Stardust

Tags

2000's, Adventure, Charlie Cox, Claire Danes, Fantasy, Ian McKellen, Jason Flemyng, Mark Heap, Mark Strong, Matthew Vaughn, Michelle Pfeiffer, Peter O’Toole, Ricky Gervais, Robert De Niro, Sienna Miller, Stardust

Based on the novel by Neil Gaiman, Stardust is a lavish fantasy of tongue in cheek humour, surprising darkness and a feeling of adventure that can’t be denied. Boasting a game cast and some dazzling scenery/visuals, it’s hard not to be swept up in this movie. 

A rural England town known as Wall is bordered by a giant wall that divides it from the magical kingdom of Stormhold. No one is supposed to go through the portal in the wall and it’s guarded by a man who refuses entry, though one man did and met a beautiful woman who he had a passionate romance with. Nine months later, his son is brought to his doorstep with no sign of the mother. The boy grows up into Tristan Thorn(Charlie Cox), a good-hearted but clumsy man who has a big crush on local beauty Victoria( Sienna Miller). The problem is his love for her is unrequited and Victoria is a selfish and vain woman who enjoys stringing others along. Tristan remains undaunted in his attempts to woo her and this is where things get interesting. In the Kingdom of Stormhold, the old King( Peter O’Toole) is dying and he hasn’t appointed a successor out of his sons. Usually, it’s the last man standing who takes the crown but the King decides to freshen things up a bit. He decrees that the first of his three remaining sons who retrieves his ruby will be crowned. The King throws it into the sky where it hits a falling star. The star is seen by Tristan and Victoria, and the capricious Victoria asks Tristan to retrieve the star to prove his devotion before a deadline. If he succeeds in retrieving the star, Victoria will accept his hand in marriage. Bowled over by her, Tristan naturally accepts the challenge. Little does Tristan realise how far reaching and eventful his quest will be. The biggest surpise is once he passes The Wall, he discovers that the star has taken the form of Yvaine( Claire Danes). She might be a radiant beauty but her personality is feisty and she immediately clashes with Tristan. Both begin to warm up to the other as forces of greed and desperation chase them. The remaining and power hungry princes Septimus( Mark Strong), Tertius( Mark Heap) and Primus( Jason Flemyng)are in hot pursuit, followed by an amusing Greek chorus of deceased siblings. Most evil and menacing of all are witch Lamia(Michelle Pfeiffer) and her siblings, who are fixated on gaining eternal youth of which the star can provide. Lamia in particular is a ruthless being of great power and cunning, who is not to be tricked with once she sets her sights on something. Tristan is thrust into a dangerous adventure to save and get back to The Wall before Victoria’s deadline. But in between dodging death and mischief, Tristan starts to see that maybe Victoria isn’t the girl for him as he develops feelings for Yvaine along the way. 

Matthew Vaughn is on hand for entertaining and dazzling direction, with oodles of style and adventure. He’s a director who knows how to keep a story spinning and very exciting, most evidenced once the breathtaking fantasy elements begin. The script is very successful at placing us in the fantasy adventure of the piece while retaining a certain sense of off the wall sheen. Stardust boats a sense of infectious craziness and off kilter magic that marks it out as something different in the fantasy genre. For while it’s very amusing and playfully silly, these are balanced with some rather creepy and sinister moments that are not quite what you expect but add to the overall appeal of Stardust. It is for my money, a film that will appeal across the generations of viewers that see it. With its humour, romance, darkness and thrills, it’s a true delight of a film that transports you into a zany world for two hours. Oh the humour scale, there are a lot of knowing winks to the audience and some fairly naughty jokes that grown ups watching can appreciate. The locations are breathtaking with mountains, hills and that romantic feeling of a hero’s journey on full display for the viewer. The magic is rendered with fun and panache in the effects department, ensuring a film that’s lovely to look and have a good time with. The only flaw I can find is that there is often so much going on that you can lose focus on the events happening. I mean I like when there are various parts to a story, but there are moments when Stardust overdoes it a bit. I’m grateful however that this is the only niggle I have because the rest of this fantasy make up for it. When the three stories gel, Stardust really hits great heights of intrigue and fantastical fun. The score from Ilan Eshkeri matches the heart, romance and adventure of the film and is pretty beautiful/magical in parts too. And Take That provide the irresistibly catchy “Rule the World” to Stardust, which is hard to get out of your head once your eyes have heard it.

