemption and some light in the darkness that are tempered by a certain ringing whenever something bad is about to happen.

Clive Owen takes centre stage in what is one of his best performances. He starts as a wounded man who doesn’t believe in sticking his neck out for anyone to reluctant protector regaining humanity. Owen owns the part of reluctant hero with his fair share of damage who genuinely goes through a journey in treacherous territory. Owen’s weary and cynical face speaks volumes in his silences, chipping away at a man with no hope who rediscovers his ability to fight and be someone of help when salvation seems at its lowest ebb. In short, Clive Owen is a compelling lead in both terms of action and emerging heart. Julianne Moore, in a short but excellent performance, functions as the propeller of narrative as she is the one who instigates the main undertaking. Considering she’s only on screen for a short duration, the always credible Moore brings gravitas, steel and a sense of lived invulnerability to the part in customary sublime fashion. The same can be said for Michael Caine who turns in memorable, scene stealing work as an ageing hippy who grows marijuana and provides Theo with some sort of family and love. It is Caine who provides some levity to the oppressiveness of things but also has enough subtle shading to also aid the gravity of the situation. Caine wisely underplays the part, never going over the top as a lively, funky old dude with wisdom and playing him with a careful balance of humour and seriousness. Like Moore, Caine isn’t onscreen for a long time but also like Moore, he makes his presence felt. Chiwetel Ejiofor and Charlie Hunnam are both very effective as respectively a ‘freedom fighter’ whose ideals are skewered beneath seeming kindness and a dreadlocked, trigger happy backup with a bad, surly attitude to most things. In the very important role of the first pregnant woman in 18 years, the young and very talented Clare-Hope Ashitey  portrays vulnerability, feistiness and attitude ensuring her character is far from a victim even though everyone is either out to kill her or use her. Pam Ferris beautifully plays the former midwife who tries to remain grounded through spiritualism and has a calming, maternal effect on the characters and the viewers. Watch out for an eye catching turn by Peter Mullan; here playing a sadistically unbalanced guard who seems to help Theo and Kee but whose unpredictable nature and habit of speaking in the third person set your nerves on a knife edge.

Powerful movie making that delivers on the thriller good as well, Children of Men is an unforgettable movie with the sensational Alfonso Cuarón at the helm and boasting credible performances, stunning cinematography and intense but human thematic value. 

Half Moon Street

Tags

1980's, Bob Swaim, Drama, Half Moon Street, Keith Buckley, Michael Caine, Nadim Sawalha, Sigourney Weaver, Thriller

The quite fabulous Gill is celebrating the career of Michael Caine with a blogathon about him. Naturally, I was more than happy to take part in doing this and I have chosen Half Moon Street to review.

Film Title

Half Moon Street

Director

Bob Swaim

Starring

• Sigourney Weaver as Dr. Lauren Slaughter
• Michael Caine as Lord Bulbeck
• Nadim Sawalha as Karim Hatami
• Keith Buckley as Hugo Van Arkady

It may be a mixed bag in various aspects, but the dramatic thriller that is Half Moon Street is very watchable and has its moments. It most benefits from the work of Weaver and Caine and what transpires between them more than anything else.

Dr. Lauren Slaughter is an American research fellow residing in London and working at the Arab-Anglo Institute. Slaughter has a PhD from Harvard and has spent a number of years doing field work in China. She is smart, driven and completely frustrated with her job at the moment. Partly, this is due to the ingrained attitudes of men being superior within many in the workplace. Though the job is something she is immensely skilled at, it doesn’t pay well enough and she is struggling with her low wages and is living in a bed sit, that leaves a lot to be desired. Lauren doesn’t know how she’s going to feel at all comfortable in both work and personal life. Her annoyance at events continues as something she wrote is plagiarised by a higher up colleague and she isn’t considered for a prestigious study in Kuwait. One day, she receives a video in the post. It details the Jasmine Agency; an escort agency for wealthy clients, many from the Middle East. Lauren decides to moonlight as an escort for money so she can live without worry and have some semblance of power. In the escorting work, she finds more control over men and independence than she does at her job at the Institute. Her attitude towards things is one of cool confidences, but one particular date makes an impact on her. She meets Lord Bulbeck, a diplomat who is involved with Middle Eastern affairs. The two hit it off and soon a genuine relationship that is more than just sex is developing for them. They are compatible in viewpoints and humour, plus both are somewhat outsiders in one way or another. But it was no accident that Lauren was set up with Lord Bulbeck. A hidden group is monitoring events between the couple and is using both as pawns in an effort to stop Bulbeck in his attempts to forge a peace deal between Arabs and Israelis. Both are not aware of what is bubbling underneath their budding romance.