A sensational cast is on hand and all up for a fantastic time. In the lead, Charlie Cox is ideally suited for the main hero thrust into the biggest adventure his life has experienced. Cox is fresh faced, personable and full of charm which goes a long way in playing the hero of our narrative and endearing him to us. Claire Danes has an ethereal glow that aids her in playing the personified star Yvaine, while infusing her with a temperamental personality that softens beautifully once her and Tristan get to know each other . Yvaine be the character everyone is after but she is dar from a simpering victim which is fully embodied by a radiant and bristling Danes. The pair have a very entertaining chemistry that sizzles and enthrals. Standing out and having an obvious ball is Michelle Pfeiffer, who longtime readers know is one of my favourite actresses. She’s relishing playing the lead witch hellbent on getting her youth back and doing it in despicably, delicious fashion. Pfeiffer hits the evil and seductive notes wonderfully, while embracing an eye rolling layer of comedy. It’s a great performance from Michelle Pfeiffer who proves to be a dastardly adversary for our hero but one who’s having a full on blast and savouring this opportunity to play bad to the bone. Robert De Niro has some great comic moments as a space pirate, which finds him playing against his usual image of macho and forceful tough guy. Jason Flemyng and Mark Heap are two of the greedy brothers after the star, though it’s the reliable Mark Strong, on sneering form, who stands out the most as the ruthless brother desperate to be king. I’m not the biggest fan of Ricky Gervais but he’s passable enough as a wheeler dealer. Sienna Miller is effective in her small role as the girl who knows the power of her looks and how to use them to her advantage, which inevitable sets the story in focus. Peter O’Toole contributes an entertaining cameo as the king who sets in motion the quest everyone ends up on before he dies. And on narration duties is Ian McKellen, whose iconic and distinctive voice is richly used. 

So while it is occasionally overstuffed with too many ideas and story, Stardust remains a delightfully different fantasy film with quite a bit going for it. 

Heat

Tags

1990's, Action, Al Pacino, Amy Brenneman, Ashley Judd, Crime, Danny Trejo, Dennis Haysbert, Diane Venora, Heat, Heist Film, Jon Voight, Kevin Gage, Michael Mann, Mykelti Williamson, Natalie Portman, Robert De Niro, Ted Levine, Thriller, Tom Noonan, Tom Sizemore, Val Kilmer, Wes Studi, William Fichtner

The delightful Gabriela asked me to take part in a blogtahon about Al Pacino. As he’s one of my favourite actors, I couldn’t refuse. So here’s my late entry with a review of Heat.

An engrossing action thriller with a sheen of depth and sense of character to it, Heat, with the talented Michael Mann at the helm, takes the heist film and fashions something breathtaking, surprisingly intelligent and always riveting.

In Los Angeles, Vincent Hanna(Al Pacino) is an overly dedicated, arrogant cop. His obsessed work rate has strained his third marriage to the tired Justine( Diane Venora) and made sure he can’t connect with his troubled stepdaughter Lauren( Natalie Portman) . He becomes aware of skilled thief Neil McCauley( Robert De Niro) when he and his team, consisting of talented but troubled Chris Shiherlis(Val Kilmer), edgy and pumped Michael Cheritto( Tom Sizemore) and new member crazed Waingro(Kevin Gage) steal bearer bonds from an armoured car. Things escalate when loose canon Waingro shoots a guard, causing two others to be killed to avoid being a witness. Neil is furious as he wanted a smooth operation and now they are wanted for felony murder. Mainly, Neil wants a way out of crime and lives by a code that says he can walk away from absolutely anything when he feels the heat coming from the law. This has largely made him a loner and someone who doesn’t form personal attachments. But things change when he falls for pretty and endearing Eady( Amy Brenneman). His right hand man Chris is good at the criminal job but can’t kick a gambling habit, which has estranged him from his understandably angry wife Charlene(Ashley Judd). Meanwhile, Hanna starts putting the dots together and unearths more plans of Neil’s to stage more heists, culminating in one last big score . Both men will collide and discover a strange parallel with the other, though they can easily take the other down if either encounters the other along the way. The game of cat and mouse gets more dangerous as the film progresses, also showing that  both men are people who live by their own code that has directed them in life

Michael Mann is firing on all cylinders with Heat; conjuring a story of cops and robbers with more on his mind than just action. Not that Heat ever shortchanges is on action, but the dedication to plot and the little details that form are simply sublime touches. I especially enjoyed how Heat opens; setting up the characters and revealing just enough to set the appetite then discovering how it’s all linked. It’s a little thing, but it really cements your attention on the film. Back to action and Heat delivers it in spades, with particular praise being reserved for the running shootout on the streets. With quick cutting, pulse pounding imagery and a general feel of genuine danger, it’s one of the finest set pieces put on film as bullets fly and bodies fall. On the point of how Heat looks, the moody colour palette and danger with which Los Angeles is depicted with is second to none. The setting becomes just as important as the characters in the story with Los Angeles appearing as dark, unforgiving and melancholy. And for a movie that is almost three hours long, the time flies as we are that engrossed by the film that we are witnessing. Sure it might seem an excessive run time and a few minor bits ramble, but every frame feels warranted as does the enviable attention to detail that I live for. It’s one of the most action packed but inventively detailed and I enjoyed how it weaved the characters and their lives together so it fitted. It’s hard to find fault with Heat, with only a few minor parts that ramble a bit. Apart from those very small things , it’s simply masterful as a film and I can recommend Heat enough.

Where Heat truly shines and rises above many a generic action thriller or heist/ crime flick, is in its unusual dedication to giving the characters substance and a sense of having lived life. We truly get a chance to know these people and watch how their lives unravel as violence, dedication and duality collide. The relationships at the core of the film, Vincent and his wife Justine , the chance of love for Neil and Eady and Chris’ damaged union with Charlene, all add something and are explored with rare insight .Credit is down to Michael Mann for fleshing these parts out and allowing us to go between who we want to succeed. It’s most unusual to watch as our sympathies and sense of loyalty swings like a large pendulum. They are two sides of the same coin and we get to see it in full bloom in the now famous coffee shop scene. We finally see two iconic actors meet on film( they were both in The Godfather Part II but never shared scenes) and the results are sublime. Everything comes together beautifully as two men bare their souls and find an unexpected sense of respect with the other, despite their current opposition. Elliot Goldenthal is the composer and his music is sublime at matching the varying moods on screen, with a certain percussive shimmer and drums taking a large part of things. Plus adding strings brings out a certain feeling of sadness as the main men find that their lives and have morphed into stubborn ways from which each tries to escape. It’s atmospheric and action packed all at once, without forgetting human emotion.

Heat scores highly for its impressively extensive cast, headed by man of the hour Al Pacino and fellow acting Titan Robert De Niro. Al Pacino is excellently convincing as the  strutting, obsessed cop who has all but destroyed what’s left of his personal life. With Pacino in the part you get the showmanship of a man who’s good at what he does and knows, tempered with underlying regret at how he’s obliterated anything close to him. It’s a fine showcase for the great man and layered too, displaying some of Pacino’s finest work. Matching him as the criminal counterpart is Robert De Niro as the master thief. Possessing a steely look, ruthless intelligence and a hidden gentleness, De Niro breathes life into the part of criminal with a code who finds it changing in never expected ways. Put simply, he’s electric in a subdued but powerful way. And whenever he and a Pacino meet, it’s simply extraordinary. Val Kilmer brings forth a weariness to his part of a skilled thief but hopeless gambling addict. For Kilmer it’s all in the eyes, which exude alternating strength, action and vulnerability throughout. Tom Sizemore has the dangerous persona and sense of inducing fear, particularly skilled when it comes to the action that erupts.