Bob Swaim is a good director and his sense of style is on display in Half Moon Street can be viewed. But he often over complicates things by trying to say too much with the story and needlessly dragging out parts of it. On the negative side, the film itself takes too long to bring the thriller element out into the open. There is suspense that it manages when the danger hits, but the attempts at mystery feel flat and tacked on. If the thriller areas had been addressed earlier on and given more footing in Half Moon Street, it may have been a different story for the movie. Onto the positive notices and Half Moon Street does have a good few. The script, while requiring several leaps of faith, does have something to say about the workplace and why someone like Lauren Slaughter would turn to an escort job to keep afloat. The most impressive aspect is the relationship between Slaughter and Bulbeck; they have a great affinity with each other and you do buy into their attraction to the other. I liked watching two fine actors create this relationship with each other on screen and do it justice. The material is lifted thanks to the script but mostly the stars. An exotic flourish in the music score, that gets romantic as the characters become closer is exemplary in doing the job of crafting atmosphere in a movie like Half Moon Street.

Whatever faults Half Moon Street has, the performances by Sigourney Weaver and Michael Caine are just right. Weaver has this cool and detached attitude, partnered with a quick wit and a bemused yet sly smile. She really plays the role of Lauren Slaughter very well, balancing the independence and sexiness of a woman getting some control in her life and scoffing at chauvinistic behaviour. Matching her is Michael Caine with a lot of charm and intelligence. There’s a real twinkle in the eyes here and his work as Lord Bulbeck reflects a man of great influence and down to Earth affinity. It helps that both Weaver and Caine share an immediate chemistry with each other as love blooms for the characters. You really believe them together as a couple and that’s really down to the actors and what they accomplish, even if the movie lets them down in many ways. In supporting parts there is Nadim Sawalha and Keith Buckley as possibly shifty men who surround Lauren in their own ways. Both don’t have much to work with however, with the lion’s share of things going to Caine and Weaver.

A movie that can be both tedious and extremely gripping depending on which way it’s going, Half Moon Street elicits fine work from the two main stars and has some atmosphere of which it can be proud of.

Dressed to Kill

Tags

1980's, Angie Dickinson, Brian De Palma, Dennis Franz, Dressed to Kill, Keith Gordon, Michael Caine, Mystery, Nancy Allen, Thriller

Film Title

Dressed to Kill

Director

Brian De Palma

Starring

• Angie Dickinson as Kate Miller
• Michael Caine as Dr. Robert Elliott
• Nancy Allen as Liz Blake
• Keith Gordon as Peter Miller
• Dennis Franz as Detective Marino

A mystery thriller with a lacing of dark humour, Brian De Palma’s Dressed to Kill is a relentless excursion into sinister mood and sleight of hand tricks that are for the most part strikingly done. The plot gets a bit overwrought, but the various surprises and mood is what this movie is all about.

Kate Miller is a dissatisfied and sexually starved housewife in New York, who can’t escape her feeling of loneliness. Although she has her young and bright son Peter, her marriage is largely devoid of much passion or excitement. She attends therapy with a psychiatrist by the name of Dr. Robert Elliott, where she unloads her problems to him. Although she flirts with him, he rebuffs her because of professional ethics and wanting to keep a distance. Later, the bored Kate visits a museum, where she is pursued and herself pursues a mysterious man, culminating in a sexual encounter. After this, Kate plans to leave but shockingly discovers that her conquest appears to have contracted a sexually transmitted disease. Reeling, she runs out of his apartment and heads for the elevator, contemplating what to do. Kate’s troubles get a lot more deadly as she is slashed to death in an elevator by a mysterious blonde woman, whose appearance is obscured by dark glasses. Just after the horrific murder, streetwise hooker Liz stumbles upon Kate and briefly catches a glimpse of the killer. Liz is then suspected of the killing, the main detective on the case not believing that there was someone else in the elevator. Desperate to prove her innocence and scared for her safety, Liz teams up with Kate’s smart son Peter(who is already investigating by himself through his collection of devices he has made) to uncover the identity of the killer, before Liz ends up the next victim of her slaying. Meanwhile Dr Elliott keeps getting threatening phone messages from a patient of his, who may very well be the killer and someone who enjoys taunting him. Things turn out pretty unexpected for everyone involved.