Though the film is largely composed of men, the women of Heat hold their own and are pretty integral to the story. Amy Brenneman, with her fresh faced charm and sense of kindness is the main woman in Neil’s life and though she doesn’t realise it, she starts to change his way of thinking. Ashley Judd, with a combination of grit and sadness, essays the part of a wife fed up with her husband’s inability to change. The part could have been a throwaway and thankless one, but Judd gives it dimension. The same can be said for Diane Venora, who is also a wife who wants more from her husband. She’s fierce and not afraid to confront him on it which I like. A young Natalie Portman, though only seen in a brief few scenes, still stands out as a troubled youngster struggling with life and not feeling like anyone is listening. Although seen for only a short time, Portman is pivotal to a later part of the story that impacts on Hanna.

The rest of the supporting cast is a regular who’s who of familiar faces who give life to the characters surrounding those at the centre. Standing out is William Fichtner as a slippery man in too deep and not knowing it and Kevin Gage as a very creepy guy who is part of the reason the team feels the heat from the cops. Then you have Jon Voight as the fence who you know has been doing the job as long as anyone can remember and Dennis Haysbert as a former criminal trying to do good but finding it tempting to slip back into a life of wrong. Plus that’s not forgetting Ted Levine, Wes Studi, Mykelti Williamson, Tom Noonan and a memorably pivotal Danny Trejo. It’s a stacked cast, but it’s Pacino and De Niro who are the centre and boy do they make Heat soar.

A dazzling, stylish yet unexpectedly human crime/ action thriller, Michael Mann’s Heat is a film that always gets your attention in nearly every department. Simply put, it’s unmissable.

Marvin’s Room

Tags

1990's, Diane Keaton, Drama, Gwen Verdon, Hal Scardino, Hume Cronyn, Jerry Zaks, Leonardo DiCaprio, Marvin's Room, Meryl Streep, Robert De Niro

Film Title

Marvin’s Room

Director

Jerry Zaks

Starring

• Diane Keaton as Bessie
• Meryl Streep as Lee
• Leonardo DiCaprio as Hank
• Hal Scardino as Charlie
• Robert De Niro as Dr Wally
• Hume Cronyn as Marvin
• Gwen Verdon as Aunt Ruth

A film based on a play that covers themes of family, illness and forgiveness, Marvin’s Room is a beautifully affecting movie that earns the laughs and tears it elicits in the audience through the natural work from an accomplished cast.

Marvin’s Room revolves around two estranged sisters; sweet and sensitive Bessie and driven Lee. Bessie lives in Florida, where she takes care of her bedridden father Marvin and dizzy Aunt Ruth. She has been doing this for twenty years now, yet hasn’t taken the time to really think of herself once. Lee is the more rebellious sister, who has worked hard and wants to get her life into a sense of order, complete with her two sons Hank and Charlie. Just as she appears to be, her troubled son Hank burns the house down and is institutionalized. His increasingly erratic and antagonistic behaviour towards his mother who he blames for divorcing his absent father does nothing to help, with Lee really hitting breaking point over what to do. It is around this time that Bessie discovers that she has leukaemia and that she needs a bone marrow transplant. Despite not having spoken to her sister in over twenty years, Bessie implores Lee to come and visit her. She hopes that she can find a match for the operation and hopefully bury the hatchet with her sister. Lee, even though she still has her differences with her sister, packs up her kids from Ohio and heads to Florida. The reunion is far from what you’d call an easy one for everyone involved. Bessie feels resentment towards Lee for not helping take care of their father, while Lee feels that Bessie is judging her for not being as sensitive a person as she is and thinks that Bessie has given too much of her life to caring for her family. Hank is also still troubled and distant from everyone, though he finds comfort in the form of Bessie who he believes listens to him more than his mother. Old wounds are opened as Bessie and Lee try to reconnect and Hank starts to mature in the presence of his Aunt. Reconciliation and understanding could be on their way, if everyone can finally accept the others and unearth a kinship that has long been missing.

Jerry Zaks may not have much of a cinematic finesse in his approach to the film, yet his eye is more focused on character and development( at which he scores points.) the natural and quietly emotional way that it tells the story that truly makes Marvin’s Room a moving experience. What is most surprising about Marvin’s Room is that it has a welcome dose of humour in it. It has you laughing one minute, then in tears in a heartbeat. And while this could have turned out to be a bad thing, it is actually one of the biggest successes of the film. It really brings you into the piece and highlights the naturalism and summarizes how unpredictable life can be for all of us. Dysfunctional family and the ways in which they can falter, but ultimately be reunited in unexpected circumstances is played out in accomplished fashion. Sure there are confrontations between characters, but they thankfully don’t go over the top and remain within the context of the film to its benefit. Some could argue that it is a sentimental movie, but it stays just on the right side of that to make a film that celebrates life and connection with people we never thought we’d understand. The odd mawkish moment here and there can be swept under the carpet when the film is as affecting and nuanced as Marvin’s Room. Don’t let the seemingly made-for-TV sounding plot detract you from the film, as it traverses well above manipulative manhandling of the audience in favour of soulful observation. In fact while illness forms the main crux of the story, it is the nature of family and that is most effective and compliments the scenes of disease and possible death. Marvin’s Room isn’t flawless by any means as some of the pacing is off and I might have liked it if the film ran a bit longer. But all in all, it’s a very accomplished and emotion driven story that gets your attention through the laughs, tears and smiles. Rachel Portman supplies the evolving music of this piece; splendidly supporting the quietly stirring and bittersweet parts of the film through rising rhythms and emotive piano.

Diane Keaton beautifully heads the cast with a quietly and movingly acted role of the caregiver sister finding out she herself is ill. A nuanced and sincere amount of feeling is embodied by Keaton as Bessie sensitively attempts to be brave. Genuine decency can often be difficult play without going into overt politeness, luckily Diane Keaton manages to portray goodness stunningly. There is no slipping into overly saintly or martyr like here, just a heartfelt delivery. There is just something very warm and soulful about Diane Keaton here that makes it stand out as one of her best performances. Meryl Streep is on fine form as the chain-smoking, fiercely independent sister who is trying to keep her life together, yet has to come to terms with responsibility for probably the first time. The part of Lee is a flawed woman who can be self-interested and impatient(not to mention at the end of her tether), but with Streep in the part, we get to observe how her brash outer shell has been made by her own experiences and how she really is more than a little vulnerable underneath it all. Streep works wonderfully alongside the luminous Keaton, genuinely conveying the distance and eventual closeness the siblings acquire over the course of the film. A young Leonardo DiCaprio holds his own against his older co-stars with a performance of anger, damage and eventually reflection. DiCaprio nails the troubled persona of teenager Hank and finds a feeling of loneliness and wanting for attention in there, which makes him hit it off with Bessie as he feels she gets him. DiCaprio brings layers and forceful feeling to the part which benefits from it considerably. Hal Scardino has the more modest part of the younger brother whose often buried in a book, but Scardino makes the most of it to play off DiCaprio’s intensity well. Providing amusing support is a genial Robert De Niro, portraying the yet often inelegant doctor who gives Bessie her diagnosis and whose attempts at being positive are sometimes anything but. Hume Cronyn, without uttering a word, conveys the helpless feeling of illness in old age, while Gwen Verdon is funny and sweetly touching as the scatterbrained Aunt.

Heartwarming and sincere, plus sporting a great cast of actors doing some lovely work, Marvin’s Room is a successful and touching testament to the themes of redeeming oneself and appreciating life.

Falling in Love

Tags

1980's, David Clennon, Dianne Wiest, Drama, Falling in Love, Harvey Keitel, Jane Kaczmarek, Meryl Streep, Robert De Niro, Romance, Ulu Grosbard

Film Title

Falling in Love

Director

Ulu Grosbard

Starring

• Robert De Niro as Frank Raftis
• Meryl Streep as Molly Gilmore
• Jane Kaczmarek as Ann Raftis
• David Clennon as Brian Gilmore
• Harvey Keitel as Ed
• Dianne Wiest as Isabelle

A gentle and subtle romantic drama, Falling in Love scores points for the pairing of Robert De Niro and Meryl Streep. Yet it is often achingly slow and some of the dialogue is particularly trite. Goodness can be gleaned from the tentative story and some of it is darn effective in the emotional stakes, but I did expect a bit more from this film than it offered up.