It’s an overblown film to be sure, but that is why it attracts in the ways that De Palma uses that melodrama. To be honest, I don’t think he is going for a really subtle approach. And given his signature style, he’s not just going to tone it down, he’s going to go to places that shock and surprise with his liberal use of theatricality along the way. What we are left with is a film that is more concerned with mood and atmosphere than plot, that still bears that feeling of tension, mixed with archness that De Palma does so well. The perverse yet riveting atmosphere is apparent in the dreamy, surreal soft focus of two pivotal scenes pulls you in, while obviously paying a debt to Hitchcock’s iconic Psycho. But the most sterling example of craftsmanship is the museum scene. In it Kate catches the eye of a stranger and the two engage in a stalking game that plays out spectacularly and seductively. The roles of cat and mouse switch between the lonely Kate and the stranger, ultimately making us part of the voyeuristic tapestry at work . Without barely a line of dialogue, De Palma pulls out every trick in the book; finding an array of expressive angles and movements to put us in the moment and tell a story simply through visual impact. It’s a scene where everything comes together as an example of pure cinema that should be celebrated. I think to appreciate Dressed to Kill it is best to watch it a few times to take in how well crafted it all is. You genuinely notice little bits that seemed trivial at first, yet have a massive bearing on the creeping proceedings, something which Brian De Palma chooses to have fun with. So for all the head-scratching moments that don’t make sense, the hints and symbolism of Dressed to Kill gleefully toy with our ideas of what we think we know. This frequently is the case of us being devilishly lead astray and made to believe one thing( when in fact it’s something quite different) and that’s where quite a lot of the watchability of Dressed to Kill lies. The macabre humour seeping through Dressed to Kill also adds to this; finding irony in pretty dark and perilous situations before turning up the chills for effect. Granted, some instances feel a bit much, the level of dark comedy is a welcome and quite unexpected quality put into often sardonic effect here. Dressed to Kill is a little bit over praised at least in my book, but that shouldn’t detract from the fact that it’s still a pretty nifty and swift thriller of panache that still made an impact on me. A gloriously grand and frequently alluring score plays into the dark and sexually prominent tones of the film right off the bat.

Angie Dickinson is very effective( especially given the fact that most of her performance has no dialogue). Through the little nuances of her face, we witness her boredom and sadness with her marriage, as well as how she craves sexual excitement. A beautiful woman with an aura of class and sexiness, Angie Dickinson plays the ill-fated woman exceptionally. Michael Caine is rightfully detached and urbane as the psychiatrist who seems relatively calm, but who may in fact be something else. With sublime subtlety, Caine brings a level of class and maybe a touch of enigma, without going overboard which is a credit to his abilities as an actor. Nancy Allen is pretty good as the quick talking Liz, who is sucked into the most twisted case and must prove her own innocence. The part is pretty much a standard hooker with a heart of gold trope, but Allen plays it well and makes her a likable girl sticking to her wits. The unlikely hero role of Kate’s investigating son Peter is filled out splendidly by Keith Gordon, whose gawky appearance and unwavering collection of detective moves make him a relatable down-to-Earth teenager looking for answers in his mother’s death. In a flashy supporting role, Dennis Franz provides a lot of the sardonic humour as a tough-talking and hard-boiled detective, with a seasoned attitude to match. He’s not in the movie a lot, but when he is, Franz is a delight as the salty and uncouth man investigating the baffling murder.

Silly as parts of it get, Dressed to Kill stands out for its visual impact and De Palma verve on display. Logic is not exactly present, but the fun of Dressed to Kill lies in its often shocking and macabre content that ratchets up suspense and sprinkles it with a knowing, ironic wink. At tad overrated in my book, but still a highly effective and surprising thriller displaying the skill of Brian De Palma.