While out shopping for Christmas presents for the respective families, New Yorkers Frank Raftis and Molly Gilmore meet accidentally and a result, their presents get switched. Both don’t think much of this first meeting as they are both happily married, so they continue with their work and families; Frank is an architect, while Molly is a graphic designer. On the train a few months after, they encounter each other again and strike up a conversation. They soon find that they have fun together, and from this point on they meet for friendly talks, often on the train or in a cosy bookshop. What neither Frank nor Molly intended or expected was that this friendship would soon evolve into feelings of love for the other. Even when they are apart, they can’t stop thinking of the other and their feelings only become more difficult to ignore. Although their relationship remains chaste, they have fallen deeply in love with each other unintentionally, which causes all matter of problems as both don’t know how best to deal with these pangs of romance without hurting anyone.

Director Ulu Grosbard manages to ring quite a bit of romance and bittersweet feeling from the largely predictable story, yet it can become a tad heavy-handed at times. He works best when setting up both Molly and Frank, having scenes mirror each other and give growing voice to the quickly growing infatuation. Which brings me on to the topic of the film’s execution, which is mainly one of subtle ruminations and underplayed pacing, that eventually drags in the attempts to be serious. I mean I am all for subtlety in movies, heck anyone who follows my blog will know that I am rather fond of subdued execution and natural delivery. But in Falling in Love, despite the fact that I really felt for both characters and their internal dilemmas, it was just a bit too subtle for its own good. For me, it needed something to pep it up a little and give it more power, instead of settling for the underplayed approach that became too slow. What Falling in Love does get right is a gentle emotion of uncertainty and trepidation for the main lovers, they are shown as ordinary people with complicated feelings, just like everyone else. Though the dialogue varied into clunky territory, the star power of De Niro and Streep helped make it somehow relatable and sincere. And the fact that their relationship remains one of deep love that can’t quite be fulfilled and is far from overly sexual was a bit of a refreshing break from the norm. While the slow and unraveling approach feels appropriate at first, it becomes laborious and then the film starts to feel hackneyed by clichés. The music provided was pleasing at first, but it felt just way to sweet and corny in moments that were supposed to be serious and romantic. I think I was just wanting a bit more from a film like this overall than what the full product emerged as, despite my liking of some of it.

If there is something that makes Falling in Love at least a film that registers on some level, it has to be the lovely performances from Robert De Niro and Meryl Streep. They both convince as everyday people, who are taken aback and more than a little surprised by an unexplainable attraction that could spell bad things for their lives. Robert De Niro dials it down to play Frank as a decent man with a sense of humour and quiet depth that is most befitting of the character. Meryl Streep matches him with a sincere charm, flashes of humour and undercurrent of disbelief in what transpires between the two. They truly work beautifully together; hinting at the feelings between the two that for the most part can’t be acted upon, but are palpable. And their chemistry more than makes up for the slight script, breathing pathos into the dialogue with their respective skills and acting abilities. If there is a redeeming quality to Falling in Love, it lies within the work of these immensely talented actors. Jane Kaczmarek is well served with the role of Frank’s wife, who senses that something is going on, though David Clennon is a might too bland as Molly’s husband. Harvey Keitel and Dianne Wiest do what they can with their supporting roles, though the main thing you’ll remember from Falling in Love is De Niro and Streep.

The two main actors in Falling in Love are the biggest reasons for watching it, as well as the feelings it emits, but the whole production just lacks that extra bit of power to raise it higher. At least, Robert De Niro and Meryl Streep work beautifully together and ensure you feel for them.

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.

Angel Heart

Tags

1980's, Alan Parker, Angel Heart, Charlotte Rampling, Horror, Lisa Bonet, Mickey Rourke, Robert De Niro, Thriller

Film Title

Angel Heart

Director

Alan Parker

Cast

• Mickey Rourke as Harry Angel
• Robert De Niro as Louis Cyphre
• Lisa Bonet as Epiphany Proudfoot
• Charlotte Rampling as Margaret Kruesmark

An unsettling mix of noir and supernatural thriller, Angel Heart contains many visually indelible images and a highly atmospheric score that linger long in the memory. Although polarizing and controversial upon release, in no small part to a graphic love scene, Angel Heart is much more than that. It may seem like style over substance and lacking subtlety, but if you look closer it has a nail-biting premise that culminates in a shocking and unexpected finale. Angel Heart is not a film for everyone, in particular the faint hearted but there is no denying its shock power, sense of creepy atmosphere and memorable lead performance by a young Mickey Rourke.

It is 1955, New York. Harry Angel is an unkempt private detective who is often contacted for simple cases. One day he is contacted by a lawyer whose client wants help with an interesting job. The client is the elegant yet strangely sinister Louis Cyphre, who Harry meets in a church in Harlem. He informs Harry of Johnny Favourite, a crooner during the war who suffered horrific injuries and hasn’t been seen in a long time. Cyphre had a deal which he cryptically talks about that he had with the crooner that he wishes to resolve. He wants Angel to find out simply if Johnny is alive or dead. Harry takes the case, but as he investigates further into Johnny’s life in New Orleans and meets the sexy and mysterious Epiphany Proudfoot, a growing sense of creepiness and uncertainty begins to surround it. His questions are met with hush-hush replies and strange occurrences begin happening as a result of Angel’s curiosity with the crooner. He also becomes caught up in the Voodoo of Johnny’s past and he is plagued by weird dreams that make no sense to him at all.

Special praise should go to the cinematography that captures the darkness and sweltering atmosphere that Harry uncovers through the course of the film. The film is also sonically intriguing, making the simplest of sounds such as the clattering of feet and the turning of a fan sound sinister. A young Mickey Rourke both shows the tough and vulnerable side to Harry, making the audience relate to him and what he is going through. His scenes with De Niro are fantastic and memorable. Robert De Niro relishes the role of Cyphre and plays him with a creepy and cryptic menace that is quite unsettling. Shedding her good girl image of The Cosby Show, Lisa Bonet is enigmatic and sexy as the Voodoo priestess and daughter of one of Johnny’s conquests. Charlotte Rampling is an interesting and mystical presence in her small role as a wronged fortune-teller whose heart was broken by the crooner.

All in all, Angel Heart is a visually intriguing and doom laden movie that takes many twists and turns as it escalates. As I’ve mentioned earlier, the film is not for everyone. But if you like a thriller with a supernatural edge and bizarre images, this is the film I would recommend.

The Godfather Part II

Tags

1970's, Al Pacino, Crime, Diane Keaton, Francis Ford Coppola, John Cazale, Robert De Niro, Robert Duvall, Talia Shire, The Godfather Part II, The Godfather Trilogy

Film Title

The Godfather Part II

Director

Francis Ford Coppola

Cast

• Al Pacino as Michael Corleone
• Robert Duvall as Tom Hagen
• Diane Keaton as Kay Adams-Corleone
• Robert De Niro as Young Vito Corleone
• John Cazale as Fredo Corleone
• Talia Shire as Connie Corleone
• Lee Strasberg as Hyman Roth
• Michael V.Gazzo as Frank Pentageli

Synopsis: The continuing saga of the Corleone crime family. The film centres on the business of Michael Corleone, as he becomes the new Don and shown in flashback is the rise to power of his father before him. The film couples the stories together to show Michael’s dilemmas and doubt and his father’s gradual ascent to becoming the all-powerful Don.

Many people thought that it was going to be hard to surpass a masterpiece like The Godfather, but all naysayers were silenced when this sequel was released and many declared it equal to its iconic prequel. Rarely has a sequel been quite as well received as The Godfather Part II. It also doubled the first film’s Oscar wins by collecting six including Best Picture, the film remained the only sequel to win this award until Lord of the rings: The Return of the King won in 2003.  Whilst the first film is justly seen as the best, I personally think that Part II is just as good and actually reveals more on the history of the Corleone family and how it became an organized crime family.

Whilst the first film is well-known for the iconic scenes that abound, Part II has some justly famous moments that linger long in the memory.  The main thing that I like about the film is the cross cutting between Michael’s eventual downfall and the ascent of his father, this gives the film a profound and darker quality as we witness two stories running parallel to each other. Another aspect that makes the film intriguing is its expansion on certain characters, most notably Fredo, Connie and Kay, whose roles become more important and significant to this epic ongoing saga of the Corleone family.

Corleone Origins

One specific scene that has resonance with me is the flashback scene in which a nine-year-old Vito arrives in New York an orphan after his mother was murdered by the local Don.After escaping Sicily with the help from the local peasants, Vito climbs aboard a ship and sails for freedom. As you know what he later becomes it is interesting to see him has a young child and how certain aspects of his early life influenced his life in later stages.  His wide-eyed look at the Statue of Liberty is significant as I can relate to the experience of moving to a new place and not knowing anyone or what is going to happen.  The music in the background adds to the feeling of being in a foreign place and the journey endured for it.  The cinematography is outstanding as the sepia tones clearly highlight the period feel of the film and give it a nostalgic edge.

The rise of the Don

The other scene in my opinion is the turning point of the young Vito, here brilliantly portrayed by a young Robert De Niro, is when after witnessing the power wielded by Don Fanucci and after he tries to extort money from him, he secretly follows him and kills him. People may think that it sounds shocking but Vito doesn’t kill him for the fun of it, he kills him because of the things he has done to other people close to Vito and to Vito himself. The masterful sequence starts with the quiet Vito scaling the roofs of various buildings like a predator silently stalking its prey, following Fanucci as he makes his way through the parade, people falling on their feet to show respect as they know what consequences can happen if they get on the wrong side of him.  Vito then enters Fanucci’s apartment and silently waits for him to appear armed with a gun Clemenza told him to mind for him. After Fanucci enters his apartment he sees Vito and doesn’t expect anything, but then Vito emerges and shoots Fanucci in the chest, his gun silenced by a towel and the celebrations outside. He then retrieves money from him and destroys evidence of the gun. What I find so interesting in the scene is the gradual transformation of Vito who realises the importance of power and honour and how it can be used. By killing Fanucci he takes over as the more respected Don of the neighbourhood who by his own admission “knows how to repay a favour”, but who everyone knows not to cross with their lives. I like the way in which Coppola captures the two sides of the new Don as he is seen after killing Fanucci, calmly going back to see his wife and young children on the steps of their apartment. Coppola also helps elaborate on the central themes in the movie as Vito tells a baby Michael that he loves him, further foreshadowing the feeling of honour. It is also a sly reference to the fact that Michael in the future becomes completely different to what he originally was.

Beyond redemption

The most lasting moment of the film comes at the very end of it. This moment is haunting as we see Michael, older than he really is sitting outside on a chair with an expressionless look on his face. In my opinion he has realised what it means to be the Don and that he is beyond redemption for the things he has done.  Even though Michael is someone who has done bad things, I still have some sympathy with him, as I don’t see him as a villain but more of tragic hero.

As with the first movie, Part II has an exceptionally good cast. Pacino again delivers an outstanding performance, but the person who stood out for me was Cazale as his role as Fredo is expanded on. This time he gets more of a story as he begins to resent Michael for being one of his father’s favourite kids. This ultimately leads to Fredo’s downfall as he goes against the family.  Diane Keaton is good as well, her character of Kay now becoming embittered and tired of her husband’s lies. The scene in which she tells Michael that she has aborted her baby and he viciously strikes her is very effective; the acting by Pacino and Keaton is amazing. Pacino’s eyes say everything without him speaking as they begin to bulge with anger at Kay’s confession.

The other member of the cast that I thought did a fantastic job was De Niro as the young Vito. It must have been a hard act to follow on from the pivotal and extremely memorable Brando, but De Niro gives a revealing quality to his performance as the man before he was the Don. The uncanny likeness between De Niro and Brando is what makes the performance so good. Talia Shire reprises her role as Connie, but her character has significantly changed morphing from down-trodden wife to loose, hard-drinking girl who has had many loveless and empty marriages. Shire is great as Connie and brings a rebellious quality to her character as she constantly tries to get and Michael and get money off him.

In my opinion, Part II is equally as good as the first part. Part II is more profound and revelatory than its predecessor, tracing the origins of one of cinema’s most memorable families. In my view, Part II achieved a rare feat; it is a sequel that will be remembered as more than just the second part of a series but as a cinematic achievement.